Romanian Symbol - Costumes, Traditions and

Inspirations.

Popular port is one of the most significant forms of the culture of a nation on
the basis of achieving the numerous research: the genesis of the historical
and the main stages of evolution, contemporary forms and scope of
spreading, originality in relation to the port of other nations, his contribution
in the process of the genesis of a nation.

In the long track process of evolution of the space suit popular progress has
been more in the modernization of the parts, than in the improvement or
improvement of croielii. The basic part has been shirt, worn both men and
women. Specials Suit have a specific part, namely in, and the womanish fota
or catrinta.of clothing for the summer season in the cold is sarica, but also
the breastplate, made from the skin of the animal or the hat, inherited from
the Dacians.

In the evolution of the port is popularly highlights the three stages.In the first
stage of the Romanian port was given in relation to that of the neighboring
peoples and differentiated according to the area. Color gamut has
differentiated locally on the categories of age and area by the preferences
for certain techniques, reasons, etc.

The second stage has been influenced by the local area.industrial materials
have replaced the household textiles. Parts of influence the public bathhouse
appeared as protectors of the traditional (blouse over his nightshirt, his
kerchief in place of the white maramei, etc ) Soon, traditional parts have
been replaced in the port on a daily basis, and then in the port of celebration.
The decline in the traditional port widened in several areas with the
development of the economy and the connections with the cities. To leave
the port is a romanian traditional has contributed and goes for the martyrs
, which in the fight for wealth and desire the highlight has adopted the suit
orăşenesc.

In the third stage, contemporary popular suit is no longer used on a regular

basis or to the Agricultural Affairs The port is also used locally for recouping
traditions of artistic or at events and public holidays in the regions of the
country where the most preserves the heritage and the habits of the ancient
times.
Care for human appearance and attention to appearances was always
been an emphasizing for humanity. With all that fashions change from year to
year and is often prey to the temptation to fold, clothing is converted to bear
the social messages, moral, aesthetic, social hierarchy.

The drapery that appears in the myth of the origin of the sequence, expulsion
Eve and Adam in the Garden of Eden. The coat is here two meanings: can
be considered as a divine but, but also symbolizes the decay of human
finished.leaf garments represents at the same time goliciunii awareness, but
also the recognition of sin.

Along the time the drapery receives social significance, becoming a way to
know the rank and the hierarchy. decoration, materials, colors,
design, become elements of the costume through which the company
interprets the membership of the bearer. Also, jacket transmit emotions and
semtimente. For example, white or black, clothes of mourning shall transmit
to the pain of the relatives, and in certain communities is a way to protect
the living spirits of the dead.

Discovery of the message of the popular suit involves a careful reading of all
existing signs (shapes, colors, accessories, etc). popular suit communicate
and the national, each nation arborandu and traditional port and the flag,
both with the same symbolic value.

As an element utility, the suit relates to the geographical and climatic, at the
occupations and crafts.As a separate item of adornment, it is linked to the
most important ceremonies in the life of the bearer.

Popular suit is the basic part shirt long, of white color. With a clear influence
the byzantine tradition, the suit popular not can be imagined the shirt with
short sleeves.For a long time, the length of the shirt was imposed by the
morality and has been kept as a symbol of the dependence of the female sex.
From birth to death, nightgown she accompanies the peasant from the works
of the field and to celebrate. It indeplinste also the role of social mark, in the
framework of the rural areas.There is a jacket duminicilor, of holiday of the
year, the Easter and Christmas, sleeve of the Virgin and the widow, wedding,
of confinement and of the baptism of traditions and customs, sleeve of
death.For the Romanian peasant, the birth, the wedding and funeral were the
most important events, being treated in accordance with the particulars and
the prohibitions inherited by tradition.

In the event of a logodne, if the front of the supports was required to weave
and shirt cropped up the bride and his kerchief. The shirt the bride after that
later to be used as the first jacket sheared or jacket of burial of her husband.
His kerchief was the connection between the two young people in front of
God, by participating in the wedding ceremony, as a sign of the fertility
(being worn by comes to incingatoare), but also of the unifying the two on
the other world, this during the life of the stand to the icon of the house as
possible, and at the death of their husbands being divided by in half for each.
Must be disclosed and sleeve from his mother, worked by the bride as
proof of proficiency and its talent.

In some areas, ethnographic, put on certain parts of portde by the bride , on

the day of her wedding, was compulsory. In Teleorman, brides wore that the
part as compulsory with curly or with clini, with or without sleeves, long up
below the knee, decorated with made with ihra white and green. In the
southern part of the country, the powerful brides wore on his head a fez the
felt very topmost bobble with black. In Mehedinti, it was necessary that the
bride and nasa to bear valnicul red, with which it is and inmormantau.

Mother shirt was embroidered with the sign of the cross over him and during
the birth in the hem of his shirt were sewn talismans- garlic powder or basil.
The shirt lauzei had robes embroidered with red crosses in the right breast in
order to protect the symbolic milk. diapers and sleeve brat were devised in
the sleeve the bride of his father in order to protect it from the evil spirits
with the force of his father.

The burial was accompanied by a series of practices and beliefs. In this

context appears and the part of clothes, sleeve to the dead.tailored as a bag,
sleeve was fitted with four holes in the form of the cross, with which he was
wearing the late in order not to be converted into the ghosts.

The holidays of the year require a number of signs and symbols, involving the
clothing. For example, nightshirt Dragaica carried within the framework of an
agrarian rite called "Sanzienele", was the most beautiful of cylinder liners, of
the most soaring projects and more hard working girls, Dragaica chosen.
"Brasov will", usually specific of the zone, brings to the foreground the suit of
an old organizations of the military-popular. The nightgown June, worn by the
slavemaster, worked 4 women for 4 months for the finished product to be
covered with 40,000 flakes and the Glass Bead Game, nightshirt weighing in
the end almost 10kg.

The suit popular but marks and biological characters of the individual.
The difference of sex is marked especially by the basic part of his suit- shirt,
brow on his neck for women and the right for men. But, depending on the
season, both women and men, the gate over pieptare shirts, cojoace and
clothes large fur .
Each group of social or age level has the code or symbols.These attributes
garments it is emphasized by gateala head, the decor and the color of the
parts from the port. The differences in age and civic status were marked
primarily by pompadour and cover of the head. The girl who came from the
dance for the first time he had been worked in the hair with multicolored
tasseled, cununite of artificial flowers or natural, beads, clips of bone with
stones in color. In the area of the country that is substantiated, the girls
reached the age of the marriage were putting his wealth. ornamental chroma
and gets worse with age, culminating with the port and grooms and arriving
at a coloring sober to elders.

Another aspect that made the difference is that linked to the occupation of
the bearer.The Plowman to field is the sort of clothes cabinets and the
summary and the shepherd with mixed-looking shag rug from it and it from
the weather. Male shirt with barburi or shirt mocaneasca is a component in
the course of time the port. There is pacuraresti bores of the shepherds of
Northern Transylvania, soaked in whey, because the fabric to become
waterproof floors.

In time, clothing became a symbol of the superiority of economic

development. From the desire to individualise the category poor people,
assigned the inhabitants of the villages have changed the morphology of the
decorative fields and enter parts of the town, making the clothes a way of
promotion of their position social and economic problems.

In Gorj county is a special of his suit schileresc manlike. Released in

sec. XIX , this type of suit has developed on the old port traditional, to which
have been added to flourish-with the Emperor stood poised and applications
for the fabric of the colored. In the area of the mining Abrudului , women
wore convinces us on holidays 2 pieptare: one short, tightly on the waist,
another long term, clini rods, shoot with wire of gold. Are remarkable
camasoaiele oltenian , held only by women or liners embroidered with beads
and flakes, worked by the women of the village for teachers, the priestess or
his wife to the mayor, thus becoming the social brands.

The costumes in Arges county, costumes from the Court shall be noted in the
abundance of the wire and metallic paietelor, present on all its laptop. The
suit the woman from Muscel, who between the years 1890-1910 penetrate
and at the city, at the groups of intellectuals and even at the Royal Court.
Queen Elizabeth, in 1885, suggest that at the Yule Ball the court the ladies
all to dress in costumes. In this way, the Royal House start a real fashion,
through which were merged elements of the costumes parts with the
western world. Fashion wearing the popular costumes is growing
 particularly in the context of the organizes, being a form of manifestation of
national feelings.

In the space suit rituals Romanian popular finds its roots in the port of our
ancestors thracians, the Getae and dacians being subjected to a continuous
developments, but kept unspoiled essential features: unit and its
continuity.popular port is a symbolic review of the entire mythologists and
cosmogonii start.the secrets of craftsmanship to fabricate clothing - not
learned from books - but from the women of the village. The orders from
generation to generation - from mother to daughter. The girls are not
marrying her until she did not know 's motor purred into and to weave.

During the hours of working, women said a prayer Orthodox Church for the
communication with the divinity: "Your Pantry Mantuitorule, see
embroidered. And clothing I do not like to go. Illuminate me Jacket - the
secret of my soul! And I mantuieste, my Savior". So - the suit popular was the
secret of the soul of the Woman - the glory of the entire family.

Romanian Symbol - Costumes, Traditions and Inspirations.

Popular port is one of the most significant forms of the culture of a nation on
the basis of achieving the numerous research: the genesis of the historical
and the main stages of evolution, contemporary forms and scope of
spreading, originality in relation to the port of other nations, his contribution
in the process of the genesis of a nation.
In the long track process of evolution of the space suit popular progress has
been more in the modernization of the parts, than in the improvement or
improvement of croielii. The basic part has been shirt, worn both men and
women. Specials suit have a specific part, namely in, and the womanish fota
or catrinta.of clothing for the summer season in the cold is sarica, but also
the breastplate, made from the skin of the animal or the hat, inherited from
the Dacians.

 Source: Ovidius University Annals, Series Economic Sciences . 2014 Special

Issue, Vol. 14, p119-124. 6p.
 Abstract:The beauty and diversity of the Romanian folk costume, is the
emblem of members recognition of a community, a mark of ethnic identity, is
 a means of communication, witness of civilization stages, evolution and
structure mutations, with highly visible meanings nowadays, especially in
the last century - the fastest transformation scene. An important influental
piece of art was the Romanian embroided peasant shirt who had a deep
impact on famous designers such as Yves Saint Lauren, Jean Paul Gaultier,
Kenzo but also royal blood like Queen Elizabeth and Princess Mary, wife of
the Crown Prince Ferdinand. The embroidered peasant shirt (romanian term -
ie) is the leading opera created by the contribution of countless generations
of women, ciphered in ornaments, good aspirations, happiness and beauty of
our people.

The folk costume

The folk costume is one of the most important forms of culture of a people,
being the basis for many research: the historical genesis and the milestones
of evolution, the contemporary forms and the range, its originality compared
with the other people’s folk costumes, its contribution to the genesis of a
people.
Within the Romanian folk costumes, the costume from Marginimea Sibiului
occupies a special place because of its note of elegance, sobriety and
simplicity, which is why at the beginning of the XXth century, the Romanian
intellectuals in Transylvania adopted it as a national emblem.

Human care and attention for his appearance has always been a defining
element of humanity. Although fashion changes from year to year and people
often fall prey to the temptation to comply to it, clothes are transformed to
carry social, moral, aesthetic and social hierarchy messages.

In the following lines we will complete the picture, marking the defining
elements for both female and male folk costume, accorHead coverings and
ornaments

Women’s folk costume

The piece of clothing that covers the head has several names, such
as cloth (specific to the folk costume of Sălişte, worn on weekdays,
black), pahiol (made of silk, with a texture like Maram, lightweight and
having a complicated system of clamping ), velitura. The latter is considered
by authors as „the most complicated head shawl of one known in the
Romanian space “(p.12), having two components: vâlitura, which forms the
helmet and ciurelul, a thin veil that lies over it and also secures the head.
The complexity of this velitura is confirmed by the existence of several
types: a) of Poiana type considered a primary type of velitura, having a
circumference of about 65 cm, almost round; b) of Jina type, is characterized
by an accessory element, namely the paperboard supporting the vâlitura;
c) of Rod type, in which the folds of the vâlitura are no longer transversely,
but anterior-posterior.

Men’s folk costume

The hat and the cap are the two invariant elements in the men’s folk
costume in this area, varying in shape, size, composition.

The hat is black, small, having small brims and worn in less cool seasons and
on holidays. As signs of virginity, they are embellished with flowers, beads
and feathers arranged on the right. In winter men use a round bottom cap
whose diameter may exceed that of the opening.

Ie / shirt
Women’s folk costume

Beyond the aspects that individualize each area, the woman’s shirt is
generally characterized by a sobriety of the ornaments (altițe– decoration
across sleeve and pui– decoration along the sleeve sewn with black loose
cotton) and of the chroma, embellished with fodori and having relatively
small sizes.

The sober color (using black and very unobtrusive, yellow, red and blue)
of râuri (stripes) on chest and sleeves, of leaves and artificial flowers motifs
and fodori on sleeves lined with black lace, confers a remarkable elegance to
this piece of clothing, being considered ‘among the most successful’ folk
costumes (I. Moise & H. Klusch, p.14).
Men’s costume

Men’s shirt is made of a white cloth and decorated with motifs discreetly
using a reduced chromatic register, giving it both elegance and sobriety.
The shirt made of giolgiu (an industrial cloth) also appears,
with barbi (gussets under the shirt opening, both front and back, specific to
this region), a narrow collar that binds with băieri and sleeves. The
ornaments are arranged around the barbi and shirt opening.

Vests and fur coats

Transylvanian doublets(vests) are recognized by their tailoring and sober

ornamentation.

The ornaments are intensified in this piece (weaving braids in shades of

bright red, and ,, sirom “-thin colored leather, wollen or black silk). There are
two types of vests: spintecat-specific to this area, open in front, with silk
tassels, and înfundat, of archaic type, ended sideways, smaller but with a
flawless execution of the ornamentation. Coats have large side gussets and
the edges are hemmed with otter or lamb fur, are tied with tassels at the
neck and are very popular on holidays.

Cătrințe/ cioareci (skirts/trousers)

Women’s clothing
The Transylvanian shirts being shorter, give rise to underskirts, which may or
may not be clipped on shirt and worn over with cătrințe (aprons).

These skirts are white, wrinkled and undecorated, the ia (shirt) is dark,
having tassels at the bottom of the warp and the edges are trimmed with
lace. The tricolor belt supports under the apron the poale.

Men’s clothing

Men’s trousers are made of white pănură (woolen cloth) for the season cold
and of light cloth for hot seasons and are very tight to the leg. Borders along
the trousers have a certain type of seam called mielușei.
Footwear

Both the women’s and the men’s folk costumes stands in a waiver of
traditional peasant sandals opinci for boots, shoes, or long boots (boots in
the Târnavele area are called crețe).
ding to each piece of clothing.
La Izvorul Dorului” Folklore Festival

Romanian cultural events used to be cultural sittings organized in order to

clarify some issues troubling the life of the village, or to read books. They
were held on Sundays or during winter. An important role was assigned to
teachers, who completed the sittings’ program with artistic programs: school
choirs, folk dances, poetry reading.

The desire of preserving local habits led to the formation of folk dance
groups. The first popular dance band belonged to the “Firul Roșu” Factory,
then another belonging to the House of Pioneers (nowadays known as the
Students’ Club) under the leadership of the talented Silvia Macrea.

10 years ago, Tălmaciu High School folk group was founded under the name
“Acasă la români” (At the Romanians’ Home). Talented students participated
in cultural events in the country and abroad (Italy, France, Finland, Spain,
Germany, Switzerland), enjoying great success.

There are some events that have become tradition in the village. Each year
the “La Izvorul Dorului” National Folklore Festival for children and young
people takes place in early May. This festival has a large participation from
all over the country. We note several ensembles that participated in all
editions held so far: “Transylvania” from Sălişte, “Mugurelul” from Oradea,
“Poieniţa” from Poieni / Cluj, “Românaşul” from Cluj, “Citera cu dor” from
Ciuruleasa /Alba, “Rapsozii Târnavelor” from Micăsasa / Sibiu, “Mărginenii”
from Orlat/Sibiu, “Mugur de castan” from Tismana, the Macedo-Romanian
Ensemble “Lea Muşata Armana” from Stejaru / Tulcea, “Oltencuţele” from
Turnu Severin.

A folk costume (also regional costume, national costume, or traditional

garment) expresses an identity through costume, which is usually associated
with a geographic area or a period of time in history. It can also indicate
social, marital and/or religious status. Such costumes often come in two
forms: one for everyday occasions, the other for festivals and formal wear.
Following the outbreak of romantic nationalism, the peasantry
of Europe came to serve as models for all that appeared genuine and
desirable. Their dress crystallised into so-called "typical" forms, and
enthusiasts adopted that attire as part of their symbolism.
In areas where Western dress codes have become usual, traditional
garments are often worn at special events or celebrations; particularly those
 connected with cultural traditions, heritage or pride. International events
may cater for non-Western attendees with a compound dress code such as
"business suit or national dress".
In modern times, there are instances where traditional garments are required
by sumptuary laws. In Bhutan, the traditional Tibetan-style clothing
of gho and kera for men, kira and toego for women, must be worn by all
citizens, including those not of Tibetan heritage. In Saudi Arabia, women are
also required to wear the abaya in public.

The development of Estonian folk costume was, over the centuries,

influenced by the fashions of the upper classes and the traditional costumes
of neighbouring countries. Most of all, however, the dress of our village
society was influenced by well-established native traditions and customs. At
the same time, folk costume denoted national belonging and social status,
and both everyday and festive clothing constituted a complicated system of
signs, referring to the wearer’s social status, age and marital status.

Clothes were generally divided into three parts:

 festive clothes which were worn only on festive occasions and were handed
down from generation to generation;
 visiting clothes for errands, business and visits of less festive nature;
 working clothes which were worn every day and which were made of poorer
material and without decorations; sometimes old visiting clothes were used.
Clothes were basically made of homespun woollen or linen fabric: shirts and
married women’s head-wear were mostly made from linen, while various
outer garments, gloves, stockings and socks, were made from wool. Most of
the clothes remained undyed: linen garments were bleached white, woollen
outer garments were mainly sheep-brown or black. The wool for making
skirts was dyed with herbal dyes. The bedstraw root was particularly widely
used to produce red colouring. Indigo was the first dye to be widely bought
during the 18th century.

Young men and women received a complete set of festive clothes for
confirmation, which marked their coming of age. There was no marked
difference between the clothes of a bachelor and a married man; but a strict
difference was maintained between the clothes of a girl and those of a
married woman and also between the garments of a wife and of a widow. A
girl did not cover her head in summer and partly even in winter, using only a
ribbon or a garland to fix her hair and decorate it. A girl also did not wear an
apron in most parts of Estonia. A married woman, on the other hand, had to
cover her hair and wear an apron. It was believed that an apronless mistress
of the farm would damage the fertility of the fields. A pregnant girl had to
wear an apron as well.

Festive clothing comprised all sorts of finery, but some items were also worn
with everyday clothes. Parents gave festive finery to their daughters on their
attainment of maidenhood; for that purpose a wealthier farmer was even
prepared to sell a cow or a young ox. Finery, as precious objects, was
handed down from generation to generation. The mother's finery was usually
inherited by an elder daughter, or in case of no daughters, it went to the wife
of the eldest son.

Both the jewellery and ornaments on clothing did not have a purely
decorative effect; they had to protect the wearer against all evil.

Beads were traditionally worn every day. White and colourful glass or stone
beads were put round a little girl's neck when she cut her first tooth. A
woman wore her beads day and night, at a party or at work, and took them to
her grave with her. Beads were believed to bring good health, and those who
did not wear them were considered unlucky.

BELTS

The jewellery of Setu women is especially fancy and meaningful. A Setu bride
had to have at least two kilos of silver around her neck at her wedding and if
she did not possess that much silver, it had to be borrowed. Amongst items
of clothing, belts and mittens were believed to have the most protective
powers. Mittens were supposed to protect the wearer from hostile people or
forces. While dealing with important matters, woollen mittens were worn
also in summer or tucked in your belt.
Although Estonia is small, there were numerous local differences in folk
costume. Four major groups can be mentioned here — Southern, Northern,
Western Estonia, and the Islands. The condition of serfdom in which the
peasantry lived was largely responsible for the way in which local
differences were formed and preserved. People moved around mostly within
the borders of their home parish. The principal meeting point was the church.
Local traditions of dress were strictly maintained. It is known, for example,
that a woman in Saaremaa who married into another parish, wore her local
clothes until her death, whereas her daughters clothed themselves in
garments typical of their father's parish.