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FOLKLORISM AND CLOTHES IN THE COLLECTION OF THE SLOVAK NATIONAL MUSEUM - THE MUSEUM OF HISTORY IN BRATISLAVA

100%
Gaburova J.
Etnologické rozpravy (Ethnological Disputes)
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2005
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vol. 12
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issue 2
67-78
EN
The paper deals with folklorism manifested in clothes and textile culture since the second half of the 20th century until today. It deals with a relation between the traditional clothes, the clothes of countryside residents engaged in agriculture and stock farming and the different groups' clothes through the prism of a category of folklorism. The authoress is a specialist working in the Slovak National Museum - the Museum of History in Bratislava. She uses selected artifacts of the textile culture from the collections of the museum. She studies chronologically the re-emergence of folklorism and the historical and social background of this process. The development of the clothes is examined at two levels: 1- traditional clothes as a source of inspiration leading to the formation of the national clothes and 2-traditional clothes as a folk costume.
2
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SKLENÉ KORÁLIKY NA KROJOCH ZÁHORIA

100%
Zajíčková M.
Študijné zvesti
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2009
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issue 46
231 - 232
EN
Brief information on embroideries at folk costumes at Záhorie decorated with glass beads, colloquially referred to as “oves”, the “ovsovanie” embroidery technique. Another way of glass usage for the costume decoration was small pieces of mirror, colloquially referred to as “špígeuka”. This decoration was used at Záhorie mainly in the Chvojnická dolina valley (villages of Lopašov, Radošovce, Oreské, Dubovce, Trnovec, Popudinské Močidľany, Chropov, Holíč, Mokrý Háj, Kopčany and Kátov), in the vicinity of Unín (villages of Unín, Radimov and Štefanov) and in Jablonica and its surroundings (Hradište pod Vrátnom, Osuské, Cerová and Rozbehy) from the 1930s.
3

50 ROKOV VÝROBY KROJOV V ÚSTREDÍ ĽUDOVEJ UMELECKEJ VÝROBY V BRATISLAVE

100%
Rybáriková A.
Etnologické rozpravy (Ethnological Disputes)
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2005
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vol. 12
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issue 1
58-66
EN
Since the beginning of the 1950s the Folk Art Center UL'UV in Bratislava has been engaged in the production and sale of folk costumes - complete sets or particular parts of the folk clothes. Those folk costumes prevailed in countryside residents' peasants, shepherds, and stock farmers clothes until the second half of the 20th century. The authoress works in the folk clothes section of the Folk Art Center. She presents a brief history of institution's activities. Furthermore, she describes the process of production and sale from the moment of ordering the costume originated in the particular region until the meeting the delivery obligation. This process included completing of missing data about the original form of the folk costume by means of studying literature and realizing research in museums collections, acquisition of relevant materials as well as hand-making of embroidery decoration. The authoress deals with changes of a spectrum of folk costumes' customers as well as the motives leading our contemporaries to the interest in this component of a traditional Slovak culture.
4
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SKLOM ZDOBENÉ ŽIVÔTIKY

88%
Mešša M.
Študijné zvesti
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2009
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issue 46
227 - 229
EN
Apart from stitching of glass silver and later also coloured beads on their bodices, girls and women in villages close to the small town of Zborov (the Upper Šariš region) decorated their folk costumes in another attracting way - by gluing of colourful glass cullet - in the inter-war period. The technique was simple: a fabric had been coated with glue in patterns they wanted to bear specific colour and then dredged with glass cullet of the desired colour, thin layer of which remained attached to the cloth. In this way they continued gluing of other colours. Occurrence of this technique within rustic population was in direct connection with glassworks activities at Stebnícka Huta, relations with glass workers and their families and availability of glass cullet together with glass gluing techniques as well. The glassworks had moved there at the end of the 17th century from Bardejovská Nová Ves and it existed till the middle of the 19th cent. (1641-1856). Its production was oriented to blown sodium-potassium glassware - bottles, bevies, pharmaceutical glass, plate glass, chandeliers, candlesticks and other utility glassware. The bodices decorated with glass cullet in this micro-region are unique and original proof of folk art spirit and creativity in using of techniques and material resources.
5
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Čamara v evropské kultuře (etnolingvistická studie)

75%
Dědovský D.
Národopisná revue (Journal of Ethnology)
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2012
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vol. 22
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issue 2
111 – 123
EN
The garment known in Bohemia as “čamara” has been documented since the High Middle Ages in the European culture of clothing; its roots date back to Oriental civilizations. In European languages and their dialects, there are lots of terminologically relative modifications relating to the garment in question. This garment found its way into the culture of clothing of several continents gradually; it was worn by members of all social classes – as a part of folk costumes, feudal lords´ clothes, dress and jerkins of church dignitaries within both the Catholic and Protestant environment; in many places, it has survived in different forms until today. Although in particular cultures and periods čamara differs in the cut and applications, it has always kept its function as an overcoat. The material shows notable identities as well. Mostly the garment is made from the fabric of animal origin – silk, wool, hair, or fur. The name “čamara” might be derived from the name of sheep or goat fur, which occurs in the languages in Near East, Northern Africa, and South Europe. Polish word czamara from the turn of the 18th and 19th centuries shows the influence of especially Hungarian and Oriental environment. These czamaras were a significant source for the Czech designers of national formal dress. The kontinuity of this garment can be traced back to the Renaissance fashion in Italy and Spain.
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