Market research of the outerwear store market. Marketing research of the clothing market Marketing research of the clothing market

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Ministry of Education and Science of the Russian Federation

FSBEI HPE "Yelets State University

them. I. A. Bunina

Institute of History and Culture

Department of Design and Folk artistic culture

COURSE PROJECT

by 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 training

Introduction

1. Historical and analytical part

1.1 Aesthetic ideals of beauty

1.2 Semiotic features of folk costume

1.3 The color scheme of the costume

1.4 Design features of the folk costume

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

2.1 Fundamentals 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 an increase in the national identity of different peoples, an increase in interest in cultural traditions. The main task of teachers is training, purposeful and organizational ways of forming ideas about the history of costume as the greatest national and universal value that embodied timeless spiritual and moral ideals. Of particular importance is ethnocultural education, in the process of which not only knowledge about the customs, traditions, culture of the peoples of Russia is disseminated, but a respectful attitude towards them is formed.

In the modern varied educational space of Russia, subjects are increasingly appearing that provide students with the study of the traditions of folk art culture, a network of education with an in-depth study of ethno-cultural disciplines is widely developing. The Decree of the Government of Moscow “On the introduction of a compulsory course of study with an ethno-cultural component into education” was also issued, which served as the most important incentive for the development and implementation of various disciplines of the ethno-cultural 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 values ​​of the individual. 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 Education, Science and Culture adopted the “Recommendation on the Preservation of Folk Traditions”, which has become the most important international normative act revealing the essence of folk traditions as an integral part of the common heritage of mankind, its social, economic, cultural and political significance in the modern world, as well as its decisive role in bringing together various peoples and social groups, in asserting their cultural identity. The special significance of this document lies in the fact that it presents an integral system of specific measures to be taken by the UN member states. To better identify, store and disseminate traditional folk culture. It is emphasized that governments should play a decisive role in preserving folk traditions and act as quickly as possible, take into legislative order measures that may be required in accordance with the constitutional practice of each of them. The significance of this “Recommendation” is currently growing even more in connection with the complex socio-political and socio-economic changes taking place in Russia and other countries. This was also noted at the Regional Seminar for 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 a broad development of ethno-cultural education and its state support, as well as the decision to create an International Expert Council "Traditional Culture and Education" under UNESCO. It is ethno-cultural education that can and should become in the modern world the main channel for the dissemination of traditional cultures, the translation into the modern world cultural and information space of the highest spiritual and moral values ​​and ideals embodied in them.

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 acute problems of 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, folk wisdom.

For many centuries, in the works of folk art, in folk costume, customs and rituals, people's love for their native land, nature and home was reflected, archetypal images - the ideals of mother, hero and beauty, as well as the most appropriate for survival, proven by the experience of many generations stereotypes of behavior in the 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, harmonized the interaction of man with nature and other people. It is also important for us that the national images of the world, the cultural and historical psychology of the Russian consciousness, were embodied in the works of folk art.

Today, more than ever, it is necessary to spread in society and affirm the significance of such primordial virtues as the priority of spiritual values ​​over material ones, mercy, kindness, honesty, diligence, friendliness and hospitality, respect for the traditions of different peoples living in Russia by means of traditional folk art culture. and other countries of the world.

These spiritual and moral foundations of folk 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 perspective and purpose of the proposed course.

Enriching the content of general humanitarian education based on the national and cultural traditions of the peoples of Russia, Russian folk costume, folk art can become an important factor in the development of the individual.

Research objectives:

1. To study the Vologda folk costume and its features.

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

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

1. To analyze the degree of knowledge of the topic in the main stages of the historical development of the Vologda folk costume.

2. To reveal the Vologda folk costume as an integrity that 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 the Vologda folk costume

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

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

“Walks smoothly - like a swan;

Looks sweet - like a dove;

He says a word - the nightingale sings;

Her cheeks are rosy,

Like the dawn in God's heaven;

Braids are blond, golden,

In bright braided ribbons,

Running over the shoulders, squirming,

They kiss with white breasts.

Art. Lermontov M.Yu.

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

1) static, straight, extended downward 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 costume or the way it is worn (kosovorotka, feryaz), its composition is balanced, stable;

3) the use of decorative patterned fabrics, mainly in red and blue colors, with a complex ornament; trim with embroidery, lace, fur with a fabric of a different color; creating a dynamic form due to contrasting colors;

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

1.2 Semioticallye features of the folk costume

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

The costumes were sewn from homespun linen in a cage - motley, on Uftyug it was called "klitsetin". The bottom shirt consisted of a "collar" (upper part) and a "stand" (lower part). The “collar” was decorated with a round yoke made of dyed linen fabric and gathered at the neck into a small fold. The sleeves were decorated with an insert of weaving (in the Uftyug tradition it was called “makhilka”), braid and fringe of colored half-woolen threads. The hem was decorated with a geometric ornament consisting of rhombuses and oblique crosses. On Uftyug, such a shirt was called a "red stanka".

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

The most ancient of them: “kostych”, “shushun”, “klinnik”, “kosoklinnik” are ancient wedge-shaped sundresses; "Muscovite", "Muscovite" or "round" - a sundress that is straight in design, sewn from several straight strips of fabric and gathered at the top under the sheathing.

According to the material and manufacturing technique, “ponitok”, “fabric”, “stuffing”, “petsetnik”, “kumachnik”, “damask”, “setting set”, “gut bag”, “satin”, etc., are distinguished, according to color and method of coloring fabrics - “bruise”, “motley”, “krashennik”, here you can also include the “kumachnik”.

By age, one can single out, for example, a “kostych” sarafan, which in Pinezhye at the end of the 19th century was worn only by elderly women, and by appointment - a wedding sarafan “Lopotin” and “mowing” which was worn only on the agricultural holiday of the beginning of hay harvesting - - mowing.

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

The sundress was round, with a detachable back, with straps. As a rule, it was made from home-weaving linen fabric. The bottom of the sundress was decorated with a frill.

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

The belt was made by hand from semi-woolen threads of yellow-orange and green tones using the crochet technique.

The costume was completed by a female headdress - a borushka. Each part of this attire had its own name: the frontal one - “wattle”, the upper one - “four”, and a special roller over the wattle fence to give shape - “roll”. Under the borushka, married women carefully removed their hair, so there was a belief about their special magical power.

A scarf was worn over the cap. The manners of wearing it were different, but he was always tied in such a way that the forehead part of the borushka, richly decorated with gold thread embroidery, was visible. On holidays, long ribbons were attached to the hat. The old women wore soft borushki - "caps".

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

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

On the territory of the Vologda Oblast, the male costume did not have significant differences. The components of the traditional men's costume 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 underwires - the ornamented ends of the towel that the bride gave to the man. The towel was torn into equal parts, wrapped around the legs like footcloths, and the elegant, richly embroidered ends were let out.

1.3 Costume color scheme

Nature has never recognized "colorlessness", and she laid this quality in the soul of the Russian people. For the creators of traditional clothes of the Vologda region, the color appearance of clothes was built on the principle of comparing bright, contrasting and saturated colors, forming a 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 clothes, was red.

The words "red" and "beautiful" for the Russian people had the same meaning: the girl is red, the young people are red, the spring is red. The word “beautiful” meant not 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 who had both a beautiful appearance and a beautiful soul were harmoniously merged, which corresponded to the concept of “beautiful human".

Bright crimson and pale pink colors symbolized sunsets and sunrises.

These colors were placed next to green or blue, ultramarine, or in their environment. 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 gardens, lush herbs 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. Spots of green skillfully scattered over clothes evoke associations with meadows, forests, spring shoots in the fields, gardens and orchards that are just as beautifully scattered over the Vologda land.

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

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

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

Several large figures of strict outline alternated rhythmically on the fabric. Typically, such patterns were arranged in a checkerboard pattern or in a straight strip and were found in “swearing” weaving or in embroidery with colored interlacing. This special kind sewing technique, it was performed on a sparse fabric, from which the threads were first pulled out along the weft and along the warp. In the regions of the Far North and in the Pskov province, such an old Slavic embroidery was called “knitted business”. Interestingly, "vyazboi" was also called any embroidery in Bulgaria. This fact confirms the opinion that such a kind of applied art as embroidery appeared among the Slavs even before they were divided into eastern and southern groups.

The patterned embroidery of the Russian North differs from the embroidery of the Central Russian strip in much greater ornamentality and originality. The most peculiar 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. Marble items from the eastern regions are also distinguished by shimmering and small patterns that line up in large rhombic shapes. Similar ornaments can be found on the embroidery of the Karelians who lived in the Tver province. Usually such fluid, asymmetrical patterns, made in the form of repeating small hooks or horns, decorated the ends of the towels.

1.4 Konstructural features of the suit

The outerwear of our ancestors was diverse. On weekdays, they wore zipuns and ponytails sewn from cloth. home production, as well as light canvas shaburs. One of the types of outerwear for the cold season in the XIX century. in Russia there was a ponitok, or a bagman. The name is associated with the fabric from which it was made - ponitochin. This is a thick fabric made from linen and woolen threads or homemade cloth.

Also, hoodies, bekeshi (fitted zipuns) and sermyaks (made without a waist) were known among the inhabitants of Totma and Velsk. In Vologda - Siberians (similar to a vest) and caftans.

In the Vologda districts there were several varieties of fur-lined clothing. The winter women's festive costume usually included good-quality fur clothes. Fur coats made of sheepskin were the most widespread among the peasantry. The presence of a fur coat in the house was a sign of the wealth of the family, it was listed as a significant part of the girl's dowry.

In the North of Russia, along with a sundress, which has already been discussed, a shirt was always included in a women's outfit. Worn these two pieces of clothing together, in one set. Shirts were sewn from different materials, had a different design and a number of features indicating the geographical affiliation 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 immediately along the entire length. One-piece shirts were sewn from whole longitudinal, often four, panels of fabric.

They were called differently: a healer, a whole (Arkhangelsk province.), Passage (Vologda province.), Solid, 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 clothes consisted of two halves: the upper one (“collar”, “collar” or “sleeve”) and the lower one (it was called “stand” or “stanovina”). A compound shirt was sewn from two parts. For the lower half (stand), canvas was most often used, but the top was made of lighter and thinner matter - from high-quality linen or hemp, and then from cotton or silk fabric. Most of the shirts of the XIX-XX centuries were composite. The cut of women's shirts is extremely diverse. In most cases, they were cut very economically, with almost no scraps left, since the cutting module was the width of the fabric.

The model, as a rule, provided for the presence of a collar (gathered in small assemblies) and wide, loose sleeves. Sometimes the sleeves could be straight, with a lace frill or even a ribbon around the brush. The lower part - "stan", was sewn from dense homespun canvas.

For the northern provinces, it is typical to wear shirts with sundresses or skirts, the cut of the shirts themselves - without poliks, with straight poliks or on a yoke, they could be from very short in length (the so-called shirt "sleeves", "collar") to long ( "sleeves" with a camp).

Shirts were common, consisting of only one upper part. They were called umbilical cords, i.e. clothes reaching to the navel, or collars, vestments, breasts, collars, sleeves, etc. Any peasant woman had a lot of such "tops", and as needed they could be easily changed. 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-shaped shirt that once existed here among the Old Believers. The second variety of this type of shirt, presumably, appeared under the influence of urban fashion. The coquettes of such women's shirts consist of several parts, there is a shoulder seam, the sleeves of such shirts are with an edge, they may not have a gusset.

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

In the Veliky Ustyug districts, on girls' shirts, a strip of 2-3 cm wide red cloth was sewn to the collar, and a strip of patterned weaving with a red thread was sewn below the red cloth. This decoration gave the impression of a round coquette and was called "chubby".

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

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

“Klinnik”, “kosoklinnik” - a 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 a semicircle shape when unfolded.

"Round" - several straight panels (usually 6 or 8) were sewn together with long sides, gathered over the chest under the trim 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 at the top it was laid in folds. The dolnik was fastened with a hook or button located under the left shoulder strap.

Sundresses were seasonal. "Pestryaki" and "chenille" were worn in the off-season, in the summer. Winter sundresses included heavy "dolniks", "sukmanniks", "anointed ones". “Young people wore new material. Old women always have an old, already worn sundress. "Old sundresses were worn for every day." The fabric for sundresses-dolniks was woven in narrow strips on a solid canvas base. If there were not enough warp threads or they were saved, then the fabric turned out to be loose. The warp was linen, the weft was wool. The width of the base and the sundress reached 1.5 m. The sundresses were heavy, "heavy", mostly straight, with folds. Instead of straps, braided, woven, less often made of fabric, belts were often used. Dolniks made of dyed wool were spun finely and smoothly. They did not shed for a long time and had bright colors. Stripes in sundresses alternated in width. As a rule, three narrow stripes were inserted between wide identical stripes, there was an alternation of dark and light colors. Particularly skilled craftswomen were able to insert a pattern into a strip. Often, lace or fabric was allowed along the bottom of the hem, and a pattern along the stripes. In round sundresses with straps intended for nursing mothers, the cutout on the chest was made larger. For young girls, they sewed a sundress with a detachable bodice. The bodice could be of a different fabric, sometimes decorated with lace. On the inside of the bodice, a gray canvas was usually hemmed. Dolniks 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 a wide fabric could be folded into folds. The folds were the decoration of the sundress, they emphasized the figure, the splendor of female forms. The folds on the back of the sundress - the dolnik and the chenille - could go from the coquette and from the waist, depending on the cut and type of the sundress. Their number reached up to 46, the depth of the folds was up to 1 centimeter.

The most common type of sarafan is the "motley". Pestryaki were made from a thin linen thread. The characteristic features of the motley are the alternation of light and dark cells, from small to large. The sundress could have longitudinal and transverse stripes. Pestryaks had their own territorial features: the shades were red, burgundy, green, less often they used blue and cyan colors. The edge of the bodice and the hem of the motley was edged with red or black matter. This was called "edging" or "ostyobka". Lace could go along the bodice (“on the sternum”). Almost all sundresses had a narrow bodice. Sundresses "striped", so affectionately called them Vologda women, were "with folds at the back." They were made according to the figure, the folds were swept away. Usually 3-4 strips of 37 cm each were used on the hem. The bodice was usually fastened with buttons from 1 to 3 or with homemade hooks. Towards the bottom, the sundress expanded due to the wide frill - "mushroom". In different areas of the Vologda province, "mushroom" is called differently: "pine forests", "morhi", "frills". 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, to which the “mushroom” is sewn to the hem, directly on the fabric, with an indent from the hem of the sundress from 10 to 15 cm. Usually, on these sundresses, the frills are cut obliquely, trimmed with edging and continue the pattern of the hem. The frills were sewn from the remnants of the fabric.

“Sundresses were sewn to whom, as they liked, they tried to stand out.” The length of the sundress is below the knee. As a rule, fabric ribbons were sewn onto the fabric of a sundress below the knee, one or two stripes, usually black or red, blue. It was believed, "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 “lining”, “lining” from a coarse canvas from 2.5 to 5 cm, they explained this as follows: “so that the hem does not get dirty, it was torn off, washed”; “so that the hem stands 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 put on top of a satin sundress. Young girls wore chintz sundresses with straps for the holiday, with beautiful shirts. Summer sundresses "chenille" were sewn from blue canvas with a heel.

Single-breasted single-breasted clothing with narrow or wide straps, which had several types of cut, was called "soul warmer" or "short". Dushegrei were made, for the most part, from expensive factory fabrics: velvet, plush, brocade, semi-brocade, silk - and decorated with braid stripes, fringe made of metal thread, and fur trim; velvet shower warmers were decorated with gold embroidery. In terms of cut, the dushegrei resembled a jacket; for warmth, they were quilted on cotton wool or tows. Some models outwardly resembled a wedge-shaped sundress. The shower warmer was fastened in front with a hook, loops or metal buttons. Cotton lining with fine pattern. This clothing was known as early as the 16th-17th centuries. in the boyar and merchant environment. But the peasants rarely wore it because of the high cost and inaccessibility of fabrics.

At the turn of the 19th-20th centuries, shower jackets remained only as an attribute of a wedding or wedding dress of a rich bride. Dushegreya ("korotyona") on the straps was assembled at the back into assemblies - tubular folds (usually there were seventeen of them); the floors and edges of it were sheathed with a braid - “gas”. With such soulfulness, they put on a shirt with muslin ("grass") sleeves.

Among the breastplate women's clothing of the Russian North, there was also an "epanechka" ("feathers") - a very short sleeveless jacket with straps without sleeves. Epanechka usually had a smooth front, and was decorated with large folds at the back.

In the Arkhangelsk and Vologda provinces, clothing was known under the name "sleeves", "swaging", "kabatukha" or "kabatushka" - a short, straight cut, slightly covering the chest, a blouse with long straight sleeves, often with a slit in the middle or fastened on the left side. It was sewn from homespun cloth, motley, decorated with a red wool pattern, sometimes lined with cotton wool or linen tow and made on a lining. And they put on this type of chest clothing over a straight sundress.

With the sarafan complex, they also wore single-breasted open-fitting clothes with long sleeves, known in the urban environment as early as the 17th century, and called “shugay”. Shugay is an old swinging women's clothing with a detachable back and one-piece front floors.

Shugai was sewn from silk, satin, damask and brocade, the lining was made on cotton wool or hare fur. Shugay is the only upper fitted women's clothing in pre-Petrine Russia. The length of the product was most often up to the hip, but sometimes reached the knees. Behind the lower part of the shugai (basque) from the waist was gathered into lush assemblies. Long tapering sleeves gathered from the wrist to the elbow in small folds. Shugai could have a fur collar or fur trim. Festive shugai was embroidered along the edges of the hem and sleeves with a fringe or braid, and buttons were fastened over silk ribbon bows. Buttons or hooks were used as fasteners. It was worn in the back and in the sleeves. Often worn in only one left sleeve, thrown over the right shoulder and held with the right hand.

Bugai is a kind of sleeveless shugai. 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, typesetting and a special two-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 outfit in front (in whole or in part) and be sure to match the patterns on the sleeves.

"Zapon". It was distributed in Ustyuzhensky, Kirillovsky and Cherepovets counties. Such an apron was a linen cloth covering the shoulders and chest to the knees. A cutout was made in the cloth for a rectangular or oval head, as well as armholes. Sometimes sleeves were also sewn to it.

"Curtain" - this variety was noted in Kadnikovsky, Kargopolsky and Veliky Ustyug counties. Outwardly, the apron looks like a long piece of fabric with ties. With the help of ties, the “curtain” was fixed under the armpits, covering the chest area.

The “apron-apron”, which was fixed at the waist, appeared in the everyday life of women 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, in the state of which every self-respecting girl of that time strove to get.

In all variants of women's costumes of the northern complex, clothes were girded with belts. These were an everyday and festive girl's shirt, and a ceremonial mowing shirt (or mowing), worn on a feast of hay harvesting, and a sundress, and a married woman's andarak skirt, and outerwear.

At the beginning of the 20th century, as elsewhere in this region, the peasant costume acquires 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 sweater or a one-piece dress sewn from purchased factory fabric. A set of a skirt and a sweater, which was made of one material - silk, satin or cotton fabric - was affectionately called a "couple" in the north.

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

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

Within the Vologda region, in the area of ​​widespread existence of the sarafan complex in the middle of the 19th century. Separate pockets of this new complex wedged in - with a skirt: in the central regions of the region - Kadnikov, Totma (especially Kokshenga), Velsk. When comparing different areas in the Vologda lands, one can notice the coincidence of one of the centers of the complex - a skirt and a jacket - with an area found according to anthropological data, according to which the Upper Volga anthropological type was present in the population of Kokshenga. The correspondence of such areas to one another, revealed according to the testimony of various scientific disciplines, is another evidence of contacts and ties between the local population and the inhabitants of certain regions.

Earlier, skirts and sweaters appeared in places close to cities, and gradually began to exist in all northern counties. At first it was an accessory of a girl's costume: light pullover sweaters were worn with the skirts of a salt girl. This clothing was considered both everyday and festive (the latter is more elegant). Skirts were sewn from plain or colorful homespun fabric, but more often from plaid. The first skirts (hem - Cherepovets, Kirillovsky, Belozersky, Totemsky districts) were straight in cut, later they began to be sewn with oblique wedges sewn along the hem at an angle. Hems of skirts could be decorated with ribbons. From the end of the 19th century skirts were sewn from factory fabrics, their cut turned out to be similar to the cut of straight linen skirts, similar in cut and purpose to andarak. There were also woolen striped skirts-sukmanki, the origin of which in the North has not yet been finally clarified, but the opinion about their Western origin prevails. It was here in the Russian North that a complex with a skirt penetrated into the continuous zone of the sarafan clothing complex (Vologda, Kadnikovsky, Totemsky, Velsky counties).

These were homespun skirts, "on the skirts" that were worn over a shirt. And even earlier, among peasant women, it was customary to put on a shirt, top a skirt with lace, and then a sundress. Under good, festive skirts, they wore richly embroidered skirts, decorated with "lines" and knitted lace.

They were varied in color: "kletochny", smooth or one-color and with stripes. According to the cut, the skirts could be straight, flared, and with burs. As a rule, folds were laid at the front of the belt, and sometimes at the back. Skirts often had internal, often round or semicircular pockets. Skirts were decorated mainly along the bottom of the hem.

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

By the headdress one could judge the family status of its owner. The girls were asked to cover their heads with a lined bandage. Such a bandage was made from beautiful, bright fabrics - silk, velvet or brocade. The width of the girl's headdress varied from 5 to 25 centimeters. The bandage was applied to the forehead or temechko and was fixed behind, under the scythe. In the North, girls decorated their headbands with gold, beads, pearls or glass beads. Often, the dress was supplemented with the so-called "lowers" (details hanging on the forehead) or a beautiful plait in the shape of a heart, a triangle or a bow.

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

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

A cap is a headdress of betrothed girls and young women, which was a cap with a soft headband tapering to the back of the head and a nape sewn to it on a solid, usually cardboard base. The cap was tightened on the back of the head 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 neckline of the cap was made of chintz or calico. This headdress was worn by the bride after the wedding. She sat in it at the wedding feast. A bandage was thrown over the bride's cap - a small rectangular scarf, tied at the back of the head with ribbons and descending to the upper part of the face.

The set of clothes with a bandage, a sundress and a short one included three bright red silk scarves with which the girls covered their shoulders, threading their ends under the straps of the sundress and short ones. 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 laid 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 neatly 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 straps of the “short” and laid on the shoulders with “wings”. A third was thrown over the first two scarves, passing its ends (“feathers”) under the “short” straps from the shoulder and lowering them onto the chest. Such

In most of the territory of Russia in the 18th - early 20th centuries, the zipun existed only as outerwear. It was used as everyday and festive clothes for peasants in spring and autumn, and also as clothes 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, the men wore zipun - clothes resembling a short jacket. Underneath was a shirt. This dress was very tight fitting. For sewing 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 of black and blue factory cloth. As a rule, it was double-breasted clothes with long sleeves, without a collar or with a small standing collar, fastened from right to left with hooks or leather buttons and leather loops. Zipuns were usually sewn with a straight back and straight floors, the hem expanded due to wedges sewn between them.

Shabur - a caftan sewn from canvas, usually blue. The back of this shabur was cut off, and numerous gatherings went from the waist. The right half of the shabur was wrapped on the left side and fastened with two hooks. The collar was made turn-down, a shawl. They sewed a shabur on a white canvas lining.

Sermyak (armyak, azyam) - outerwear, mostly men's, worn over a caftan, fur coat, sheepskin coat, sheepskin coat at any time of the year in bad weather and on the road. Known in Russia since the 16th century. It was made from homespun fabric of natural color: white, yellow-brown, pea; from cloth or half-woolen fabric of home-made black, white, gray, brown colors; sometimes made of thick cloth dyed blue. At the end of XIX - beginning of XX century. Sermyaki began to be sewn also from dense factory cloth. Sermyak was a dressing gown, wide, long (up to the ankles), single-breasted, with a deep smell from right to left, with wide straight sleeves and a large collar. There are two types of cut of Sermyaks:

1) the back and floors are solid, expanding downwards;

2) the back is one-piece straight, wedges are inserted between the back and the floors, which often converge in a herringbone pattern.

The sermyak was girdled with a wide sash or a cloth sash, the length of which sometimes reached 3 m, while the ends converged in front and were laid to the right and left behind the sash. Sermyak was also worn wide open or laid over the shoulders like a cloak. In the XVIII - early XX century. Sermyak was mainly peasant clothing, but was also used by coachmen, sometimes by city cabbies. Poor townspeople used it as outdoor clothing, making it from homespun fabric; boyars, wealthy merchants wore sermyaks only at home and sewed them from expensive, thin fabrics. 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 century. was known in the northern and western provinces of European Russia, in some places in Siberia. It was made from row, cartilage, twill, and occasionally ponitochin. Hoodies were, most often, cut tunics: they were sewn from a fabric panel folded over the weft, cut in front, wedges were sewn between the back and the floors. The hoodie was wrapped from right to left and girdled in front with a sash, braid, rope in such a way that the ends did not hang down, but were plugged to the right and left of the sash. Mainly used as work clothes. In the summer it was worn over the main suit, in autumn and winter - over a caftan, short fur coat and other outerwear when performing various work and in bad weather.

Bekesha (Hungarian bekes) - outerwear for men, at the waist, with fees and a slit at the back, trimmed with cords in front. Sewn on fur or wadding 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 hem. 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 the knees or ankles - the length was largely determined by the current fashion and the purpose of the clothing. There were both loose caftans and waist-hugging models. They tried to sew them from good, dense matter - canvas, cloth or silk. The caftan was wrapped in front (the left half was under the right).

There are two varieties of this men's clothing - Russian and camp. Both types were long and featured wide sleeves. But the Russian caftan had straight wedges, and for the sergeant they were cut obliquely. At the back, the skirts of the caftan were longer than at the front, which allowed a person to walk freely without the risk of getting tangled in the skirts 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 girded 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. Often they were 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 from 8 to 12. On the sides of the caftan there were cuts (“holes”), which were also trimmed with buttons. The long sleeve could reach to the wrist.

Instead of buttons, silver gilded gags or turned corals were sometimes used, which were fastened with loops of multi-colored braid. The back of the caftan was often deliberately made shorter than the front: to demonstrate a special 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 to the wrist, without cuffs.

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

At the same time, the invisible parts of the camisole (sleeves, backs) can be made of a more modest material than the shelves.

Sleeves in a camisole can be sewn only in winter.

Since the caftan is worn in tandem with the camisole, they are often made as components of the same costume, complementing each other.

Kazakin - outerwear for women and men for spring, summer, autumn, in some villages - for winter. Cossacks were sewn from factory-made fabrics: cloth, moleskin, nanks, Chinese, casenet, usually lined, winter cossacks were sewn on wadding or fur. Kazakin was a double-breasted, knee-length, double-breasted garment sewn to the waist, with a slashed back and gathers on the back or around the entire waist, with or without a collar, with a collar around the neck. It was fastened to the waist with hooks or buttons-bows, sewn in one or two rows. Festive Cossacks, especially common in the Vologda province, were decorated with garus and silk braid, which was located on the collar, sides and pockets. In the 19th century Cossacks were common in villages, villages and county 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 front and fastened it with buttons (instead of them there could be long laces). For convenience, holes were made on the side of the fur coat - and the decorations of the boots are visible, and it is comfortable to walk. The hem could reach the knees or hide the figure to the very heels. Sheepskin was often used to make warm clothing. By the way, sheepskin coats and fur coats were not in every house. If necessary, they were borrowed from more prosperous fellow villagers. To keep warm, outerwear on the belt was fixed with a belt or sash.

In those places of the Russian North where handicrafts were common and where Russian fishing peasants were in contact with local peoples, there were borrowings from the clothes of these peoples. This mainly concerned work and trade clothing. These clothes include:

The word "shirt" comes from the old Russian word "rub", meaning "piece", "cut".

The most ancient part of the costume was a tunic shirt. It has undergone little structural change. Rough, made of hemp dye, the shirt was comfortable and durable. The tunic-shaped cut of a man'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 cloth panel folded along the weft (a collar is cut through 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 for the entire width of the sleeve, then additional wedges were used, sewn mainly up 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 both straight and 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 lining. It could be one-piece or consist of several pieces sewn together. Background - canvas or sickle (coarse linen or hemp fabric) lining on the chest and back of a men's shirt. The underlay serves for strength: from hard work, the fabric on the shoulders rots with sweat. "The shirt is tinder: the tinder on the shoulders burned out," the people said jokingly.

The clasp on the bar was often made on the left side. It was called a kosovorotka, because it had a section of the collar going vertically downwards on the left side. The collar (low stand) was fastened or tied with buttons or ribbons. Along with the kosovorotka, there were shirts with a slit collar in the middle. White shirts were most often with a straight neckline, but variegated items could be sewn with a slanting or stand-up collar.

Shirts-kosovorotki straight or tunic cut in the Vologda region were considered everyday. They also often wore everyday shirts without a collar, which were called "shabur" or "goloneck". The traditional men's shirt has always been made from natural linen or hemp, 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 (heeled) blue and red or bleached canvas and almost did not decorate.

For festive shirts, the material was taken better: thin linen or rather expensive factory-made purchased fabrics - satin, chintz, satin and calico. The shirt in the eyes of our ancestors 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 of the neck, the bottom of the sleeves, the hem of the shirt. They are the places of the traditional location of the ornament. The gusset could also be a colored decorative detail. Along with patterned weaving and embroidery, braid, sequins, lace, buttons, beads, and a strip of red calico were widely used as decor. In terms of the richness of decorations, the men's festive shirt sometimes was not inferior to the women's.

...

Similar Documents

Folk costume as one of the most ancient and widespread types of folk arts and crafts. A traditional set of clothes, characteristic of a certain area. The uniform of the Cossacks. Russian-Ukrainian basis of the female Cossack costume.

article, added 12/18/2009


The origins of the national costume of the Don Cossacks, the influence of Russian and Turkic peoples on it. The specificity of the kubelka dress in terms of domestic use and aesthetic value. The role of folk costume in the study of traditional culture.

abstract, added 04/25/2011


Features of the national clothes of the village of Napolny. Analysis of the traditional old folk costume of the Mordovians, its history and significance for the study of everyday life and the explanation of historical phenomena in the life of the people. Characteristic features of the costume of the Erzya women of the village of Napolny.

abstract, added 11/15/2012


National household items of the peoples of the Amur region. Types of patterns that craftswomen used to decorate clothes and dishes. Description of the costume of a fisherman made of fish skin and the costume of an Udege hunter. Nanai women's wedding dressing gown "sike". National ornaments.

presentation, added 12/29/2011


The composition of threads for the manufacture of fabric in the Bronze Age. Dyeing of fabric or threads, cutting elements. The use of theatrical and costume in the activities of museums. Recommendations for the use of women's costume of the Bronze Age in the Southern Urals in museum studies.

thesis, added 06/21/2014


Acquaintance with the history of the development of ancient Russian costumes of the pre-Mongolian period and Moscow Russia. Consideration of the features of the cut of everyday and festive men's and women's clothing of the 18th-19th centuries. The study of the characteristic features of the Russian national costume.

course of lectures, added 08/14/2010


The origin, formation and evolution of Japanese traditional clothing. Technique and technology of fabric production. Historical stages in the development of the aesthetic principles of Japanese costume; traditions, rituals, utilitarian, spiritual and social aspects its formation.

presentation, added 04/27/2014


The costume as the most striking and original determinant of national identity. Ways of formation of arts and crafts of the Tatars. Features of the formation and color of the Tatar national clothes, traditional costume jewelry.

abstract, added 10/20/2012


Formation of the Karachay ethnos in the XIII-XIV centuries. and its accession to the Russian Empire. National character, language and religion of the people, the tradition of building dwellings. The economic structure, the specifics of nutrition and the features of the women's and men's folk costume.

presentation, added 02/08/2011


Acquaintance with the history of development and characteristic features of the national Belarusian costume. Characteristic features of women's and men's national costume. Description of traditional upper women's and men's clothing, hats, shoes and accessories.

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

The sportswear and footwear market 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 price, 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 of these issues will ensure the success of the trading enterprise and contribute to attracting 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 of 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 Sportivny Mir LLC. As part of this study, 2,351 respondents were interviewed.

The Sportivny Mir LLC company was established on 12/04/1997. The Sportivny Mir LLC chain of stores sells sports and fashion clothes, as well as sports equipment, focusing on retail trade, covering a wider range of consumers. On the this moment The sports world company is represented by three stores located in the cities of Kazan, Nizhnekamsk, Almetyevsk.

The store is multi-brand, which justifies its name. It presents, first of all, the products of three titans-manufacturers in the world of sportswear, such as Nike, Reebok, Adidas. Moreover, in each Sportivny Mir store they have their own department. All other manufacturers are also located separately from each other, though in smaller quantities and mostly on different racks. Such a display of goods allows the consumer to quickly orientate, without wasting time looking for a thing of a certain company. Also, the advantage of such a display of goods is that the consumer can immediately determine the possibility of acquiring full equipment from one company, which will allow him to create a fashionable and stylish image with minimal time.

The concept of a “quality” assortment of the “Sportivny Mir” company under study in this study is carried out through a comparison of the parameters characterizing the assortment with the parameters of the most successful competitor of the company - 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 multistore under study includes 28 clothing brands and 11 sports footwear brands. The same picture in the Sportmaster chain of stores looks different. For example, Sportmaster presents 47 clothing brands and 23 footwear brands, which in total is almost twice as large as the same number of manufacturers represented in Sports World. This indicates the limited range of the Sportivny Mir store compared to its main competitor. But to draw conclusions only on the basis of the brands presented in stores, we consider it unreasonable. Therefore, we will consider the total number of goods in each of the stores, 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 equipment, underwear, socks and other products that 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 the research, these brands are the most popular among the respondents. For example, Adidas is preferred by 38% of the residents of the Republic of Tatarstan. In second place in popularity is Reebok, 27% of respondents gave their votes to it. In third place is Nike, 13% of respondents are ready to buy clothes and shoes from this manufacturer of sportswear and shoes.

Thus, these three manufacturers occupy more than three quarters of the sports goods market of the Republic of Tatarstan, namely 78% of the total market share. So, if we talk about the range of sportswear and footwear in the Sportivny Mir multi-store chain and the Sportmaster chain of stores, then for both companies to trade successfully, it is necessary that the bulk of the goods on the trading floor be occupied by these three well-known brands. What happens in reality?

As can be seen from Figures 1, 2, the situation in the Sportivny Mir multistore does not differ much from the assortment policy of the Sportmaster company, if we talk about the leading four manufacturers.

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

Rice. 2. Distribution of brands in the assortment of the Sportivny Mir store

Studies have 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 goods presented and 18.80% of the total number of product types (table).

Table. Percentage of brands in the Sportivny Mir store

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

All four fundamental brands are in the category of goods with an average or above average price level. As for the remaining third of the manufacturers represented in both stores, the picture is radically different. Thus, in the Sportivny Mir multistore, brands prevail in the residual share of the assortment, as well as the previous leaders belonging to the middle and above average price segment of the sportswear and footwear market. And again, an important part is the diversity of manufacturers. So, in the "Sports World" there are almost two times less of them than in the Sportmaster chain of stores.

As for the Sportmaster store, the bulk of the brands presented in the remaining third belong to the price level below the average or economy, due to which a wide group of sportswear and footwear buyers is formed, belonging to different social and material levels. This group is practically not represented in the Sports World multistore, which leads to an outflow of customers to a competitor, since in the current situation of an abundance of goods, anyone wants to have a choice, even with the minimum 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 the respondents is sneakers / shoes, 55.1% of the total number of respondents. In second place are shorts/trousers, in this category of goods respondents gave a total of 13.1% of their votes. The third place is taken by (down jacket / jacket) - 10%. Other options suggested by the interviewees themselves include tracksuit (5.6%) and t-shirts/shirts (6.3%). These data were obtained based on the respondents' answers to the question about the purchases they made during the year.

Based on the information obtained during the study, it was revealed that the portrait of the modern consumer of sportswear and footwear is 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 per unmarried person (59%).

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

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

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

Based on the foregoing, it can be assumed that the main consumer in this market uses the desire for the beauty and attractiveness of their appearance as the main motivation for buying sportswear and footwear, and, as a result, a change in social status.

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

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

Over the past two years, a large number of shopping malls have been opened in the Republic of Tatarstan, located near the house, including a huge number of various stores. This combination of different types of goods in one place greatly facilitates the buying process. Since most consumers make large purchases (for a large amount) once or twice a month, which is associated with the schedule for receiving money at work, it is convenient for them to purchase various types of goods (food, household chemicals, clothes, shoes, etc.) etc.). The results of the study confirm this - 74% of respondents prefer to buy sportswear and shoes in the sports departments of shopping centers, and only 13% of respondents do so in branded separately located stores.

It is also worth paying attention to consumer preferences for popular sports brands. The most popular brand, according to respondents, as already noted, is Adidas (38%), followed by Reebok (27%), then Nike (13%), Columbia (9%) and Puma (5%).

This percentage 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 equally high-quality products from 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 on the market of the Russian Federation in the 90s, which led consumers to people's love and absolute trust in this brand to this day.

In addition to price, quality, design, and brand preference are factors that determine the purchaser's choice of a particular product. The most important factors determining the choice of the consumer are the price and quality of the product. This is the opinion of 26% and 25% of respondents, respectively. This is followed by 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 a determining factor by 13.5% of surveyed buyers.

The most attractive for the consumer are various marketing campaigns, one way or another related to lowering the price of 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% of those wishing to purchase two goods for the price of one.

The study made it possible to distinguish 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) in one visit to the store.

The principal role of Big 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 two thirds of the 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 - account for 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 - account for 36.2% of the total number of buyers. They, according to the study, bring the store 25% of the total revenue;
3. buyers with a large purchase - 5-10 thousand rubles - account for 22.5% of the total number of buyers. They, according to the study, bring the store 40% of the total revenue;
4. buyers with a large purchase - more than 10 thousand rubles - account for 13.1% of the total number of buyers. They, according to the study, bring the store 25% of the total revenue.

It follows from the above that it is most profitable for a store to attract consumers with high income levels, who can afford purchases for larger amounts than the category of consumers with an average income level.

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 trading floor is from 1 to 3 thousand rubles, and a check for 30 minutes is already moving into the category of an average purchase, i.e. from 3 to 5 thousand rubles. This principle extends 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 of ​​the trading floor and on the quantity and quality of information about the goods offered in the store. The buyer spends 25 minutes on the trading floor, while 70% of buyers carefully study the information inside the store, and 40% buy a product after learning about it in the store.

A retailer needs to systematize and improve their work with in-store design and communications as much as possible.

This will help:

• increase the time spent by the buyer 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 amount of the purchase, and, accordingly, the profit of the enterprise, depends not only on the area of ​​​​the outlet, the duration of the buyer's stay in the store, the quality of the interior design of the trading floor, but to a large extent on the level of preparedness of the attendants.

Marketing research is necessary for any company operating in any of the market segments. The clothing market is no exception.

At the beginning of the preparation of a marketing research of 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 research and the socio-demographic portrait of the respondents selected for the study.

Be sure to identify 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, respectively, too. Therefore, they cannot be excluded from the study. It is also necessary to assess the loyalty of preferences in this area and find out exactly how a particular shopping center is chosen. Another factor that should be included in the marketing research of the clothing market is the influence of the shopping center itself and its advertising in general and stores in particular on the opinions of consumers and their preferences.

Where to get money to start own business? This is the problem faced by 95% of new entrepreneurs! In the article, we have revealed the most relevant ways of obtaining start-up capital for an entrepreneur. We also recommend that you carefully study the results of our experiment in exchange earnings:

It is also necessary to segment the clothing market according to 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 by style, color scheme, material quality, 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 kind of research is quite capacious and complex. The preparation and drawing up of a research plan will also play a big role, since a sufficiently large number of points will have to be taken into account, to determine the optimal segmentation of both the market itself and consumers who are most satisfied with the direction of the study.

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

After the study is completed, 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 prospective growth of the company's performance in the medium or long term.

Summary Marketing research contains up-to-date information on the state and prospects Russian market men's suit products in 2018.

In the course of the study, the following blocks of questions were considered: the volume and dynamics of domestic production, export-import operations, sales of men's suit products and producer prices. The characteristics of the current market conditions are given and a forecast of its development for the medium term is made. Particular emphasis is placed on factors that have a significant impact on the state of the industry - its drivers and stop factors.

A separate block of the extended version of the study contains a competitive analysis of the largest participants in the men's suit market: manufacturers, exporters, importers and trading companies. In this section, for each of the companies reviewed (where possible), information is provided on the volume of production and / or import / export, market share, promising projects, as well as reference data from the official financial reporting(company card, balance sheet, income statement, etc.).

Research geography: Russia.

Period: statistics from 2013 to 2018, forecast until 2025

The study will help you answer the following questions:
What changes were observed in the volume of production of men's suit products in 2018
What is the presence of foreign products on the Russian market
Which regions dominate production and consumption
Who acts as the main manufacturers in the Russian market
How has the price level changed in the market?
How the market will change in the medium term

Research methodology:
Analysis of materials from open sources
Collection and analysis of secondary market information
Analysis of materials received from market participants
Studying the financial and economic activities of market participants
Desk work of IndexBox specialists
Expert survey market participants (only for the extended version of the report) Content 1. SUMMARY

2. RESEARCH METHODOLOGY

3. CLASSIFICATION OF MEN'S COSTUME PRODUCTS

4. MARKET OF MEN'S COSTUME PRODUCTS IN THE RUSSIAN FEDERATION
4.1. Apparent consumption in 2013-2018
Forecast for 2018-2025
4.2. Market structure: production, export, import, consumption
4.3. Structure of consumption by federal districts in 2013-2018
4.4. Balance of production and consumption
4.5 Average per capita consumption in 2013-2018

5. PRODUCTION OF MEN'S COSTUME PRODUCTS IN THE RUSSIAN FEDERATION
5.1. Production volume in 2013-2018
5.2. Structure of production by federal districts in 2013-2018
5.3. Investment projects in the industry until 2025

6. PRICES IN THE MARKET OF MEN'S COSTUME PRODUCTS IN THE RUSSIAN FEDERATION
6.1. Average producer prices in 2013-2018
6.2. Average export price in 2013-2018
6.3. Average import price in 2013-2018

7. FOREIGN TRADE OPERATIONS IN THE MARKET OF MEN'S COSTUME PRODUCTS IN 2013 - 2018
7.1. Volumes of foreign trade operations in 2013-2018
7.2. Trade balance in 2013-2018

8. IMPORT OF MEN'S COSTUME PRODUCTS IN THE RUSSIAN FEDERATION
8.1. Product import volume in 2013-2018
8.2. Producing countries, leading deliveries to the territory of the Russian Federation in 2018

9. EXPORT OF MEN'S COSTUME PRODUCTS FROM THE RUSSIAN FEDERATION
9.1. Product export volume in 2013-2018
9.2. Recipient countries of Russian exports of the product in 2018

10. FORECAST OF THE MARKET OF MEN'S SUIT PRODUCTS
10.1. Factors affecting the development of the market
10.2. Scenarios for the development of the Russian economy
10.3. Scenarios for the development of the product market until 2025

APPENDIX: COMPETITIVE ANALYSIS OF KEY MARKET PARTICIPANTS (Extended version only)
11.1. Russian manufacturers and their output volumes and market shares in 2018
11.2. Russian exporters and their export deliveries in 2018
11.3. Foreign manufacturers and their volumes of deliveries to the Russian Federation in 2018
11.4. Russian importers and their supply volumes in 2018
11.5. Comparative competitive analysis of key market players
11.6. Profiles of leading market participants List of tables Table 1. Key indicators in the men's suit market in 2013 - 2018
Table 2. Classification of men's suit products according to OKPD
Table 3. Classification of men's suit products according to FEACN
Table 4. The volume and dynamics of the market for men's suit products in 2013-2018 and forecast up to 2025 (under the base development scenario)
Table 5. The balance of production and consumption in the men's suit market in 2013-2018 and forecast until 2025
Table 6. Manufacture of men's suit products in 2013-2018
Table 7. The volume of production of men's suit products by type in 2013-2018
Table 8. Manufacture of men's suit products by federal districts in 2013 - 2018
Table 9. Investment projects in the industry in 2018-2025
Table 10. Average prices of manufacturers of men's suit products in the Russian Federation in 2013 - 2018
Table 11. The volume of imports of men's suit products by country of origin in 2018, units rev.
Table 12. The volume of imports of men's suit products by country of origin in 2018, thousand US dollars
Table 13. The volume of Russian exports of men's suit products by countries of receipt in 2018, units rev.
Table 14. The volume of Russian exports of men's suit products by countries of receipt in 2018, thousand US dollars
Table 15. Dynamics of the resident population in 2010-2018, million people

APPENDIX
Table 1. The structure of the production of men's suit products by manufacturing companies in 2018 in physical terms and in % of the total production volume in the Russian Federation
Table 2. The volume of Russian exports of men's suit products by manufacturing companies in 2018 in physical terms
Table 3. The volume of Russian exports of men's suit products by manufacturing companies in 2018 in value terms
Table 4. The volume of imports of men's suit products by manufacturing companies in 2018 in physical terms
Table 5. The volume of imports of men's suit products by manufacturing companies in 2018 in value terms
Table 6. The volume of imports of men's suit products in the Russian Federation by recipient companies in 2018 in physical terms
Table 7. The volume of imports of men's suit products in the Russian Federation by recipient companies in 2018 in value terms
Table 8. Comparative competitive analysis of key market players
List of drawings Figure 1. The volume and dynamics of apparent consumption of men's suits in 2013-2018 in physical terms and forecast up to 2025 (under the base development scenario)
Figure 2. The volume of apparent consumption of men's suit products in value terms, 2013-2018 and forecast up to 2025 (under the base development scenario)
Figure 3. Dynamics and structure of the men's suit market in 2013-2018
Figure 4. Market structure of men's suit products by origin in 2018
Figure 5. Structure of consumption by federal districts in 2013-2018
Figure 6. Dynamics of per capita consumption of men's suit products in 2013-2018
Figure 7. Annual production of men's suits in 2013 - 2018
Figure 8. Manufacture of men's suit products in 2015 - 2018 by months
Figure 9. The structure of the production of men's suits in 2018 by type in physical and value terms
Figure 10. The structure of the production of men's suits by federal districts in 2013-2018, in kind
Figure 11. Average import prices in 2013-2018
Figure 12. Average export prices in 2013-2018
Figure 13. Comparison of average prices of manufacturers of men's suit products by federal districts in 2018
Figure 14. Annual dynamics of imports of men's suits in the Russian Federation in 2013-2018
Figure 15. Annual dynamics of Russian exports of men's suits in 2013-2018
Figure 16. The volume of foreign trade operations in the men's suit market in 2013-2018
Figure 17. Trade balance in 2013-2018
Figure 18. The structure of imports of men's suits in the Russian Federation by country of origin in 2018, in physical and value terms
Figure 19. The structure of exports of men's suits by countries of origin in 2018, in physical and value terms
Figure 20. The structure of Russian exports of men's suits by countries of receipt in 2018, in physical and value terms
Figure 21. Dynamics of the physical volume of GDP in market prices in the Russian Federation in 2010 - 2018, in % of the previous year
Figure 22. Dynamics of real disposable money income of the population in the Russian Federation in 2013-2018, in % to the previous year of the previous year
Figure 23. Dynamics of nominal and real wages of the population of the Russian Federation in 2010 - 2018
Figure 24. The structure of the population of the Russian Federation by income level in 2018, in % of the total
Figure 25. Dynamics of nominal and real turnover retail in the Russian Federation in 2010 – 2018, billion rubles
Figure 26. Structure of retail trade turnover by type of product in 2010-2018, in value terms
Figure 27. Forecast of consumption of men's suit products in the Russian Federation in real terms under the baseline scenario in 2018-2025
Figure 28. Forecast of consumption of men's suit products in the Russian Federation in real terms under the optimistic scenario in 2018-2025

APPENDIX
Figure 1. The structure of the production of men's suit products by manufacturers in 2018 in % of total production in Russia
Figure 2. Market structure of men's suit products by key players in 2018

Brief description of the study
Ready-made analysis of the men's clothing market in Russia. The study contains information about the market volume, growth rates, development trends and prospects, and other key indicators.

The research report consists of 10 chapters

Chapter 1 presents technological characteristics research.

IN Chapter 2 presented general characteristics and classification of men's clothing.

IN Chapter 3 presents data on the volume and growth rate of the menswear market in Russia.

IN Chapter 4 provides information on the production of men's clothing in Russia.

IN chapter 5 considers data on import-export operations with men's clothing in Russia.

IN Chapter 6 the main factors, events, trends and prospects for the development of the men's clothing market in Russia are considered.

IN Chapter 7 the level of prices in the market of men's clothing in Russia is considered.

IN Chapter 8 analyzed consumer preferences in the men's clothing market in Russia.

IN Chapter 9 the main sales channels for men's clothing in Russia are considered.

IN Chapter 10 the main players in the men's clothing market in Russia are considered.

Purpose of the study

To characterize the current state and prospects for the development of the men's clothing market in Russia.

Research objectives:

1. Determine the volume, growth rate and development dynamics of the Russian menswear market.

2. Determine the volume and growth rate of menswear production in Russia.

3. Determine the volume of imports to Russia and exports from Russia of men's clothing.

4. Identify and describe the main segments of the men's clothing market in Russia.

5. Make a forecast for the development of the men's clothing market in Russia.

6. Determine the key trends and prospects for the development of the menswear market in Russia in the next few years.

7. Determine the key factors that determine the current state and development of the menswear market in Russia.

8. To characterize consumer properties of various commodity groups of men's clothing.

9. Describe the financial and economic activities of the participants in the men's clothing market.

10. Monitor prices and determine the level of prices in the men's clothing market in Russia.

Object of study

Men's clothing market in Russia.

Data collection method

Monitoring materials of printed and electronic business and specialized publications, analytical market reviews; Internet; materials of marketing and consulting companies; results of research DISCOVERY Research Group; expert interviews

Research Information Base

1. Databases of the Federal Customs Service RF, FSGS RF (Rosstat).
2. Materials DataMonitor, EuroMonitor, Eurostat.
3. Printed and electronic business and specialized publications, analytical reviews.
4. Internet resources in Russia and the world.
5. Expert polls.
6. Materials of participants of domestic and world markets.
7. Results of researches of marketing and consulting agencies.
8. Materials of branch institutions and databases.
9. Price monitoring results.
10. Materials and databases of UN statistics (United Nations Statistics Division: Commodity Trade Statistics, Industrial Commodity Statistics, Food and Agriculture Organization, etc.).
11. Materials of the International Monetary Fund (International Monetary Fund).
12. Materials of the World Bank (World Bank).
13. Materials of the WTO (World Trade Organization).
14. Materials of the Organization for Economic Cooperation and Development (Organization for Economic Cooperation and Development).
15. Materials of the International Trade Centre.
16. Materials Index Mundi.
17. Results of the DISCOVERY Research Group.

Sample size and structure

The procedure for content analysis of documents does not involve the calculation of the sample size. All documents available to the researcher are subject to processing and analysis.