Romanian dress refers to the traditional clothing worn by Romanians, who live primarily in Romania and Moldova, with smaller communities in Ukraine and Serbia. Today, the vast majority of Romanians wear modern-style dress on most occasions, and the garments described here largely fell out of use during the 20th century. However, they can still be seen in more remote areas, on special occasions, and at ethnographic and folk events. Each historical region has its own specific variety of costumes.
Romanian traditional clothing can be classified according to seven traditional regions. These can be further subdivided by ethnographic zones, which may range between 40 and 120, depending on the criteria used.[1]
Genesis and evolution of Romanian traditional costume
First mentions of Romanian clothing
Dacian women wearing scarves similar to the contemporary headkerchief.Artistic renditions of Dacian (2nd century BC) and Romanian (19th century) peasant dressGiven the weight (900-1,100 g) and size, the handmade gold bracelets were most likely worn by Dacian men, members of the upper class.
The Romanian popular costume finds its roots in the part of Thracian, Dacian and Getae ancestors and resembles that of the peoples of the Balkan Peninsula, of course with differences consisting of decorative and colourful details. For example, women's portraits carved on Trajan's Column in Rome after the Dacian Wars provide information about their clothing. Dacian women wore shirts rippled at the neck. Sleeves were either long and wide or short. The dress was long to the ground, over which sometimes was attached a wide draped mantle. In the feet, they wore leather sandals in summer and fur sandals in winter.[4]
Middle Ages and Byzantine influence
Costume of a typical Romanian shepherd, 18th centuryWallachian peasantry and troops, 1853Painting by Stephen Catterson Smith depicting three peasants from Hodod, TransylvaniaA Romanian girl wearing an elaborately decorated vest. Painting by Marianne Stokes
Portraits of the founders provide important information about the type of material of which were made the pieces of the port and about elements of tailoring, decor and chromatics. Between the eighteenth and nineteenth centuries, votive paintings on the walls of churches reserved for the country's rulers and nobility hypostasiate a wider range of donors. As a result, in the sub-Carpathian areas of Oltenia (especially in Gorj) appear portraits of free peasants, freeholders and yeomen.
But representations of peasant port date from the fourteenth century. In Codex Latinus Parisinus, written during 1395–1396 by Paulus Sanctinus Ducensis, a military engineer of King Sigismund of Luxembourg, besides portraits of knights and footmen appear described ancillaries of the army: craftsmen, cartmen, and fishermen. In Chronicon Pictum Vindobonense are portrayed men in white shirts and trousers (Romanian: cioareci). Over they wore shaggy Romanian: sarici with long sleeves and left on back. They wore simple leather shoes (Romanian: opinci). In a simple comparative analysis, it can be grasped that these elements are always present in the port of remote shepherds. Diaries of foreign travellers, particularly those of Antonio Maria Del Chiaro Fiorentino (secretary of Italian language of Constantin Brâncoveanu) and officer Friedrich Schwanz von Springfels contain rich information about the garments of Romanians: ladies, patronesses and peasant women wore identically tailored shirts, distinct being only the methods used for decoration. [citation needed]
Boyar shirts were of silk, embroidered with gold thread and decorated with pearls. The costume of Oltenia peasant women was composed of cotton shirts sewn with altițe, striped catrințe and bete. Like them, patronesses wore headlong handkerchiefs (Romanian: maramă) of floss silk or flax, that hung on the back.[5]
In the context of building the national conscience, beginning with the mid-19th century there was a process of standardization and idealization of the Romanian port, in order to distinguish it from surrounding ethnic groups.
The present situation
After World War I, the popular clothing generalized across traditional communities remains just in the everyday life of the older generation, becoming a ceremonial vestment. In rural penetrated some albums with "national motifs" were edited by traders of textile fibres and dyes industries. During the communist period, these mutations decreased the creative process of costumes in the households.
Nowadays, the main wearers of peasant garb are the soloists of folk music, the folk dance ensembles and the actors in movies and shows.
The ițari are typical for Moldovans and represent a pair of long peasant trousers that were sewn from țigaie (a special breed of sheep wool) and had a length of 2 m, but being narrow, they were crimped on the leg from ankle to the knee. They were worn during the summer and the winter. Ițarii for summer wear are made of pânză de sac (bulky cotton).
Cioareci
The cioareci are peasant pants of white woollen cloth (dimie, pănură or aba) woven in four threads, therefore thicker than the ițari. In Banat, the cioareci are known as canvas or baize stockings worn by women during the winter. In Moldova can be found cioareci without creți that are worn in the working days. Here, they are also known as bernevici.
In the South and Moldova, trousers are worn over boots or shoes whereas in Transylvania they are tucked into the tops of the boots.
The amount and style of decoration on cioareci depends on regional style. The majority of the decoration is on the upper parts of the trousers around the pockets, and front. Trousers worn with boots did not have any decoration on the lower part whereas those worn with spats had decoration down the legs accenting the cut of the trousers and round the hems or turn-ups.
The oldest type of footwear is peasant sandals (Romanian: opinci) worn with hemp canvas, woollen or felt foot wraps (Romanian: obiele) or woollen socks (călțuni). Evidence for this style of footwear can be seen on a clay foot found in Turdaș, dating from around 2500 BC. Romanian: Opinci were worn throughout Romania and over a wide area of south and east Europe being known as opanke (Serbia), tservuli (Bulgaria), Romanian: opinci (North Macedonia), etc. Romanian: Opinci are made of a single rectangle of cow, ox or pig hide gathered round the foot in various ways.
Pieptar
Known often by various names locally, the pieptar is an embroidered sheepskin vest, made generally in two styles, opened (spintecat) or close (înfundat), with the first being of normal front cut and the second one having a side open to be closed with buttons or taken over the head like a pullover. They were usually made from sheepskin, with the sheared or non-heared fur worn inside for warmth and the embroidered part outwards.
Cămașă
Cămașă is literally the Romanian word for shirt, and the variety of cuts and styles is overwhelming, varying greatly not only by area but also by age, status and occupation, only to be surpassed in variety by the women ones. Traditionally they were made of hemp or linseed linen, later of cotton.
Suman
The suman is a long peasant coat, a cold weather garment, worn by both sexes, usually knee-deep, in white, cream, brown, gray or black woollen cloth (felt), decorated with various găitane. It is also known as țundră, zeghe or dulamă. They were normally tailored rough at home by the poor or by special suman makers from strips of shrunk woven boiled wool cloth, processed in water-powered fulling-mills known as "vâltoare". Sumans vary in thickness greatly from region to region, from a few millimetres of finely woven material in the south (Oltenia and Dobrudja), to a very rough two centimeters in the north (Maramures).
Chimir and brâu
Of great importance was the girdle, their thick belt made of leather in the case of chimir or woven textile in the case of brau.
Căciulă are worn all over Romania and in most of the surrounding Balkan countries in winter. Fur hats are made by furriers and are most often black, although white căciulă are worn in parts of Banat and grey in central and north Moldova. There are four types of căciulă found in Romania:
High conical cap – căciulă țuguiată, moțată, cujmă – this is made of four pieces joined together lengthwise. It can be worn peaked, with top bent forward, back or sideways, or with top sunk inwards, depending on local fashion. It is worn in Moldova, Muntenia, Maramures, Oltenia and Banat, originally by the "free men".[6] In Banat Mountains, the cap is sometimes worn with fur inside and a narrow white fur hem at the base.
Round low cap known as cujmă rotilată in Maramureș, consisting of two parts: a long band forming a cylinder and a round top sewn to the upper edge of the cylinder.
Caps made of a single piece of fur are also found in Maramureș and Oaș. These are made by stretching the raw fur on a spherical wooden shaped block which makes it take the shape of the head. This simple "skull" cap was formally worn by serfs.
Căciulă joasă – cylindrical fur cap with the top larger than the base.[7] This is called mocănească, rotată, retezată or turtită and is worn by shepherds on both sides of the southern Carpathians (in Mărginimea Sibiului, Oltenia, Muntenia and Vrancea) and also in Bărăgan Plain and Dobruja due to this area being used for summer pastures by the Carpathian shepherds, and also in Maramureș.
Felt hats
Hard-felt hats are made by specialized craftsmen in workshops and are worn throughout the year. These hats are found centred on the Saxon regions around Sibiu and Bistrița and may have been introduced into Transylvania by the Saxons, whose craftsmen made them in workshops, from the 18th century. The style varies widely in shape and size of brim according to area. The wide-brimmed hat appeared around the 17th-19th centuries and felt hats with broad brims up to 60cm were worn in the 19th and early 20th centuries, and continued to be worn in Bistrița Valley, Moldova until the 1940s. Hats with 40cm brims were worn in central Transylvania and Muntenia. Felt hats with hard upturned brims – cu găng – were worn in Crișana, Hunedoara and Bukovina following a fashion of the gentry.[8] Wide-brimmed felt hats with a large peacock feather (roată de păun) are still worn in Năsăud, further south the hats are much reduced in size, shepherds in Sibiu and along the southern Carpathians wear felt hats with very small brims, the present day fashion tending to do away with the brim altogether.
Green "trilby"-style hats worn by Romanian border guards and mountain corps are still found in Pădureni and other areas today. This style originated in the Austrian Tyrol, reached Romania during Habsburg rule, and became international due to the Habsburg's preference for wearing Tyrolese costume for hunting throughout their Empire. This style is now widespread for everyday use.[9]
Straw hats
Clop ornated with peacock feathers
Straw hats are worn by men (and women) throughout Romania in the summer. Straw hats vary in style from region to region although regional differences are now becoming less common as the straw version of the trilby takes over.[10]
In Maramureș, traditional straw hats (clop, pl. clopuri) are very small, while in Satu Mare, Arad, Transylvanian Plain hats have a high crown. The tallest – around 30 centimetres (12in) – can be found in Codru. In Oltenia and Teleroman, along the Danube, flat-brimmed straw hats with rounded crowns are worn. In Maramureș and Oaș Country, men also often wear their "clopuri" in the winter.[11]
Ie is the type of blouse, or shirt of a typical gathered form of the collar, which has existed since ancient times. It is also known as the "Carpathian shirt", similar to the Slavic (Bulgarian, Serbian, Ukrainian, etc.) peoples. The three-part decor code of this pleated shirt is almost always the same: in addition to the upper arm embroidery, the altiță (derived from Serbian ла̏тица), there is a single horizontal row on the sleeve, known as increț, and diagonal stripes below the armpit and shoulder, the râuri. The upper arm embroidery characterizes the entire costume; it is traditionally seen as the culmination of embroidery and decoration. Each blouse tells a compelling story about the region it comes from through the symbols and colours used.
Fotă
The fotă is a richly ornamented wrap-around skirt made out of a rectangular piece of woollen fabric worn at the waist. Alternately, it can be made of two pieces of woven material that cover the front of the body (like an apron) and the back.[12] The fotă has several names, according to the ethnographic region: pestelcă (in Muntenia), opreg, vălnic and zăvelcă (in Oltenia), catrință or cretință (in Moldova), păstură and zadie (in Transylvania), peștiman (in Bessarabia).
The fotă is made of woollen material or cotton mixed with wool, woven on four heddles. It fully covers the underskirt (poale) except for, in some areas, the hem. The oldest fote were made of black or greyish brown fabric using the natural colours of the wool. The earliest decoration was a red border (bete roșii) at the lower edge and on the front edge, which strengthened the fabric. This type of fotă is still found in north Moldova where fote made of hemp or flax were formerly worn in some parts in summer. Fote with vertical stripes (vâstre) are also common in this area. The extent of the decoration becomes more elaborate as one moves south. The stripes change from simple woven decoration to alternately simple stripes and stripes of woven motifs (alesăture). In Muntenia, the stripes are replaced by compact woven decoration or heavy geometric embroidery, covering the whole surface except for the area which is overlapped in the front. The richest decoration is found in Argeș and Muscel zones where the fotă itself is occasionally made from silk, and the woven decoration is in gold or silver thread.[13]
The maramă is a garment that covers the head, and is mainly worn in southern Romania, southern Moldova and southern Transylvania. Marame possibly has an oriental origin and is decorated with white patterns woven onto a white background and often grouped toward the ends. In Argeș, the patterns can include coloured geometric motifs.[14]
After the wedding ritual – "bride's binders", "bride undressing" – the godmother traditionally gifts the bride a basma or maramă.[15]
Wallachia or Walachia is a historical and geographical region of Romania. It is situated north of the Lower Danube and south of the Southern Carpathians. Wallachia is traditionally divided into two sections, Muntenia and Oltenia. Dobruja could sometimes be considered a third section due to its proximity and brief rule over it. Wallachia as a whole is sometimes referred to as Muntenia through identification with the larger of the two traditional sections.
Oltenia is a historical province and geographical region of Romania in western Wallachia. It is situated between the Danube, the Southern Carpathians and the Olt river.
The Romanian word lăutar denotes a class of musicians.
The coat of arms of Romania was adopted in the Romanian Parliament on 10 September 1992 as a representative coat of arms for Romania. The current coat of arms is based on the lesser coat of arms of interwar Kingdom of Romania, which was designed in 1921 by the Transylvanian Hungarian heraldist József Sebestyén from Cluj, at the request of King Ferdinand I of Romania, it was redesigned by Victor Dima. As a central element, it shows a golden aquila holding a cross in its beak, and a mace and a sword in its claws. It also consists of the three colors which represent the colors of the national flag. The coat of arms was augmented on 11 July 2016 to add a representation of the Steel Crown of Romania.
Opanci are traditional peasant shoes worn in Southeastern Europe. The attributes of the opanci are a construction of leather, lack of laces, durable, and various endings on toes. In Serbia, the design of the horn-like ending on toes indicates the region of origin, though this specific design is not exclusive to Serbia. The opanci are also considered as the traditional peasant footwear for people in the Balkan region. In Bulgaria they are referred to as "tsarvuli".
The historical regions of Romania are located in Central, Southeastern, and Eastern Europe. Romania came into being through the unification of two principalities, Wallachia and Moldavia in 1862. The new unitary state extended over further regions at various times during the late 19th and 20th centuries, including Dobruja in 1878, and Transylvania in 1918.
The Village Museum or formally National Museum of the Village "Dimitrie Gusti" is an open-air ethnographic museum located in the King Michael I Park, Bucharest, Romania. The museum showcases traditional Romanian village life. The museum extends to over 100,000 m2, and contains 123 authentic peasant settlements, 363 monuments and over 50,000 artefacts from around Romania. Structures in the museum ranged from the 17th to the 20th century, representative of different ethnographic regions including Banat, Transylvania, Moldavia, Maramures, Oltenia, Dobrogea, Muntenia.
Serbian traditional clothing, also called as Serbian national costume or Serbian dress, refers to the traditional clothing worn by Serbs living in Serbia, Croatia, Bosnia and Herzegovina, Montenegro, and the extended Serbian diaspora communities in Austria, Australia, Bulgaria, Canada, France, Germany, Greece, Hungary, North Macedonia, Romania, Russia, Slovenia, United States, etc. Like any traditional dress of a nation or culture, it has been lost to the advent of urbanization, industrialization, and the growing market of international clothing trends. The wide range of regional folk costumes show influence from historical Austrian, Hungarian, German, Italian, and Ottoman Turkish presence. Nonetheless, the costumes are still a pinnacle part of Serbian folk culture. From the 19th century and onwards, Serbs have adopted western-styled clothing. This change has started in larger settlements such as cities and towns, although it was not uncommon to see rural women in traditional working costumes all the way until the end of 1970s. Today, these national costumes are only worn by some elderly in rural areas but are most often worn with connection to special events and celebrations, mostly at ethnic festivals, religious and national holidays, weddings, tourist attractions, and by dancing groups who dance the traditional Serbian kolo, or circle dance.
The Romanian government is the armiger in Romania. It exercises this right under the mandatory advice of the National Committee of Heraldry, Genealogy and Sigillography. The committee is subordinate to the Romanian Academy. All the coats of arms of Romanian institutions must be approved by this committee with two exceptions. The Romanian military is subject to the Ministry of National Defense Heraldric Committee, and Romanian law enforcement institutions are subject to the Ministry of Administration and Interior Heraldric Committee. Both of these committees may share members with the National Committee of Heraldry, Genealogy and Sigillography.
The Romanian dialects are the several regional varieties of the Romanian language (Daco-Romanian). The dialects are divided into two types, northern and southern, but further subdivisions are less clear, so the number of dialects varies between two and occasionally twenty. Most recent works seem to favor a number of three clear dialects, corresponding to the regions of Wallachia, Moldavia, and Banat, and an additional group of varieties covering the remainder of Transylvania, two of which are more clearly distinguished, in Crișana and Maramureș, that is, a total of five.
Fashion in the period 1900–1909 in the Western world continued the severe, long and elegant lines of the late 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.
Fashion from 1910 to 1919 in the Western world was characterized by a rich and exotic opulence in the first half of the decade in contrast with the somber practicality of garments worn during the Great War. Men's trousers were worn cuffed to ankle-length and creased. Skirts rose from floor length to well above the ankle, women began to bob their hair, and the stage was set for the radical new fashions associated with the Jazz Age of the 1920s.
The Welsh traditional costume was worn by rural women in Wales. It was identified as being different from that worn by the rural women of England by many of the English visitors who toured Wales during the late 18th and early 19th centuries. It is very likely that what they wore was a survival of a pan-European costume worn by working rural women. This included a version of the gown, originally worn by the gentry in the 17th and 18th centuries, an item of clothing that survived in Wales for longer than elsewhere in Britain. The unique Welsh hat, which first made its appearance in the 1830s, was used as an icon of Wales from the 1840s.
Croatian national costume, also called as Croatian traditional clothing or Croatian dress, refers to the traditional clothing worn by Croats living in Croatia, Bosnia and Herzegovina, Serbia, with smaller communities in Hungary, Austria, Montenegro, and Romania. Since today Croats wear Western-style clothing on a daily basis, the national costumes are most often worn with connection to special events and celebrations, mostly at ethnic festivals, religious holidays, weddings, and by dancing groups who dance the traditional Croatian kolo, or circle dance.
The Wallachian dialect is one of the several dialects of the Romanian language (Daco-Romanian). Its geographic distribution covers approximately the historical region of Wallachia, occupying the southern part of Romania, roughly between the Danube and the Southern Carpathians. Standard Romanian, in particular its phonology, is largely based on Wallachian.
A taraf is a small folk (lăutărească) music ensemble from Romania or Moldova, usually consisting of 3-8 musicians. Instruments include the violin, cello, tambourine, accordion, harmonica and cimpoi. Tarafs also often include an instrument typical to the region: a kobza and cimbalom a trumpet and flute (Moldova), a Tárogató, a clarinet (Transylvania), or a 2-3 stringed lute sometimes called a "zongora". Players may also use instruments improvised from grass, birch bark, mussel shells, and leaves.
Azerbaijani traditional clothing is the traditional attire of the Azerbaijani people. It is closely connected to its history, religious culture and national identity.
Nicolae Ghica-Budești was an influential Romanian architect who helped define the Neo-Romanian style. He studied ancient monuments in Wallachia, writing four volumes documenting the architectural history of the region. The "Muntenia and Oltenia evolution in architecture" was based on his work. His masterpiece is the Museum of the Romanian Peasant which took more than two decades to complete.
The Banat of Craiova or Banat of Krajowa, also known as Cisalutanian Wallachian Principality and Imperial Wallachia, was a Romanian-inhabited province of the Habsburg monarchy. It emerged from the western third of Wallachia, now commonly known as Oltenia, which the Habsburgs took in a preceding war with the Ottoman Empire—in tandem with the Banat of Temeswar and Serbia. It was a legal successor to the Great Banship of Craiova, with the Wallachian Gheorghe Cantacuzino as its native leader, or Ban. Over the following years, native rule was phased out, and gave way to a direct administration. This provided the setting for Germanization of the bureaucratic elite, introducing the governing methods of enlightened absolutism and colonialism.
A shepherd's hat is a head covering, used by a shepherd to ward off the sun and the elements. Along with a crook, it is an important tool for the shepherd.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
