Marketmasters - marketing research. Men's suit market

Marketing research is necessary for any company operating in any market segment. The clothing market is no exception.

At the beginning of preparing marketing research for the clothing market, it is necessary to draw up a research plan and determine its parameters and sampling parameters, as well as draw up the geography of the future study and the socio-demographic portrait of the respondents selected for the study.

It is imperative to determine the main characteristics of consumer behavior and their preferences. It is important to note the following points here:

More and more shopping centers are opening and, accordingly, clothing stores, too. Therefore, they cannot be excluded from the study. It is also necessary to evaluate the loyalty of preferences in this area and find out exactly how the choice of a particular shopping center occurs. Another factor that should be included in marketing research of the clothing market is the influence of the shopping center itself and its advertising in general and stores in particular on consumer opinion and their preferences.

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It is also necessary to segment the clothing market based on the following criteria:

• Outerwear, leather and fur clothing, down jackets, coats, short coats and jackets
• Suits, jeans, trousers, jackets, shorts and capris
• Dresses, shirts, T-shirts, blouses, skirts and pullovers

The next segmentation options will be: sports, children's, men's and women's clothing. As well as options for choosing clothes according to styles, color scheme, quality of material, price, country of origin and brand.

Thus, it is very important to choose the right company that will conduct marketing research on the clothing market, since, from all of the above, it is clear that this type of research is quite capacious and complex. Preparing and drawing up a research plan will also play a big role, since a fairly large number of points have to be taken into account and the optimal segmentation of both the market itself and consumers who best suited the direction of the research must be determined.

Not only consumer preferences need to be taken into account in the study. It is important to conduct research into the activities of competitive enterprises, their trends and prospects.

After completing the research, the head of the customer company should be provided with a report with a detailed analysis of all the information received, as well as recommendations for minimizing the risks of promotion in the market and the promising growth of the company’s performance in the medium or long term.

CHAPTER 2. MARKETING RESEARCH

Most researchers believe that marketing is a process. It begins with research into the target market segment for which the company intends to serve. Marketers determine potential demand and its size (capacity of the market segment), that is, they identify buyers whose needs are not sufficiently satisfied or who have an implicit interest in certain goods or services. The market is segmented and those parts of it are selected that the company can best serve. Plans are being developed for creating and bringing products to consumers, as well as a “marketing mix” strategy to influence demand through the product, price, distribution channels and methods of product promotion. They are creating a marketing audit system that will allow assessing the results of ongoing activities and the degree of their impact on consumers.

Marketing research is a form of business research and branch of applied sociology that focuses on understanding the behavior, desires and preferences of consumers, competitors and markets in a market-driven economy. This research activities, which provides marketing needs, i.e. system for collecting, processing, analyzing and forecasting data necessary for a specific marketing activities. In a strict sense, marketing research is any research activity that meets the needs of marketing. That is, marketing research involves the collection and analysis of data that is required for marketing activities. Marketing research is the beginning and logical conclusion of any cycle of an enterprise’s marketing activities. Marketing research is necessary to reduce the uncertainty that always accompanies marketing decisions.

Marketing research can provide information regarding many aspects related to the market. However, marketing research should not be confused with market research. Marketing research - more general concept, which includes market research, consumer research, competitor research and so on.

The purpose of the work is to develop skills in theoretical and experimental research, assessment and forecasting of market conditions.

Research objectives:

Analyze the Russian clothing and swimwear market;

Determine the price segment of the collection;

Determine the age group;

The object of the study is the youth clothing market for resorts, namely swimwear.

On this moment The Russian clothing market is characterized as unsaturated and relatively low-risk, which attracts investors not only from this industry, but also from fundamentally other areas of business. According to a study by Esper Group, in the first quarter of 2012, the clothing market turnover amounted to 10.8 billion euros, which is 57% more than in the same period in 2011. However, we should not expect significant growth by the end of the year: the clothing retail market is already close to saturation. The only exception is the children's segment.

In 2011, the clothing market in Russia grew by 5%, to 36 billion euros. Among the players, brands in the mass segment grew the fastest: for example, Zara - by 20%, H&M - by 24%

The upward trend in clothing sales will continue in the coming years. And according to analysts, in 2015 sales volumes will increase to 1290,600,000 units. China ranks first among clothing importers. Türkiye is in second place. The shares of other countries range from 3% (in in kind) up to 7% of total imports (in monetary terms).

The share of Russian manufacturers in the total clothing market is about 13%. The production of clothing and other textile products in China is 20-30% cheaper than in the Russian Federation. The reason for this is low costs on labor. This explains high demand for cheap Chinese goods in Russia. Cloth Russian production is almost entirely implemented on domestic market. There is practically no export of clothing due to the fact that our products are much more expensive than their foreign counterparts.

Of the 30 largest Russian brands (with a turnover of 150-180 billion rubles), only 2 are produced in Russia. Everything else comes from China. The price of clothes produced in Russia is at least 25% higher than those imported from China. Moreover, according to the expert, this is also the case if it is sewn from cheap, “left-handed” fabric. In the case of legal production, the difference is hundreds of percent.

According to experts, Russian buyers sometimes don’t even look at the clothes of their manufacturers. They themselves are to blame for this. Russian companies still pay insufficient attention to their product range, do not know how to develop several areas at once, and are trying to occupy one rather narrow segment. It would be more promising to enter the market with a wide range and interesting collections. Manufacturers are also often left behind fashion trends and directions. And as a result, the collections turn out to be morally outdated, because many consumers are interested in fashionable items, and not from last season. It is worth noting that foreign clothing brands, whose main consumers are Muscovites and St. Petersburg residents, have begun to penetrate Russian regions. Main strategy Western manufacturers are making a sharp advance into the outback of our country.

According to marketing research, the women's clothing segment accounts for about 55% of the total market in in monetary terms. The men's clothing segment accounts for 30% of the market, and children's clothing makes up 15% of the market structure (by consumer use).

According to studies, about 89% of consumers prefer to buy clothes at an average price level. About 7% are economy class, 4% buy luxury ready-to-wear clothes.

The most popular places to buy clothes are Network shops(78%), non-chain stores (41%), indoor markets (35%) and boutiques (31%).
Regarding the factors for purchasing clothes, the preferences were distributed as follows:

· 40% of respondents buy clothes out of necessity

· 27% buy clothes during periods of promotions and sales

· 25% buy clothes according to the season

· 8% follow fashion and buy new items.

Premium class clothing for residents of poor countries is a sign social status like jewelry and watches. 54% of Russians say they like to buy products from prestigious brands. For comparison, in Brazil the share of such fashionistas is 58%. The largest number of adherents of clothing from prestigious brands is among residents of India (80% of the population). Oddly enough, the fewest fans of prestigious clothing live in France (25% of the population).

The most popular place for Russians to buy clothes (and shoes) is considered to be an open clothing market (45% of respondents), but 58% of buyers in markets are rural residents.

Large cities, in turn, are leaders in the development of modern trade formats. In cities with a population of over a million, most people buy clothes in shopping centers. Factors for choosing clothing: 48% - price, 20% - comfort and convenience, 12% - clothing design.

According to experts, in 2012 the Russian Federation will take 9th place in the ranking of the most important international markets in the clothing trade sector. At the same time, the market volume will be 38 billion euros. Today, in the ranking of international markets, Russia ranks 9th after Canada. According to forecasts, the greatest chances of gaining a foothold in Russian market from networks selling fashionable, high-quality, inexpensive clothing.

Experts believe that the Russian market will grow twice as fast as the European one. In particular, the children's clothing market has the greatest prospects. At the same time, the women's fashion segment is already very close to saturation. There are also prospects in the Russian market expensive brands(Moscow and St. Petersburg).

According to the State Statistics Committee of the Russian Federation for 2016, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to 1.58 trillion rubles or 23.6 billion dollars (at the weighted average dollar exchange rate for 2016 according to the Central Bank of the Russian Federation). Thus, for the period of 2016, the share of retail trade turnover of clothing in the overall structure of retail trade turnover of the Russian Federation amounted to 5.6% (for the corresponding period of 2015 - 6.2%).

Compared to 2015, clothing turnover in the Russian Federation decreased by 7.1% in ruble equivalent. If we take into account the change in the dollar exchange rate, then in dollar terms the retail turnover of clothing in the Russian Federation at the end of 2016 was 15.8% lower compared to the results of 2015.

Retail turnover of clothing in Moscow in 2016 amounted to 459.7 billion rubles or 6.87 billion dollars. Compared to the results of 2015, clothing turnover in Moscow decreased by 27% in ruble equivalent, and if we take into account the change in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in Moscow at the end of 2016 was 34% lower compared to 2015.

According to official statistics, the share of Moscow in the all-Russian clothing turnover was 29% in 2016 (in 2015, Moscow’s share was 37%).

Retail turnover of clothing in St. Petersburg in 2016 amounted to 54.5 billion rubles or 3.5% of the all-Russian retail turnover of clothing (in 2015 - 3.3%).

According to the State Statistics Committee of Russia, in 2016, clothing was produced in Russia (including dressing and dyeing of fur) worth about 129 billion. rubles, which is 2.3% higher in ruble equivalent compared to 2015.

In the structure of Russian clothing production in monetary terms for 2016, 45% was produced in the Central Federal District, 15% in the Southern Federal District and 17% was produced in the Volga Federal District.

According to the Federal Customs Service, the official volume of clothing imports into the Russian Federation for the first half of 2016 amounted to about $2.3 billion, which is 2.5% less than in the first half of 2015.

According to the State Statistics Committee of the Russian Federation for January-September 2016, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to 1.1 trillion rubles or 16.84 billion dollars (at the weighted average dollar exchange rate for January-September 2016 according to TSB RF). Thus, for the period January-September 2106, the share of retail trade turnover of clothing in the overall structure of retail trade turnover in the Russian Federation amounted to 3.8% (for the corresponding period in 2015 - 6.1%).

Compared to the corresponding period in 2015, clothing turnover in the Russian Federation increased by 1.9% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent, retail turnover of clothing in the Russian Federation in January-September 2016 was 9% lower compared to with the corresponding period of 2015.

Retail turnover of clothing in Moscow for January – September 2016 amounted to 328 billion rubles or 5.24 billion dollars. Compared to 9 months of 2015, clothing turnover in Moscow decreased by 10% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in Moscow in January-September 2016 is 20% lower compared to the corresponding period 2015.

According to official statistics, the share of Moscow in the all-Russian clothing turnover was 31.1% in January-September 2016 (35.3% in January-September 2015).

Retail turnover of clothing in St. Petersburg for January-September 2016 amounted to 35.8 billion rubles or 3.4% of the all-Russian retail turnover of clothing (for January-September 2015 - 3.2%).

According to the State Statistics Committee of Russia, in January-September 2016, clothing (including dressing and dyeing of fur) worth about 92.3 billion rubles was produced in Russia, which is 1% less in ruble equivalent compared to the same period in 2015.

In the structure of Russian clothing production in monetary terms for the period January–September 2016, 47% is produced in the Central Federal District, 16% in the Southern Federal District and 16% is produced in the Volga Federal District.

According to the State Statistics Committee of the Russian Federation for 2015, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to 1.7 trillion rubles or 27.72 billion dollars (at the weighted average dollar exchange rate for 2015 according to the Central Bank of the Russian Federation). Thus, for the period of 2015, the share of retail trade turnover of clothing in the overall structure of retail trade turnover in the Russian Federation amounted to 6.1% (for 2014 - 6.5%).

Compared to 2014, the turnover of clothing in the Russian Federation decreased by 1.2% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent the retail turnover of clothing in the Russian Federation at the end of 2015 was 38% lower compared to 2014.

Retail turnover of clothing in Moscow in 2015 amounted to 629 billion rubles or 10.3 billion dollars. Compared to 2014, the turnover of clothing in Moscow decreased by 5.3% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent the retail turnover of clothing in Moscow at the end of 2015 was 40% lower compared to 2014.

According to official statistics, the share of Moscow in the all-Russian clothing turnover was 37.2% at the end of 2015 (in 2014 – 38.8%).

Retail turnover of clothing in St. Petersburg at the end of 2015 amounted to 50 billion rubles or 3% of the all-Russian retail turnover of clothing.

According to the State Statistics Committee of Russia, in January-November 2015, textile products worth about 131.6 billion rubles were shipped to Russia, which is 27% more than the same period in 2014. In the structure of Russian clothing production in monetary terms for the period January–November 2015, 55% is produced in the Central Federal District, 11% in the Northwestern Federal District and 18% is produced in the Volga Federal District.

According to the State Statistics Committee of the Russian Federation, for the period January-September 2015, retail trade turnover in the Russian Federation amounted to 19,973,312.4 million rubles, which is 6.5% higher than the same period last year in ruble equivalent.

According to the State Statistics Committee of the Russian Federation for the period January - September 2015, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to 1193 billion rubles or 20.13 billion dollars (at the weighted average dollar exchange rate for January - September 2015 according to the Central Bank RF). Thus, for the period January-September 2015, the share of retail trade turnover of clothing in the overall structure of retail trade turnover in the Russian Federation amounted to 6% (for the same period in 2014 - 6.2%).

Compared to the corresponding period last year, clothing turnover in the Russian Federation increased by 3% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in the Russian Federation for the period January-September 2015 was 38% lower compared to January -September 2014.

Retail turnover of clothing in Moscow for the period January-September 2015 amounted to 469 billion rubles or 7.91 billion dollars. Compared to the corresponding period last year, clothing turnover in Moscow increased by 1.2% in ruble equivalent, but if we take into account changes in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in Moscow for 9 months of 2015 was 40% lower compared to the same period period 2014.

According to official statistics, the share of Moscow in the all-Russian clothing turnover amounted to 40% in the first 9 months of 2015, unchanged compared to the same period in 2014.

Retail turnover of clothing in St. Petersburg in January-September 2015 amounted to 36 billion rubles or 3% of the all-Russian retail turnover of clothing.

According to the State Statistics Committee of Russia, in January-September 2015, manufactured clothing worth about 93 billion rubles was shipped to Russia, decreasing by 3% compared to the same period in 2014. In the structure of Russian clothing production in monetary terms for the period January–September 2015, 40% is produced in the Central Federal District, 19% in the Northwestern Federal District and 18% is produced in the Volga Federal District.

According to the State Customs Service, for the period January-September 2015, clothing worth $4 billion was imported into Russia, which is 36% lower compared to the same period in 2014.

According to the State Statistics Committee, in the 1st half of 2015, clothing was produced in Russia (including dressing and dyeing of fur) worth 55.6 trillion rubles, which at current prices is 1.7% less than in the 1st half of 2014. Just for the 1st half of 2015 Russian enterprises 7.6 trillion units of clothing were shipped, which is 73% less than in the first half of 2014.

During the 1st half of 2015, clothing worth about 2.3 trillion dollars was imported into Russia, which is 36% less than in the 1st half of 2014.

According to the State Statistics Committee of the Russian Federation for the 1st quarter of 2015, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to 365 billion rubles or 5.8 billion dollars (at the weighted average dollar exchange rate for the 1st quarter of 2015). Compared to the corresponding period last year, clothing turnover in the Russian Federation increased by 3.5% in ruble equivalent, but if we take into account the change in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in the Russian Federation for the 1st quarter of 2015 was 42% lower compared to 1 quarter of 2014.

Retail turnover of clothing in Moscow for the 1st quarter of 2015 amounted to 140.5 billion rubles or 2.26 billion dollars. Compared to the corresponding period last year, clothing turnover in Moscow increased by 6% in ruble equivalent, but if we take into account changes in the dollar exchange rate, then in dollar equivalent, retail clothing turnover in Moscow for the 1st quarter of 2015 was 40% lower compared to the 1st quarter of 2014 of the year.

According to official statistics, the share of Moscow in the all-Russian clothing turnover amounted to 38.5% in the 1st quarter of 2015, unchanged compared to the 1st quarter of 2014.

Retail turnover of clothing in St. Petersburg at the end of the 1st quarter of 2015 amounted to 11 billion rubles or 3% of the all-Russian retail turnover of clothing.

According to the State Statistics Committee of the Russian Federation, for the period from January to September 2014, retail turnover of clothing in the Russian Federation, not including fur clothing, amounted to $31.3 billion, which is 9.5% lower compared to the same period in 2013 (in the corresponding prices). Retail turnover of clothing in Moscow for the period from January to September 2014 amounted to 12.4 billion dollars, which is 9.5% lower compared to the same period in 2013 (in corresponding prices). Thus, according to official statistics, the share of Moscow in the all-Russian clothing turnover was about 40% in the first three quarters of 2014 (for the same period in 2013, Moscow’s share was 39%). At the same time, the retail turnover of clothing in St. Petersburg according to the results of three quarters of 2014 amounted to only about 944 million dollars (10% higher compared to the same period in 2013) or 3% of the all-Russian retail turnover of clothing (for the same period In 2013, the share of St. Petersburg was 2.5% of the all-Russian trade turnover).

According to the State Statistics Committee of Russia, in January-November 2014, manufactured clothing worth about $3.3 billion was shipped to Russia, which is 4.5% lower compared to the same period in 2013 (in corresponding prices). In the structure of Russian clothing production in monetary terms for the period January–November 2014, 32% was produced in the Central Federal District and 30% was produced in the Northwestern Federal District. According to the State Customs Service, for the period January-November 2014, clothing worth $7.24 trillion was imported into Russia, which is 4% lower compared to the same period in 2013.

According to Goskomstat, in Russia for the period from January to November 2014, 182.5 million units of clothing were produced (not including professional clothing), which is 4.8% more than the same period in 2013. In the structure of clothing production for the period January-November 2014, 24% were suits, 24% were trousers and overalls, 13% were T-shirts.

What is the potential of the Russian clothing market and is there room for it to move given the existing volume of 2 trillion rubles? Why can’t you sell European fashion in Russia and how do residents’ tastes differ? different countries, said in an interview with RIA Novosti CEO company "Fashionable Continent", which owns the brands INCITY and DESEO, Artur Kontrabaev.

- What are your expectations for 2015?

- Since the beginning of the year, equipment sellers in Russia say that sales in their sector have dropped by 20% this year, but what are the figures for clothing sales?

Inflation hit all areas of consumption, including clothing and footwear, but overall sales in our industry decreased by no more than 10-15%. By the end of 2015, a further decline in sales is predicted, but due to the redistribution of market shares between industry leaders amid the outflow of buyers from the middle segment to the more economical one, we expect to maintain and even increase the number of our consumers. In May, we recorded a positive trend in traffic to revive demand compared to February 2015.

- Have you changed pricing policy due to changes in exchange rates?

The competitive advantage of INCITY and DESEO compared to key competitors, including foreign players, is an affordable price offer. The company plans to maintain the price positioning of the brands.

- How much has the price of your products increased since the ruble fell?

In March of this year, prices for companies competing with us increased by 30%. The rise in price of our products is insignificant and amounted to no more than 10-15%. Despite the fact that a significant part of the goods is purchased for dollars, we try to keep prices at the level to which our consumers are accustomed.

- You said that you purchase finished goods abroad. Is this the company's principled position? Are you considering moving production to Russia?

From a production point of view, we cooperate with those markets whose conditions are most favorable to us. If we talk about the speed of production, then it is more profitable to deliver part of the collection from Europe, since in China the production cycle takes 4-6 months, and in Europe you can receive a shipment of goods to our warehouse in the Moscow region within a month. Therefore, at the moment we are considering options for cooperation with both Russian companies, and with European ones in order to shorten the production cycle. Savings on delivery times and a high level of quality of services provided are the main advantages of the development of this area.

- What percentage of production are you ready to transfer to the Russian segment?

We are approaching the issue of partial transfer and are ready to consider no more than 5-10% of our total production in China. If a strong manufacturer appears in Russia, ready to provide us with the required volumes and high quality, then, of course, we will support it: logistics are cheaper, and developing our own market is always the right thing to do.

- Have you considered developing your own production?

We are not considering launching our own production, since colossal investments are needed in its development. We are, of course, interested in cooperation if a company appears in Russia that is ready to start production and provide quality services at prices comparable to other markets.

- Is organizing such production beneficial for an investor?

Organizing such production is quite difficult for the manufacturer. This process immediately comes down to cost due to the need for manual labor in some production processes. And the cost of manual labor in our market is not competitive in comparison with China.

- How do you assess the half-year results for the company?

Retail indicators over the past two months indicate positive dynamics. May and June showed high traffic - an increase of 2% and almost 10%, respectively, as well as a significant increase in revenue. We are working on pricing, making sure that the price is relevant to the expectations of our consumer. It's such manual labor, in order to show the result in a given volatile period.

- What is the potential of the Russian clothing market?

Over the past five years, the Russian clothing market has been one of the most dynamically developing industries. Despite the fact that the growth rate of the clothing market in Russia has decreased significantly since 2014 compared to previous years, they still remained at a high level. The future of fashion retail in Russia is connected primarily with the regional development of network players and the introduction of new retail formats.

- What is the size of the clothing market in Russia?

According to experts, in 2014 the clothing market amounted to about 2 trillion rubles

- And yet you say that the sales market still has room to grow?

It’s worth going out into the street and looking at people, how much their attitude to everyday style and approach to choosing a wardrobe has changed. Among the basic needs of Russians, according to recent surveys, the need for food and clothing is recognized, and clothing has become even more important. Of course, there is room to grow.

- How do you solve the problem of attracting customers?

We conduct market research on an ongoing basis and analyze the preferences of our customers, and are in constant contact with them through social media and our website. We are working to maximize customer satisfaction by increasing the attractiveness of the product offering and fully presenting the brand concept in stores: women's, men's and children's collections. We created a new concept for INCITY stores, which we presented at the beginning of 2015 in two flagship stores in Moscow: in the Rechnoy and Columbus shopping centers.

A lot of work has been done to increase the functionality of space zoning and implement modern equipment. This is a completely different service approach, with the help of which we want to create a unique atmosphere in our stores, where consumers would want to return again and again.

- What has changed in the casual fashion industry in recent years?

The presence of democratic brands on the market has made fashion accessible to everyone. People have the opportunity to look stylish when minimum costs. Our main mission is to show people that fashion and style can and should be accessible.

- Is there a difference in the tastes of Russian and European buyers?

There is certainly a difference. The European consumer is characterized by a craving for complex colors and textures, loose silhouettes and cuts. The Russian customer prefers feminine silhouettes, which is why dresses are so popular at INCITY, and according to a survey of our consumers, the brand is associated with this category of clothing. We analyze our bestsellers on a regular basis, and we have our own clear statistics. The task of our company is to predict the bestsellers of the upcoming season in order to always have them in stock.

- Perhaps it is possible to somehow gradually change the taste of Russian buyers?

We are now developing the following strategy: we take European hits into our work, involve our designers and create clothes at the intersection of the preferences and characteristics of the Russian market and world bestsellers, which will be hits both internationally and in local markets. We want to try this principle in the fall, and if it works, we will use it.

- Is it possible to influence consumer taste?

Our task as a representative of the fashion segment is to present key world trends on the Russian market and provide our consumers with the opportunity to look conventionally like on the streets of Paris and Milan, without spending colossal money on clothes and overpaying for labels.

- How would you characterize the quality of modern clothing?

Of course, products made from quality materials are more expensive. But at the same time, things that are more affordable in price often do not lose their original appearance for a long time. Thus, it does not matter how much you purchased the item for. Most likely, there is no direct correlation to how long you will wear it. As for our segment - the mass market, everyone knows that goods in the price range of up to 10 thousand rubles (per item - ed.) are sewn in the same places. Therefore, I would not say that there is a fundamental difference in quality between a T-shirt for 300 rubles and a T-shirt for 4 thousand rubles. We, in turn, place great demands on the quality of our products and regularly test materials for wear resistance, constantly improve designs and monitor the quality of fit of products, taking into account the specific features various types figures. We pay special attention to the quality of materials and introduce new technologies for sewing children's clothing.

- Well, in conclusion, I would like to ask, do you plan to somehow change the company’s development strategy in times of crisis?

Article dated July 31, 2015 from the site http://www.retailer.ru/item/id/119642/

Familia network to the end2015 will complete the restyling, hoping to increase store traffic by 10%. A year ago, in order to simply maintain a share in the fashion retail market, it was necessary to increase sales by 20%. Then Familia coped with this task, prudently increasing the number of stores by a quarter. Now the number of points in the network will increase by another 10-20%. And, since rapid market growth is not expected, Familia is making a serious bid to increase market share.

Fashion retailer Familia will complete the restyling of stores by the end of the year, which affected all elements of corporate identity: logo, corporate identity, website design. 65 stores have already been updated, and another 30 outlets are preparing to enter the fall season in new corporate colors. The company plans to complete this project by the end of 2015.

Global changes have affected corporate identity brand. Instead of green and blue, the main colors of the retailer became purple and olive, the logo changed, the brand spelling in Cyrillic was replaced by Latin, and the slogan “Brands free of prices!” was added. Elements of Familia's new corporate identity have also appeared in the sales area, for example, the letter "a" from the logo is used as the main element of communication. A new brand book for the retailer was developed by the British branding agency Campbellrigg.

Updating stores has become a natural stage in the company’s development, the marketing director told Retailer.RU trading network Familia Julia Danilina. “We are constantly studying the experience of the world leaders in off-price retail and introducing interesting practices. At a certain point, we realized that the network had significantly outgrown the existing system of visual identity, which was outdated and began to work against us.”

According to Yulia Danilina, the change in corporate identity caused an increase in traffic in the chain stores by an average of 10%. At the same time, in retail outlets located in the Moscow region, the effect of the change appearance 2-3 times more noticeable in comparison with St. Petersburg and other regions, the company notes.

Simultaneously with restyling, the company plans to significantly expand its network. Depending on how many quality sites can be found, Familia expects to open 10-20 new stores by the end of the year. A week ago, a new outlet opened in Samara (the third in a row), and by the end of August the fourth store of the chain is expected to launch in Yekaterinburg.

The last major growth of the network occurred in 2013, when the number of points increased from approximately 80 to 100. The expansion then had a good impact on the network’s revenue - growth in 2014 was about 20%. True, at that time this was only enough to maintain its share in the segment.

The company is not yet ready to discuss how much the increase in traffic will affect revenue growth - revenue forecasts for 2015 will be published only in the fall. At the same time, in general, the non-food retail industry is in a deep crisis: in June 2015, the turnover of all players fell by 8.7% compared to June 2014. These are Rosstat data in comparable prices, excluding inflation (consumer prices for non-food products increased by 14.2% over the year.

Zhilkina Elvira Evdokimovna, Khametova Nuria Gumerovna k.e. Sc., Associate Professor of the Department of Industrial Commerce and Marketing, Kazan State Technical University named after. A.N. Tupolev

Market sportswear and footwear in Russia has recently been recognized as one of the most dynamically developing markets, and Kazan is no exception. The key issues that need to be addressed in the course of the activities of a retail trade enterprise are the pricing, assortment, advertising, and competitive policies of the enterprise. With a comprehensive consideration of these parameters of the activity of a retail trade enterprise, it is possible to identify strong and weak sides company, and based on the analysis, develop proposals for improving specific parameters of the company’s activities. The correct solution to these issues will ensure the success of the trading enterprise and will help attract consumers. It should be noted that all of the above parameters are closely related to each other and, of course, a change in one of them will entail a change in the other.

The purpose of the study is to identify the relationship between these factors, as well as the degree of influence of each of them on the formation of the level of consumer demand. The object of the study was the company Sports World LLC. As part of this study, 2,351 respondents were interviewed.

The company "Sportivny Mir" LLC was created on December 4, 1997. The chain of stores of LLC "Sportivny Mir" sells sports and fashionable clothing, as well as sports equipment, focusing on retail trade, reaching a wider range of consumers. At the moment, the sports world company is represented by three stores, which are located in the cities of Kazan, Nizhnekamsk, Almetyevsk.

The store is multi-brand, which justifies its name. It presents primarily the products of three titan manufacturers in the world of sportswear, such as Nike, Reebok, Adidas. Moreover, in each Sports World store they have their own department. All other manufacturers are also located separately from each other, although in smaller quantities and mainly on different racks. Such a display of goods allows the consumer to quickly find their way without wasting time searching for items from a specific company. Another advantage of such a display of goods is that the consumer can immediately determine the possibility of purchasing complete equipment from one company, which will allow him to create a fashionable and stylish image with minimal time investment.

The concept of “quality” assortment of the company under study “Sportivny Mir” in this study is carried out through a comparison of the parameters characterizing the assortment with the parameters of the company’s most successful competitor - the Sportmaster chain of stores.

The assortment policy of the retail trade enterprise Sportivny Mir LLC is one of the key factors in the formation of consumer demand, as well as its competitiveness.

The multi-store under study represents 28 brands producing clothing and 11 brands producing sports shoes. The same picture in the Sportmaster chain of stores looks different. Thus, “Sportmaster” presents 47 brands of clothing and 23 brands of shoes, which in total is almost twice as large as the same number of manufacturers represented in “Sports World”. This indicates the limited assortment of the Sports World store compared to its main competitor. But we consider it unjustified to draw conclusions only on the basis of the brands presented in stores. Therefore, we will consider the total number of goods in each store, as well as the number of types and varieties of goods for a more complete and adequate picture. Brands that represent accessories, equipment, sports equipment, related materials, various types of equipment, underwear, socks and other products, which are also of no small importance in the world of sports and recreation, were not considered.

The products of Nike, Reebok, Adidas have long won the respect, trust and love of consumers. And it is not surprising that, according to research, these brands are the most popular among the respondents surveyed. For example, Adidas is preferred by 38% of residents of the Republic of Tatarstan. In second place in popularity is Reebok, with 27% of respondents giving their votes. In third place is Nike, 13% of respondents are ready to buy clothes and shoes from this manufacturer of sportswear and footwear.

Thus, these three manufacturers occupy more than three quarters of the sporting goods market of the Republic of Tatarstan, namely 78% of the total market share. This means that if we talk about the assortment of sportswear and shoes in the multi-store chain “Sportivny Mir” and the chain of stores “Sportmaster”, then for successful trade of both companies it is necessary that the bulk of the goods on the sales floor be occupied by these three well-known brands. What happens in reality?

As can be seen from Figures 1 and 2, the situation in the Sports World multi-store is not very different from the assortment policy of the Sportmaster company, if we talk about the leading four manufacturers.

Rice. 1. Distribution of brands in the assortment of the Sportmaster store

Rice. 2. Distribution of brands in the assortment of the Sports World store

Research has shown that the most popular and oldest company in the world of sportswear and footwear, Adidas, has a percentage of 22.65% of the total number of products presented and 18.80% of the total number of product types (table).

Table. Percentage of brands in the Sports World store

And this is not a leading position, but only the second in the company’s assortment policy. The Nike company takes an honorable first place - 24.26 and 25.07% of the total number of products presented and the total number of product types, respectively. As for the third and fourth brands, namely Reebok and Puma, their situation is not much different from their competitors.

All four core brands belong to the category of goods with an average or above-average price level. As for the remaining third of manufacturers represented in both stores, the picture is radically different. Thus, in the multi-store “Sportivny Mir”, the remaining share of the assortment is dominated by brands, as well as previous leaders, belonging to the middle and upper-average price segment of the sportswear and footwear market. And again, the variety of manufacturers is an important part. Thus, in the “Sports World” there are almost two times fewer of them than in the “Sportmaster” chain of stores.

As for the Sportmaster store, the bulk of the brands represented in the remaining third belong to the price level below average or economy, due to which a wide group of buyers of sportswear and shoes is formed, belonging to different social and material levels. This group is practically not represented in the Sports World multi-store, which leads to an outflow of customers to a competitor, since current situation With an abundance of goods, any person wants to have a choice, even with a minimum level of payment for a particular purchase.

When analyzing the assortment policy of stores and comparing the results with the results of the study, it should be noted that the most popular product among respondents is sneakers/shoes, 55.1% of the total number of respondents’ votes. In second place are shorts/trousers; respondents gave a total of 13.1% of their votes to this product category. Third place goes to (down jacket/down jacket) - 10%. Other self-suggested options include tracksuits (5.6%) and T-shirts/undershirts (6.3%). These data were obtained based on respondents' answers to a question about purchases they made during the year.

Based on the information obtained during the study, it was revealed that the portrait modern consumer sportswear and shoes are characterized by the following parameters: these are men (41.8%) and women (58.2%) aged 18 to 39 years (74.5%), with an income of up to 30,000 rubles (79%) per month unmarried people (59%).

The scope of activity of a potential buyer of sporting goods is as follows:

• mid-level worker - 33.2%;
• individual entrepreneurs, business owners - 18.4%;
• managers (administration apparatus) - 13.8%.

For the largest number of respondents, sportswear and shoes are comfort (42%) and a necessity for sports (32%).

Based on the above, we can assume that the main consumer in this market as main motivation when buying sportswear and shoes, he uses the desire for beauty and attractiveness of his appearance, and, as a result, a change in social status.

The study revealed that most of of respondents purchases sporting goods once a year (41%), 25% of respondents buy sportswear and shoes twice a year, and only 13% do this once a quarter. This trend is explained by the fact that the purchase of these goods is not for professional sports, but rather for maintaining physical fitness, i.e. for training in the gym no more than three times a week for two hours, or as simply comfortable clothes/shoes. Based on this, the service life of sportswear and shoes varies between a year and a half. During the same period, the purchased model remains relevant and fashionable.

The number of respondents who buy these products less than once a year is 17%.

Over the past two years, a large number of shopping complexes, located near the house, including a huge number of different shops. This combination of different types of goods in one place greatly simplifies the purchasing process. Since most consumers make large purchases (large amounts) once or twice a month, which is associated with the receipt schedule Money at work, it is convenient for them to purchase in one trip to the store different kinds goods (food, household chemicals, clothing, shoes, etc.). The results of the study confirm this - 74% of respondents prefer to buy sportswear and shoes in sports departments shopping centers, and only 13% of respondents do this in branded separately located stores.

It is also worth paying attention to consumer preferences regarding popular sports brands. The most popular brand, according to respondents, as already noted, is Adidas (38%), followed by Reebok (2 7%), then Nike (13%), Columbia (9%) and Puma (5%).

This percentage ratio is explained, in particular, by the price factor. Since Puma is one of the most expensive brands among the most popular, the consumer prefers to buy more affordable and no less quality goods other brands. The popularity of the Adidas brand, in turn, is explained by the fact that this brand of sportswear and footwear was intensively positioned in the market Russian Federation in the 90s, which led consumers to popular love and absolute trust in this brand to this day.

Factors that determine the consumer choice of a particular product, in addition to price, are quality, design and preference for a particular brand. The most important factors determining consumer choice are price and quality of the product. This is the opinion of 26 and 25% of respondents, respectively. Then comes the external attractiveness of the product, i.e. design; this factor was named the most important by 22% of respondents. Brand loyalty was chosen as the determining factor by 13.5% of surveyed buyers.

The most attractive to consumers are various marketing campaigns related in one way or another to lower prices for specific goods. According to the results of the study, the most popular promotion is a discount, 48% of respondents agree with this. Less popular are discount cards. 31% of respondents are interested in this form of stimulation. Only 13% want to buy two products for the price of one.

The study made it possible to identify four segments of buyers: from buyers with small purchases (from 1 to 3 thousand rubles) to buyers with large purchases (more than 10 thousand rubles) per store visit.

The fundamental role of Large and Large Buyers is that together they bring from 65 to 70% of the store's income. However, the number of these people is small. In our case, this figure is equal to 35.6% of buyers, i.e. one third of buyers brings in two thirds of revenue.

If we specify the number of buyers of all four categories, we get the following picture:

1. buyers with small purchases - 1-3 thousand rubles - make up 24.8% of the total number of buyers. According to the study, they bring the store only 10% of the total profit;
2. buyers with an average purchase - 3-5 thousand rubles - make up 36.2% of the total number of buyers. They, according to the study, bring the store 25% of total revenue;
3. buyers with a large purchase - 5-10 thousand rubles - make up 22.5% of the total number of buyers. They, according to the study, bring the store 40% of total revenue;
4. buyers with a large purchase - more than 10 thousand rubles - make up 13.1% of the total number of buyers. According to the study, they bring the store 25% of total revenue.

From the above it follows that it is most profitable for a store to attract consumers with high level income that can afford purchases in larger amounts than the category of consumers with average earnings.

It was also interesting to say that the longer the consumer is in the store, the larger his consumer basket becomes. Thus, according to the study, a purchase made in 20 minutes spent on the sales floor ranges from 1 to 3 thousand rubles, and a check for 30 minutes already passes into the category of an average purchase, i.e. from 3 to 5 thousand rubles. This principle applies to the remaining categories of purchases.

It is also worth noting that the time a person spends in a store directly depends on the area trading floor and on the quantity and quality of information posted in the store about the products offered. The buyer spends 25 minutes in the sales area, while 70% of buyers carefully study the information inside the store, and 40% buy the product after learning about it in the store.

The retail enterprise needs to systematize and maximize its work with in-store design and communications.

This will help:

• increase the time the buyer spends in the store and thereby increase the amount of the check;
• increase customer awareness of the products in the store and thereby increase the size of his basket.

It should be noted that the purchase amount, and accordingly the profit of the enterprise, depend not only on the area point of sale, the length of the buyer’s stay in the store, the quality of the interior design of the sales area, but to a large extent from the level of training of the service personnel.

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Ministry of Education and Science of the Russian Federation

FSBEI HPE "Eletsk State University"

them. I. A. Bunin"

Institute of History and Culture

Department of Design and Folk Art Culture

COURSE PROJECT

discipline: Analysis of the state and trends in the development of folk costume

Group NKm-11

Tatarnikova E.R.

Checked by: Solomentseva S.B.

folk costume for training

Introduction

1. Historical and analytical part

1.1 Aesthetic ideals of beauty

1.2 Semiotic features of folk costume

1.3 Color design of the costume

1.4 Design features folk costume

2. Implementation of a project to develop guidelines for the introduction of folk costume material into the educational process

2.1 Basics of teaching methodology

2.2 Development trend: innovative forms, methods, methods and features of control

2.3 Development of practical guidelines

Conclusion

List of used literature

INTRODUCTION

The relevance of the topic is determined primarily by the fact that in modern Russia there is a growth in the national self-awareness of different peoples, and interest in cultural traditions is increasing. The main task of teachers is training, targeted and organizational ways of forming ideas about the history of costume as the greatest national and universal value that embodies timeless spiritual and moral ideals. Ethnocultural education is of particular importance, in the process of which not only knowledge about the customs, traditions, and culture of the peoples of Russia is disseminated, but a respectful attitude towards them is formed.

In the modern variable educational space of Russia, subjects are increasingly appearing that provide students with the study of traditions of folk artistic culture, and a network of training with in-depth study of ethnocultural disciplines is widely developing. Also, a decree of the Moscow Government was issued “On the introduction of a compulsory course of study with an ethnocultural component into training,” which served as the most important incentive for the development and implementation of various disciplines of the ethnocultural cycle. These trends are reflected in the National Doctrine of Education. This document emphasizes the importance of introducing students to the cultural, historical and national cultural traditions of Russia as the basis for the formation of spiritual and moral ideals and personal values. The tasks of national-cultural education arising from the doctrine are of particular importance not only in the context of modern Russian state educational and cultural policy, but also on a global scale. More than ten years ago, the UN General Conference on Educational, Scientific and Cultural Affairs adopted the “Recommendation concerning the Preservation of Popular Traditions,” which became the most important international normative act, revealing the essence of folk traditions as an integral part of the common heritage of humanity, its social, economic, cultural and political significance in modern world, as well as a decisive role in bringing together different peoples and social groups, in affirming their cultural identity. The particular significance of this document is that it presents a holistic system of specific measures that UN member states must take. For more effective identification, storage and dissemination of traditional folk culture. It is emphasized that governments should play a decisive role in preserving folk traditions and act as quickly as possible to take legislative measures that may be required in accordance with the constitutional practice of each of them. The significance of this “Recommendation” is currently increasing even more in connection with the complex socio-political and socio-economic changes taking place in Russia and other countries. This was noted at the Regional Seminar of Countries of Eastern Europe and Asia, held in Veliky Novgorod under the auspices of UNESCO. The most important outcome of this seminar was the recommendation on the need for widespread development of ethnocultural education and its state support, as well as the decision to create an International expert council"Traditional culture and education." It is ethnocultural education that can and should become in the modern world the main channel for the dissemination of traditional cultures, the transmission of the highest spiritual and moral values ​​and ideals embodied in them into the modern world cultural and information space.

For Russia, this task is more relevant than ever. The study of the centuries-old cultural heritage of the Russian people of Russia is important today not only in itself, but also as a factor in overcoming the most pressing problems in the spiritual life of Russian society. Russian folk costume, ancient monuments of folk wooden architecture, products of masters of folk arts and crafts, oral folk art, folk music and dances carry the light of goodness, mercy, and folk wisdom.

For many centuries, works of folk art, folk costume, customs and rituals reflected the people’s love for their native land, nature and home, archetypal images - the ideals of the mother, hero and beauty, as well as the most appropriate for survival, tested by the experience of many generations behavioral stereotypes in natural environment and society. Since ancient times, these ethnic stereotypes ensured not only the survival of the people, but also the preservation of their spiritual and physical health, and harmonized human interaction with nature and other people. It is also important for us that works of folk art embodied national images of the world, the cultural and historical psychology of Russian consciousness.

Today, more than ever before, it is necessary to disseminate in society and affirm through traditional folk art culture the importance of such primordial virtues as the priority of spiritual values ​​over material values, mercy, kindness, honesty, hard work, friendliness and hospitality, respect for the traditions of different peoples living in Russia and other countries of the world.

These spiritual and moral foundations of people's life form the core of the cultural heritage and living culture of the Russian people. To contribute to the restoration in modern Russia of the mechanism of transmission of traditions from generation to generation with the help of Russian folk costume - this is seen as the main prospect and purpose of the proposed course.

Enriching the content of general humanities education on the basis of the national and cultural traditions of the peoples of Russia, Russian folk costume, and folk art can become important factor personality development.

Research objectives:

1. Study the Vologda folk costume and its features.

2. Develop educational and methodological guidelines for introducing the material of the Vologda costume into the educational process.

The subject, purpose, problems and hypothesis of the study determined the formulation of the following tasks:

1. Analyze the knowledge of the topic in the main stages historical development Vologda folk costume.

2. Reveal the Vologda folk costume as an integrity that has absorbed the historical experience of the Russian people, their worldview and reflected the Russian mentality and aesthetic attitudes;

3. Develop experimental educational and methodological documentation. The object of the study is the historical aspect of the Vologda folk costume.

The subject of the research is the development of practical guidelines.

1. HISTORICAL AND ANALYTICAL PART

1.1 Aesthetic ideals of beauty of Vologda folk costume

The appearance and beauty of the ancient Russians always evoked enthusiastic responses from both Europeans and Asians. Ancient travelers, people of different tastes and ideas about beauty, when describing the Russians, always noted their tall stature, special stateliness, white skin with a bright blush, and beautiful brown hair. Arab traveler of the 10th century. Ahmet Ibn Fodlan, describing the Russian merchants who came to the Khazar king, notes: “They are like palm trees, ruddy and red.” The famous Venetian Marco Polo in the 13th century. in his “Travel” he writes about the inhabitants of northern Rus': “They are very beautiful people, white, tall; their women are also white and tall with blond and long hair”[1. p.34].

Since ancient times, high standards of beauty have determined the aesthetic folk ideal, which is described in epics and sung in songs. And among them, first of all, a tall, stately figure, majestic posture, a white face with a bright blush, sable dark eyebrows, and in women a smooth swan gait.

“She walks smoothly, like a swan;

She looks sweet - like a darling;

Says a word - the nightingale sings;

Her rosy cheeks are burning,

Like the dawn in God's sky;

Brown, golden braids,

Braided in bright ribbons,

They run along the shoulders, wriggle,

They kiss white breasts.”

Art. Lermontov M.Yu.

This attractive stateliness, proud posture, and coloring helped to recreate the ancient Russian costume with its silhouette, shape of parts, decorative design, fabrics and decorations used, and color combination. The most common features characteristic of the costume of this historical period include the following:

1) static, straight, wider silhouette of the product and sleeves;

2) the predominance of symmetrical compositions with the rhythm of lines in details, decoration, additions; even if there is asymmetry in the shape of the suit or the way it is worn (kosovorotka, feryaz), its composition is balanced and stable;

3) the use of decorative patterned fabrics, mainly red and blue, with complex patterns; trim with embroidery, lace, fur, fabric of a different color; creating a dynamic shape through contrasting colors;

4) the great importance of the headdress in deciding the composition of the costume.

1.2 Semioticallye features of folk costume

The information-sign system of a suit is a way of transmitting certain information from the owner of the clothing to environment, and the suit itself is a way of establishing communication between codes and a source of information, thanks to which a certain opinion is created about the wearer of the suit.

The suits were made from homespun fabric in a checkered pattern - motley, in Uftyug they called it “klitsetina”. The undershirt consisted of a “collar” (upper part) and a “camp” (lower part). The “collar” was decorated with a round yoke made of dyed linen fabric and gathered along the neck into a small fold. The sleeve was decorated with an insert of braided weaving (in the Uftyug tradition this was called “mahilka”), braid and fringe made of colored half-woolen threads. The hem was decorated with a geometric pattern consisting of rhombuses and oblique crosses. In Uftyug such a shirt was called “krasnostanka”.

In the Russian North, the words “sarafan” and “shirt” were rarely used; more specific names for these types of clothing, more specific and accepted in each locality, were used more often. Archival sources, publications and materials from expeditions reveal various variants of the names of sundresses. The origin of these names differs, firstly, in terms of design characteristics, that is, depending on the style.

The most ancient of them: “kostych”, “shushun”, “klinnik”, “kosoklinnik” - these are ancient wedge-shaped sundresses; “Moskovik”, “Moskvich” or “round” is a sundress with a straight design, sewn from several straight strips of fabric and gathered at the top under the lining.

According to the material and manufacturing technique, there are “ponitok”, “fabric”, “stuffer”, “petsetnik”, “kumachnik”, “damask”, “garniturnik”, “gumazhnik”, “satin”, etc., according to color and method of painting fabrics - “bruise”, “variegated”, “colored”, this also includes “kumachnik”.

Based on age characteristics, one can distinguish, for example, the “kostych” sundress, which in Pinega in late XIX centuries were worn only by elderly women, and for their intended purpose - the wedding sundress “lopotin” and “pokosnik”, which were worn only on the agricultural holiday of the beginning of hay harvesting - mowing.

Such outfits with red shirts were worn only on holidays. To show off a shirt woven with a swear pattern, the hem of the sundress was often tucked into the belt.

The sundress was round, with a cut-off back, and straps. As a rule, motley was made from home-woven linen fabric. The bottom of the sundress was decorated with a frill.

The linen apron was decorated with braid and frill made of colored cotton fabric, and a wide border of braided weaving.

The belt was made by hand from half-woolen threads in yellow-orange and green tones using the crocheting technique.

The costume was completed with a women's headdress - borushka. Each part of this headdress had its own name: the frontal part was “wattle,” the upper part was “four-piece,” and the special roller above the wattle to give shape was “roller.” Married women carefully tied their hair under the borushka, so there was a belief about their special magical power.

A scarf was put on the cap. The manner in which it was worn varied, but it was always tied so that the forehead part of the bead, richly decorated with gold thread embroidery, was visible. On holidays, long ribbons were attached to the cap. Old women wore soft borushkas - “caps”.

Neck and chest decorations of various shapes and designs could serve as additions to the costume, jewelry: earrings, rings, bracelets.

The costume has a special elegance and solemnity - hand embroidery on the shirt, red on white using the counted stitch technique, and an apron embroidered with colored tambour embroidery, decorated with red stitching - this is along the neck, chest, arms and legs (parts of the body that were especially carefully protected), there was an ornament (amulet). The hem of a woman's shirt, despite the fact that it was hidden under a sundress, was also decorated with embroidery. With its brightness and abundance of red, the festive peasant costume filled the soul with joy.

On the territory of the Vologda region, the men's suit did not differ significantly. The components of a traditional men's suit were a shirt, ports, a belt, and shoes.

On the borderland of Uftyuga and Kokshenga, there was a curious tradition - to decorate the boots of young married men with undercuts - the ornamented ends of the towel that the bride gave the man. The towel was torn into equal parts, wrapped around the feet like foot wraps, and the elegant ends, richly decorated with embroidery, were let out.

1.3 Color design of the costume

Nature has never recognized “colorlessness,” and she implanted this quality in the soul of the Russian people. For the creators of traditional clothing in the Vologda region, the color appearance of clothing was based on the principle of comparing bright, contrasting and rich colors, forming complete harmony with each other. The brightness of color, its contrast and saturation are determined by the originality of the surrounding nature with its bright and joyful “multicolor”.

The most favorite color in Vologda art, especially in clothing, was red.

The words “red” and “beautiful” had the same meaning for Russian people: the maiden is beautiful, the fellows are beautiful, spring is red. The word “beautiful” did not mean the external beauty of a person, but his spiritual world, his beautiful soul, and in this regard, at all times, preference was given to those people whose beautiful appearance and beautiful soul were harmoniously fused, which corresponded to the concept of “beautiful” Human".

Bright crimson and soft pink colors symbolized sunsets and sunrises.

These colors were placed next to green or blue, ultramarine or surrounded by them. Back then, these colors were said to “burn,” reminiscent of sunsets and sunrises.

The green color symbolized the plant world: green crops in peasant fields and vegetable gardens, lush grasses of countless meadows, fragrant vegetation of the steppes, velvety greenery of gardens and dense forests, as well as abundance, joy, freedom, hope, tranquility. In clothing, this color was used somewhat less than red. Cleverly scattered spots of green on clothes evoke associations with meadows, forests, spring shoots in the fields, orchards and vegetable gardens that are also beautifully scattered across the Vologda land.

Yellow color was a symbol of short-term separation, ultramarine - water and sky, as well as chastity, fidelity, white - grief and death. The blue color was used rarely and in small quantities in the form of narrow stripes, squares and sewn on beads. It was interspersed only to enhance the sound of the surrounding red color and meant bloodlessness, cold, bad weather, fear. Black color - earth and eternal peace.

Patterned weaving and ornamental embroidery of the Russian North are distinguished by features characteristic not only of applied Russian art, but also of the art of other peoples, for example, Turkic or Finno-Ugric. Their products share similar motifs and compositional structures. Images of deer and trees made from rectangular sections or crosses with ends turned to one side, indicating the sun, asymmetrical geometric patterns and ornaments in the form of two-headed birds. All these features are characteristic of areas with the Onega type of population.

Finno-Ugric elements occupy a large place in the ornamental embroidery of the peoples of the Russian North. The most common motif in textile patterns are various versions of rhombuses (crossed, with extended sides). Most often, rhombic patterns were used in embroidery from the central regions.

Several large figures of strict outlines alternated rhythmically on the fabric. Typically, such patterns were arranged in a checkerboard pattern or in a straight stripe and were found in “branch” weaving or in colored weave embroidery. This special kind sewing technique, it was performed on sparse fabric, from which the threads were previously pulled out along the weft and along the warp. In the regions of the far North and in the Pskov province, such ancient Slavic embroidery was called “vyazbleno delo”. Interestingly, “vyazba” was also the name for any embroidery in Bulgaria. This fact confirms the opinion that such a type of applied art as embroidery appeared among the Slavs even before they divided into eastern and southern groups.

The patterned embroidery of the Russian North differs from the embroidery of the Central Russian strip in being much more ornamental and original. The most unique ornaments can be found in the eastern regions of the North. Such patterns are an endless series of rhythmically repeating identical elements. The pattern consists of numerous double hooks and “combs”; it either thickens or thins out, as if flickering. Brassware from the eastern regions is also distinguished by shimmer and small patterns that line up in large rhombic shapes. Similar patterns can be found on the embroidery of the Karelians who lived in the Tver province. Typically, the ends of towels were decorated with such fluid, asymmetrical patterns, made in the form of repeating small hooks or horns.

1.4 Constructural features of the suit

The outerwear of our ancestors was varied. On weekdays they wore zipuns and ponits made from cloth home production, as well as light canvas shaburs. One of the types of outerwear for the cold season in the 19th century. in Russia there was a ponytok, or a sukmannik. The name is associated with the fabric from which it was made - ponitochina. This is a thick fabric made from linen and wool threads or homemade cloth.

Also known among the Totem and Velsk residents were robes, bekeshi (fitted zipuns) and sermyaks (made without a waist). In Vologda - Siberian jackets (similar to a vest) and caftans.

In the Vologda districts there were several types of fur-lined clothing. Women's winter holiday costume usually included good-quality fur clothing. The most widespread among peasants were fur coats made from sheepskin. The presence of a fur coat in the house was a sign of the family’s wealth; it was considered a significant part of a girl’s dowry.

In the North of Russia, a woman’s outfit, along with the sundress, which has already been discussed, necessarily included a shirt. These two items of clothing were worn together, in one set. Shirts were made from different materials, had a different design from each other and a number of features indicating the geographical origin of a particular model.

From a technological point of view, shirts were either one-piece or composite.

In the first case, a single piece of fabric was used for sewing; the shirt was sewn along the entire length at once. Whole shirts were sewn from entire longitudinal, usually four, panels of fabric.

They were called differently: healing, whole (Arkhangelsk province), passage (Vologda province), whole, single-walled (Kaluga, Oryol province). In the 19th century, such shirts were found infrequently, mainly as ritual wedding or funeral ones.

In the second case, the clothing consisted of two halves: the top (“collar”, “collar” or “sleeves”) and the bottom (it was called “stanova” or “stanovina”). A composite shirt was made from two parts. For the lower half (camp), canvas was most often used, but the top was made from lighter and thinner material - from high-quality linen or hemp, and then from cotton or silk fabric. Most shirts of the 19th-20th centuries were composite. The cut of women's shirts is extremely diverse. In most cases, they were cut very economically, with almost no waste scraps left, since the cutting module was the width of the fabric.

The model, as a rule, included a collar (assembled in small assemblies) and wide, loose sleeves. Sometimes the sleeves could be straight, with a lace frill or even a ribbon in the wrist area. The lower part, the “camp,” was sewn from thick homespun canvas.

For the northern provinces, it is typical to wear shirts with sundresses or skirts, the cut of the shirts themselves is without skirts, with straight skirts or with a yoke; their length could be from very short (the so-called “sleeved” shirt, “collar”) to long ( “sleeves” with a waist).

Shirts consisting of only one upper part were common. They were called umbilicals, i.e. clothes reaching to the navel, or collars, dresses, briskets, collars, sleeves, etc. Any peasant woman had many such “tops,” and they could be easily changed as needed. And instead of a bed, peasant women wore petticoats.

Shirts with yokes became common in the second half of the 19th and early 20th centuries. There were several varieties of such shirts. The first, and probably earlier, is found in a Pomeranian women's costume: a small yoke with a slit - perhaps a preserved fragment of a ritual tunic-like shirt that was once used by the Old Believers here. The second variety of this type of shirt presumably appeared under the influence of urban fashion. The yokes of such women's shirts consist of several parts, there is a shoulder seam, the sleeves of such shirts are rolled, they may not have a gusset.

Depending on local traditions, the sleeves could be either wide or narrow. The collar, hem, and sleeve cuffs were decorated with skillful embroidery.

In Veliky Ustyug district, on girls' shirts, a strip of calico 2-3 cm wide was sewn to the collar; below the calico, a strip of patterned fabric with red thread was sewn. This decoration gave the impression of a round yoke and was called a “chubby face.”

The word "sarafan" was borrowed from the Persian language and meant "long and honorable clothing." The sundress in the North of Russia is an ancient women's clothing, distinguished by a variety of models.

A sundress is a general, group name for a certain type of clothing. And each specific model was named differently.

“Klinnik”, “kosoklinnik” - the sundress was sewn from three panels of fabric - two front and one back, and a large number of wedges were sewn into the side seams, greatly expanding the hem of the sundress and giving it the shape of a semicircle when unfolded.

“Round” - several straight panels (usually 6 or 8) were sewn together with the long sides, gathered over the chest under the lining and attached to the straps.

“Dolnik”, “dolovik”) - a sundress in the form of a long skirt with narrow straps sewn to it. It was sewn from striped fabric (it could be chintz, cashmere or homespun fabric), and folded at the top. The dolnik was fastened with a hook or button located under the left strap.

Sundresses were seasonal. “Pestryaki” and “sinelniki” were worn in the off-season, in the summer. Winter sundresses included heavy “dolniks”, “sukmanniks”, “pomazeiniki”. “The young ones wore new material. Old women always have an old, already worn sundress.” “The old sundresses were worn every day.” The fabric for sundresses was woven in narrow strips on a durable canvas base. If there were not enough warp threads or they were saved, then the fabric would turn out loose. The warp was linen, the weft was wool. The width of the base and sundress reached 1.5 m. Sundresses were heavy, “heavy”, mostly straight, with folds. Instead of straps, wicker, woven, or less often made of fabric belts were often used. Dolniki from dyed wool were spun finely and smoothly. They did not shed for a long time and had bright colors. The stripes in sundresses alternated in width. As a rule, three narrow stripes were inserted between wide identical stripes, and there was an alternation of dark and light colors. Particularly skilled craftswomen knew how to insert a pattern into a strip. Often there was lace or fabric along the bottom of the hem, and a pattern along the stripes. Round sundresses with straps intended for nursing mothers had a larger cutout on the chest. For young girls, a sundress with a cut-off bodice was sewn. The bodice could be made of a different fabric, sometimes decorated with lace. Gray canvas was usually hemmed on the inside of the bodice. Long sleeves could have wide straps and a wide bodice. The edge of the sundress was often trimmed with another fabric. The back of the sundress was cut in such a way that the wide fabric could be folded. The folds were a decoration of the sundress, emphasizing the figure and the splendor of the female form. The folds on the back of the sundress - dolnik and chenelnik - could go from the yoke and from the waist, depending on the cut and type of sundress. Their number reached up to 46, the depth of the folds was up to 1 centimeter.

The most common type of sundress is “motley”. Pestryaki were made from thin linen thread. The characteristic features of pieds are the alternation of light and dark cells, from small to large. The sundress could have longitudinal and transverse stripes. Motleys had their own territorial characteristics: shades were red, burgundy, green, and less often they used blue and light blue. The edge of the bodice and hem of the motleys was edged with red or black material. This was called "edging" or "edging". There could be lace running along the bodice (“along the breastbone”). Almost all sundresses had a narrow bodice. “Pestryachki” sundresses, as Vologda women affectionately called them, had “folds at the back.” They were made according to the figure, the folds were swept away. Usually 3-4 stripes of 37 cm were used for the hem. The bodice was usually fastened with 1 to 3 buttons or with homemade hooks. Toward the bottom, the sundress expanded due to a wide “mushroom” frill. In different localities of the Vologda province, “mushroom” is called differently: “bors”, “morkhs”, “ruffles”. Sundresses with wide frills were called “oboroshniks”. The most common were sundresses with one frill, which was sewn to the edge of the sundress. There are sundresses in which the “mushroom” is sewn to the hem, directly onto the fabric, with an indentation from the hem of the sundress of 10 to 15 cm. Usually on these sundresses the frills are cut on the bias, trimmed with piping and continue the hem pattern. The frills were made from leftover fabric.

“They sewed sundresses as they pleased, trying to stand out.” The length of the sundress is below the knee. As a rule, fabric ribbons, one or two stripes, usually black or red or blue, were sewn onto the fabric of the sundress below the knee. It was believed that “the more stripes, the richer the bride.” They tried to sew the apron so that the stripes were visible.

At the bottom of the hem of the sundress, on the inside, they sewed a “podolnik”, a “lining” made of rough canvas from 2.5 to 5 cm, this was explained as follows: “so that the hem would not get dirty, it was torn off and washed”; “so that the hem stands up and looks more voluminous”; so that the sundress lasts longer, and the bottom of the sundress “does not fray.”

On major holidays, a jacket with burs of the same color was worn on top of a satin sundress. For the holiday, young girls wore cotton sundresses with straps, with beautiful shirts. Summer sundresses “sinelniki” were made from blue canvas with printed material.

Swinging single-breasted clothing with narrow or wide straps, which had several types of cut, was called “dushegreya” or “short”. Soul warmers were made, for the most part, from expensive factory fabrics: velvet, corduroy, brocade, semi-brocade, silk - and decorated with stripes of braid, fringe made of metal thread, and fur trim; velvet shower warmers were decorated with gold embroidery. The cut of the soul warmers resembled a jacket; for warmth they were quilted with cotton wool or tow. Some models looked like a wedge-shaped sundress. The soul warmer was fastened at the front with hooks, loops or metal buttons. Lining made of cotton fabric with a small pattern. This clothing was known back in the 16th and 17th centuries. in the boyar and merchant environment. But peasants rarely wore it because of the high cost and inaccessibility of fabrics.

At the turn of the 19th and 20th centuries, jackets remained only as an attribute of the wedding or wedding attire of a rich bride. The soul grey (“short”) on the straps was gathered at the back into assemblies - tubular folds (usually there were seventeen of them); its floors and edges were covered with braiding - “gas”. With such a soul warmer they wore a shirt with muslin (“grass”) sleeves.

Among the women's chest clothing of the Russian North, there was also “epanechka” (“feathers”) - a very short sleeveless vest with shoulder straps. Epanechka usually had a smooth front, and the back was decorated with large folds.

In the Arkhangelsk and Vologda provinces, clothes called “sleeves”, “crimp”, “kabatukha” or “kabatushka” were known - a short, straight-cut blouse that slightly covered the chest with long straight sleeves, often with a slit in the middle or fastened on the left side. It was sewn from homespun, variegated, decorated with a pattern of red wool, sometimes lined with cotton wool or linen floss and lined. And they wore this type of breast clothing over a straight sundress.

With the sundress complex they also wore swinging single-breasted clothing with long sleeves, known in the urban environment back in the 17th century, and called “shugai”. Shugai - ancient swinging women's clothing with a cut-off back and one-piece front flaps.

Shugai was sewn from silk, satin, damask and brocade, the lining was made of cotton wool or hare fur. Shugai is the only top-fitting women's clothing in pre-Petrine Russia. The length of the product was most often up to the thigh, but sometimes reached the knees. At the back, the lower part of the shugai (basque) from the waist was gathered into lush gathers. The long tapering sleeves were gathered into small folds from the hand to the elbow. Shugai could have a fur collar or fur trim. The festive shugai was embroidered along the edges of the hem and sleeves with fringe or braid, and the buttons were attached over bows made of silk ribbons. Buttons or hooks were used as fasteners. It was worn saddle-back and in sleeves. Often worn in only one left sleeve, draped over the right shoulder and held with the right hand.

Bugai is a type of shugai without sleeves. This type of clothing also existed in the north of Russia, but in the Vologda region it was more often called Siberian.

In the northern regions (in particular, in the Arkhangelsk and Vologda provinces) these items of women's clothing were decorated with painting, typography and a special double-sided seam. The patterns used both simple geometric motifs and complex plots, including animals, birds and people. The apron or apron had to cover the front of the outfit (in whole or in part) and must be combined with the patterns on the sleeves.

"Zapon." It was distributed in Ustyuzhensky, Kirillovsky and Cherepovets districts. This apron was a sheet of linen fabric that covered the shoulders and chest to the knees. The cloth had a rectangular or oval cutout for the head, as well as armholes for the arms. Sometimes sleeves were also sewn onto it.

“Curtain” - this variety was noted in Kadnikovsky, Kargopol and Veliky Ustyug districts. Externally, the apron looks like a long piece of fabric with ties. Using ties, the “curtain” was secured under the arms, covering the chest area.

The “apron-apron,” which was attached to the waist, appeared in women’s everyday life only at the end of the 19th century; it was worn everywhere.

Aprons not only protected clothes from dirt, but also served as decoration for the entire costume. Therefore, they were decorated with embroidery, colored stripes, lace or garus. Some lace aprons featured a horned frog. Horns are a symbol of fertility, confirmation that this girl can give birth. And the frog is a symbol of a woman in labor, into whose state every self-respecting girl of that time strived to get.

In all variants of women's suits northern complex clothes were belted with belts. These were an everyday and festive girl's shirt, and a ritual mowing shirt (or pokosnitsa), worn on the holiday of hay harvesting, and a sundress, and an andarak skirt for a married woman, and outerwear.

At the beginning of the 20th century, as elsewhere in this region, peasant costume acquired new features.

Under the influence of urban costume, at the end of the 19th century, a new set appeared in peasant women's clothing, the basis of which consisted of a skirt and a jacket or a one-piece dress made from purchased factory fabric. A set of a skirt and a jacket, which was made of one material - silk, satin or cotton fabric - was affectionately called a “couple” in the north.

The sweaters were made with a stand-up collar, a lace insert on the chest and puffy sleeves, a complex cut of the top of the suit, in the form of a peplum, frills, stitched small folds, a ruffle of tulle lace emphasized the fitted silhouette. The lower part of the costume - the skirt at the hem - was decorated with ruffles and applied decorative details. The festive complex of the costume was complemented by kerchiefs made of lace and silk scarves.

The ensemble-couple - made up of a skirt and jacket - became the most common type of women's clothing among women in provincial northern cities in the late 19th and early 20th centuries.

Within the Vologda region, the sarafan complex was widespread in the middle of the 19th century. separate pockets of this new complex - with a skirt - were wedged in: in the central regions of the region - Kadnikov, Totma (especially Kokshenga), Velsk. When comparing various habitats in the Vologda lands, one can notice the coincidence of one of the centers of the complex - a skirt and a jacket - with the habitat revealed by anthropological data, according to which the population of Kokshenga had an Upper Volga anthropological type. The correspondence of such habitats to one another, revealed according to the testimony of different scientific disciplines, - additional evidence of contacts and connections local population with residents of certain regions.

Skirts and sweaters first appeared in places close to cities, and gradually began to exist in all northern counties. At first it was an accessory to a girl’s costume: light drawstring sweaters were worn with skirts by girls from the Soviet Union. This clothing was considered both everyday and festive (the latter being more elegant). Skirts were made from plain or variegated homespun, but more often from checkered fabric. The first skirts (hem - Cherepovets, Kirillov, Belozersky, Totemsky districts) were straight in cut, later they began to be sewn with oblique wedges sewn along the hem at an angle. The hems of skirts could be decorated with ribbons. Since the end of the 19th century. the skirts were made from factory fabrics, their cut was similar to the cut of straight canvas skirts, similar in cut and purpose to andarak. There were also woolen striped sukman skirts, the origin of which in the North has not yet been fully elucidated, but the prevailing opinion is about their Western origin. It was here in the Russian North that the skirt complex penetrated into the continuous zone of the word of mouth clothing complex (Vologda, Kadnikovsky, Totemsky, Velsky districts).

These were homespun skirts, hemlines, which were worn over a shirt. And even earlier, it was a custom among peasant women to put on a shirt, an underskirt with lace on top, and then a sundress. Under nice, festive skirts they wore richly embroidered skirts, decorated with “stitches” and knitted lace.

They were varied in color: “checkered”, smooth or single-colored and with stripes. The cut of the skirts could be straight, flared, or with burs. As a rule, folds were placed at the front and sometimes at the back of the belt. Skirts often had internal, often round or semicircular pockets. Skirts were decorated mainly along the bottom hem.

The idea of ​​folk costume would not be complete without mentioning headdresses. At that time, only small children were allowed to walk bareheaded. Festive dresses were decorated with gold threads, gems and pearls. They were not cheap, so women treated the clothes carefully and tried to pass them on to their younger relatives in good condition.

By the headdress one could judge the marital status of its owner. The girls were asked to cover their heads with a lined headband. This headband was made from beautiful, bright fabrics - silk, velvet or brocade. The width of a girl's headdress varied from 5 to 25 centimeters. The bandage was applied to the forehead or crown and secured at the back, under the braid. In the North, girls decorated their headbands with gold, beads, pearls or bugles. Often the headdress was supplemented with the so-called “underpants” (details hanging over the forehead) or a beautiful braid in the shape of a heart, triangle or bow.

An unmarried and unmarried girl had the right to braid only one braid. In general, the braid was an important symbol for our ancestors, a kind of sign of maiden purity.

If a girl had a wedding just around the corner, then this was immediately reflected in her costume. Betrothed girls in some areas of the Vologda province wore a knitted plain or patterned cap or a special velvet-chintz cap decorated with gold embroidery (it was also called an “honest cap”).

A cap is a headdress for betrothed girls and young women, which was a cap with a soft cap tapering towards the back of the head and a bonnet sewn to it on a hard, usually cardboard base. The cap was tightened behind the back with ribbons. The natemnik was made of red velvet and embroidered with gold thread. The most common embroidery ornament was a tree with birds sitting on its branches.

The edge of the cap was made of chintz or calico. This type of headdress was worn by the bride after the wedding. She sat in it at the wedding feast. Over the cap, the bride was given a bandage - a small rectangular scarf, tied at the back of her head with ribbons and descending to the upper part of her face.

The set of clothes with a headband, a sundress and a “short” included three bright red silk scarves with which the girls covered their shoulders, threading their ends under the straps of the sundress and shorts. The threading technique was strictly defined: the first scarf was tied around the neck with a copper, silver or even gold ring, and its ends were straightened on the chest. There was another way: the ends of the scarf were placed on the chest in a “cross”: the left end was threaded under the right strap of the sundress (bypassing it from above, from the shoulder), and the right end - under the left. The corners were carefully straightened on the chest so that there were no “wrinkles”. The second scarf was also thrown over the shoulders, and its ends, each on its own side, were threaded under the “short” straps and laid on the shoulders with “wings”. A third one was thrown over the first two scarves, passing its ends (“feathers”) under the “short” straps from the shoulder and lowering them to the chest. Such

In most of the territory of Russia in the 18th - early 20th centuries, zipun existed only as outerwear. It was used as everyday and party clothes peasants in spring and autumn, and also as clothing worn over the main outerwear on the road or during bad weather. The purpose of the zipun affected its cut and material.

In the house, men wore zipun - clothing resembling a short jacket. There was a shirt underneath. These clothes fit the figure quite tightly. To sew zipuns, gray or white homemade cloth was used. A characteristic feature of this shoulder clothing was a short back, which is why women could also wear zipuns. Festive zipuns were made from factory cloth in black and blue colors. Typically, it was a long-sleeve, double-breasted garment with no or small stand-up collar, fastened from right to left with hooks or leather buttons and leather loops. Zipunas were usually sewn with a straight back and straight hems, the hem was widened due to wedges sewn between them.

Shabur is a caftan made of canvas, usually blue. The back of this shabur was cut off, and there were numerous gatherings from the waist. The right side of the shabur was folded over the left side and fastened with two hooks. The collar was made into a turn-down collar, like a shawl. The shabur was sewn on a white canvas lining.

Sermyak (armyak, azyam) - outerwear, mainly for men, was worn over a caftan, fur coat, short fur coat, sheepskin coat at any time of the year bad weather and on the road. Known in Russia since the 16th century. It was made from homespun fabric of natural colors: white, yellow-brown, pea; from cloth or homemade wool blend fabric in black, white, gray, brown colors; sometimes made of thick cloth, dyed blue. At the end of the 19th - beginning of the 20th centuries. Sermyaks also began to be sewn from thick factory cloth. The sermyak was a robe-like garment, wide, long (to the ankles), single-breasted, with a deep wrap from right to left, with wide straight sleeves and a large collar. There are two known types of sermyak cut:

1) the back and floors are solid, widening downward;

2) the back is solid, straight, wedges are inserted between the back and the floors, which often meet in a herringbone pattern.

The sermyak was girded with a wide sash or cloth girdle, the length of which sometimes reached 3 m, the ends meeting in front and placed behind the sash on the right and left. The sermyak was also worn open or placed over the shoulders like a cloak. In the XVIII - early XX centuries. The sermyak was mainly peasant clothing, but was also used by coachmen and sometimes city cab drivers. Poor townspeople used it as outer street clothing, making it from homespun fabric; Boyars and rich merchants wore sermyaks only at home and sewed them from expensive, thin fabrics. The azyam also had a large collar, which in inclement weather was raised and tied with a scarf.

Hoodie - women's and men's outerwear. In the XVIII - early XIX centuries. was known in the northern and western provinces of European Russia, and in some places in Siberia. It was made from yarn, cartilage, twill, and occasionally thread. The robes most often had the cut of a tunic: they were sewn from a panel of fabric folded over the weft, cut in the front, and wedges were sewn between the back and the flaps. The robe was wrapped from right to left and girded in front with a sash, braid, rope in such a way that the ends did not hang down, but were tucked into the sash on the right and left. Used mainly as work clothes. In summer it was worn over the main suit, in autumn and winter - over a caftan, short fur coat and other outerwear when performing various works and in bad weather.

Bekesha (Hungarian bekes) - men's outerwear, waist-length, with gatherings and a slit at the back, trimmed with cords at the front. It was sewn on fur or cotton wool with a fur or velvet collar. Named after the Hungarian commander of the 16th century. Kaspar Bekes, leader of the Hungarian infantry. Came into fashion in the 50s of the 19th century.

In the eastern districts of the Vologda province there was such a type of outerwear as azyam. It was a straight-cut caftan with long wide sleeves and ankle-length hems. The azyam also had a large collar, which in inclement weather was raised and tied with a scarf. In such clothes they went on a long journey.

A caftan was considered light clothing for the street. It could be worn in winter, additionally insulated with fur. The caftan reached to the knees or ankles - the length was largely determined by current fashion and the purpose of the clothing. There were both loose caftans and models that fitted the waist. They tried to sew them from good, dense material - canvas, cloth or silk. The caftan was wrapped in front (the left hem was under the right).

There are two varieties of this men's clothing - Russian and stanovoy. Both styles were long and featured wide sleeves. But the Russian caftan had straight wedges, and for the stanovoy they were cut on the bias. The tails of the caftan were longer at the back than at the front, which allowed a person to walk freely without the risk of getting tangled in the tails of the suit. The caftan either did not have a collar at all, or it was small in size. The most common colors for kaftans were gray and blue. The caftan was belted with a sash of a different color.

Festive caftans had high special cuffs and stand-up collars, called trumps, which covered the back of the head. They were often removable and were an indicator of status and wealth. They were made from the most expensive materials, decorated with gold and silver embroidery and precious stones. The chest of the caftan was decorated with buttons ranging from 8 to 12. On the sides of the caftan there were slits (“gaps”), which were also trimmed with buttons. The length of the sleeve could reach the wrist.

Instead of buttons, silver and gilded gags or turned corals were sometimes used, which were fastened with loops made of multi-colored braid. The back of the caftan was often deliberately made shorter than the front: to demonstrate a special source of pride in clothing - the backs of ornamented boots.

The camisole worn under the caftan is very similar in cut to the caftan, but it fits the body more tightly and is slightly shorter than the caftan, the sleeves are narrow towards the wrist, without cuffs.

The caftan is worn unbuttoned, so that the entire front part of the camisole is visible, so the camisole is made of expensive luxurious fabric or richly decorated along the front with lace, embroidery and other trimmings.

In this case, the invisible parts of the camisole (sleeves, back) can be made of a more modest material than the front.

Sleeves can be sewn into a camisole only in winter.

Since the caftan is worn in pairs with a camisole, they are often worn as components of one costume, complementing each other.

Kazakin - outerwear for women and men for spring, summer, autumn, and in some villages - for winter. Cossacks were made from factory-made fabrics: cloth, moleskine, nanka, Chinese, casinet, usually lined; winter cossacks were made with cotton wool or fur. Kazakin was an open, double-breasted, knee-length garment, sewn at the waist, with a trimmed back and gathers at the back or around the entire waist, with a stand-up collar or without a collar, with a collar at the neck. It was fastened to the waist with hooks or bow buttons, sewn in one or two rows. Festive Cossacks, especially those that existed in the Vologda province, were decorated with braid made of garus and silk, which was located along the collar, sides and pockets. In the 19th century Cossacks were common in villages, villages and district towns in almost all provinces of European Russia.

Men's fur coats and sheepskin coats were of the same cut as women's. They could differ in cut or lining material, but they were certainly made of fur. The first mention of a fur coat dates back to the 15th century. Then this outerwear had a turn-down collar from the chest. The man wrapped it in the front and fastened it with buttons (instead there could be long laces). For convenience, holes were made in the side of the fur coat - the decoration of the boots was visible and it was comfortable to walk on. The hem could reach the knees or hide the figure right down to the toes. Sheepskin was often used to make warm clothing. By the way, sheepskin coats and fur coats were not in every home. If necessary, they were borrowed from wealthier fellow villagers. To keep warm, outerwear was secured to the waist with a belt or sash.

In those places of the Russian North where crafts were widespread and where Russian peasant tradesmen were in contact with local peoples, there were borrowings from the clothing of these peoples. This mainly concerned work and industrial clothing. Such clothes include:

The word “shirt” comes from the Old Russian word “rub”, meaning “piece”, “segment”.

The most ancient part of the costume was a tunic-like shirt. It has undergone little structural change. Rough, made from dyed hemp, the shirt was comfortable and durable. The tunic cut of a men's shirt is the most ancient cut known to us and at the same time the most common cut. There are two types of tunic-shaped shirt: “with barrels” and “without barrels”. A shirt “with barrels” is formed from a panel of fabric folded over the weft (a collar is cut at the fold); Straight panels are sewn to the central (middle) panel, forming “barrels” and a straight-cut sleeve.

If the cut fabric was not enough to cover the entire width of the sleeve, then additional wedges were used, sewn mainly to the elbow. The sides were also made if the width of the product was to be greater than the original canvas. Moreover, the side inserts could be either straight or in the form of trapezoids.

The sleeves were made quite long (up to the first phalanx of the thumb - on men's shirts) and narrow. In order for the sleeves to move freely, a gusset (swallow, swallow) was sewn into the armpit - a piece of rectangular fabric, usually red or blue.

The upper part of the shirt was additionally reinforced with a backing. It could be one-piece or consist of several pieces sewn together. The lining is a canvas or serpyanka (coarse linen or hemp fabric) lining on the chest and back of a man’s shirt. The reason is for strength: from hard work, the fabric on the shoulders rots from sweat. “The shirt is tinder: the tinder burned out on the shoulders,” people said jokingly.

The clasp on the placket was often made on the left side. It was called a kosovorotka because it had a collar cut running vertically downwards on the left side. The collar (low stand) was fastened or tied with buttons or ribbons. Along with the blouse, there were shirts with a collar slit in the middle. White shirts were most often with a straight neckline, but items made from motley shirts could be sewn with a slanted or stand-up collar.

Shirts with a straight or tunic cut were considered everyday in the Vologda region. They also often wore everyday shirts without a collar, which were called “shabur” or “naked neck.” A traditional men's shirt has always been made from natural linen or hemp fabric, which was woven by hand. Its width varied from 35 to 45 cm. Everyday shirts in most cases were made of homespun checkered or striped small motley, dyed (printed) blue and red colors or bleached canvas and were almost not decorated.

For festive shirts, better material was taken: thin linen or rather expensive factory-made fabrics - satin, chintz, satin and calico. In the eyes of our ancestors, the shirt had magical powers: it protected the most vulnerable parts of the body - the neck, legs, arms. Therefore, festive men's shirts were covered with an ornament-amulet on the neck, the bottom of the sleeves, and the hem of the shirt. They are the places where the ornament is traditionally placed. The gusset could also be a colored decorative detail. Along with patterned weaving and embroidery, braid, sequins, braid, buttons, beads, and stripes of red were widely used as decoration. In terms of the richness of decorations, men's holiday shirts were sometimes not inferior to women's ones.

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