Why Did Peter the Great Change Fashion
Russian federation: History of Clothes
The systematic study of the history of clothes in Russia began in 1832 with the publication of a book by the president of the Academy of Arts, Aleksei Nikolaevich Olenin (1763-1843). The occasion for the writing of this book was a decree of the Emperor Nicholas I, who expressed the desire to see a painting with many figures on the theme of the most important issue in Russian history: the baptism of the Russian people by Prince Vladimir. The goal here would be to represent all the classes of Russian society in conditions and clothing that approximated as accurately as possible the bodily weather and clothing.
Ninth to Thirteenth Century Russian Clothing
Actual specimens of Russian dress from early Russian history and even from the ninth to the thirteenth centuries had not been preserved. The but way to recreate what Russians looked like in that epoch was to examine all the possible sources: the archaeological information, all manner of written documents, equally well as works of handicraft and decorative art. The well-nigh reliable information that we have apropos Russians apparel of the pre-Christian period comes from our cognition of the materials common to that flow: hides and leather, bast, wool, flax, and hemp. The fashion of wearing apparel did not differ from that of the other Slavonic nations. This was determined by constant communication between these nations, by a similar manner of life, and by the climatic weather. Women wore rubakhi (long shirts) down to their ankles and with long sleeves gathered up on the wrists; married women too wore the so-called ponevu (a kind of skirt consisting of a checked-design woolen cloth. Married women completely covered their pilus by a povoi or ubrus in the grade of a towel, while maidens wore a venchik (a narrow ring of fabric or metal) on their foreheads. Maidens of the richer urban families had the resources to ornament themselves with a koruna, which differed from the venchik only by its more complex shape and stop. Men wore narrow porty (trousers) and tunic-like sorochki (shirts) of linen, down to their knees or their mid-calves. The footwear consisted in primitive shoes chosen lapti woven of bast, while the city-dwellers wore lapti made of raw leather. Nosotros also know that men of the upper classes wore boots of fine workmanship. According to the testimony of Akhmet (the ambassador of the Bagdal caliph Muktedir), at the beginning of the tenth century Slavonic men wore cloaks of dense fabrics that left one arm gratis.
The appearance on the territory of Eastern Europe of the showtime feudal Slavonic land, that of Kievan Russia, led non but to political and economical advocacy, but also to increased merchandise and diplomatic contacts. At this stage of development, upwards to the Tatar-Mongol invasion in the thirteenth century, the dress of the upper classes of Russian society corresponded to general European tendencies in the domain of clothing, although it preserved sure native characteristics.
Byzantine Influence on Russian Dress
Co-ordinate to tradition, it was the magnificence and great solemnity of the Byzantine liturgy that led the Kievan prince Vladimir to cognominate Russia in 988. Grandiosity and pomp, a magnificent style of walking, become the accustomed ideal of beauty in Russia up until the period of the reforms of Peter the Great at the starting time of the eighteenth century. The short-flap male dress well-nigh disappeared from the Russian court under the Byzantine influence, although peasants connected to wear it for two more than centuries. However, the size and length of the apparel were substantially reduced compared with what was worn in Constantinople. There was a prohibition confronting taking many types of fabrics out of Constantinople, and for this reason the garments of the Russian princes and of those close to them were, for the most part, rougher and less colorful. They were made decorative by an abundance of finishing touches on the collar, gage, and hem. We know that when Prince Sviatoslav Igorevich (who died in 972) met the Byzantine Emperor John I Tzimisces, he was dressed with emphatic simplicity in a white shirt and porty. The sole luxurious object that he wore was a single gilt earring with 2 pearls and a crimson. It was merely by the middle of the eleventh century that dress of the Byzantine blazon took house root in Russian federation. A ceremonial garment to be worn in the courtroom was defined by which members of other classes were prohibited from wearing it. Information technology consisted of a korzno, a pocket-size rectangular or circular cloak, which was thrown onto the left shoulder and clasped on the right shoulder by a precious fibula. All that remained of the former dress was a round, fur-trimmed hat and various small details of cut and ornamentation. At that place was no difference between the woman's chapeau and that of the man, although the former was worn with a shawl or veil. Of very ancient origin were the poliki and lastovitsy-colored inserts on the shoulders and nether the arms, which were both extremely functional and besides served every bit a decoration on the linen shirts that peasants wore until the cease of the nineteenth century. Members of the upper classes and rich urban center-dwellers wore such shirts at home. To garments simple in cut a decorative character was imparted by hanging ornaments: numerous bracelets, beads, finger rings, and small and big kolty (earrings) for women. The dress of this flow did not reveal the shape of the body merely had a bulky graphic symbol. Equally a dominion, the apparel were put on over the head and had a small decorative opening in front. Russian dress did non have any draping elements, either in the case of the upper classes or, specially, in the case of the peasantry. Common folk contented themselves with rubakhi of homemade cloth, while members of the upper classes wore a sorochka (second shirt) made of expensive imported fabrics.
Earliest Images of Russian Royalty
Ane of the earliest images of the princely family is known from the "Collection of Sviatoslav" (1073), which gives an thought of the style of that epoch and which is clearly continued with the tendencies common in medieval Europe. The prince and his son are represented in furtrimmed hats, which promoted the legend of the "hat of Monomakh." The Kievan prince Vladimir (1053-1125) received the name "Monomakh" considering he was a grandson of the Byzantine emperor Constantine Monomakh, who supposedly sent the regalia and the hat-crown to the son of his daughter. However, information technology has been established with certainty that the start crown appeared in Moscow simply at the beginning of the fourteenth century and was a sharp-pointed golden hat of eastern craftsmanship, with a cross and sable trim. The subsequent hat-crowns were fabricated in the workshops of the Moscow Kremlin in imitation of this headdress (for example, the crown of Peter the Bully, 1627).
Tatar-Mongol invasion
The Tatar-Mongol invasion led to a interruption in the contacts with Western Europe, and the immediate proximity with Turkic-speaking peoples led to a change in the form of Russian dress. Rashpatnyi clothing with a slit in front from superlative to lesser appeared, and men wore broad trousers. I must say at once that, even later on having borrowed the cut, terminology, and certain elements of this foreign dress, Russians never lost their own national identity when it came to clothing. A adept example of this is the caftan, a type of wide-opening garment with a deep wrap-over, worn by both men and women. The old Russian word for this garment is derived from the Western farsi discussion. In those cases when, in its fabric and details of cut, the caftan did not differ from the garments of other Eastern nations, it was wrapped over on the right side and belted or buttoned with klapyshi (coral, silver, or os stick-buttons, which, in the twentieth century, Russian artists began to utilise once again, this time for able-bodied dress), decorative braided fabric buttons (uzelki), or circular buttons. The Russian caftan, in contrast to all the foreign types of cut (Arkhaluk, Turkish), was sewn along the waist with straight gathers, and information technology could exist wrapped over on either side. This feature could be observed in pictures of peasants and mutual folk up until the middle of the nineteenth century. North. South. Leskov, a historic Russian writer, characterized such a caftan as having "Christian folds on the leg."
The need to protect their national sovereignty compelled Russians to preserve their national dress by modifying imported types of apparel. For example, caftans brought from the East or acquired from neighboring nations were busy co-ordinate to the local fashion: they were adorned with lace, or a neckband sewn with ozherel'e (stones) was attached to them.
Trade Expansion
Starting with the fourteenth century, trade between Muscovite Russian federation and Europe expanded. Brocade, velvet, and various kinds of silk and wool were brought to Moscow from England, Italia, and France. Russian federation served every bit the intermediary in the merchandise between Europe and Persia every bit well every bit Turkey. Wear made of various patterned and bright-colored fabrics acquired an peculiarly decorative graphic symbol, and details consisting of gold (metallic) lace and precious stones made the garments specially magnificent. It is well known that, during the reign of Tsar Ivan IV (Ivan the Terrible, 1530-1584), foreigners desiring to receive an audience in the Kremlin were required to put on Russian vesture as a way to recognize the magnificence of the Russian throne. In order to make a favorable impression, servants were temporarily given fine and expensive wear from the tsar'due south storehouse.
It was only during the time of Patriarch Nikon (1605-1681) that foreigners were forbidden to wear Russ-ian clothing, since the patriarch was made unhappy by the fact that, when they were in the presence of the head of the Russian church, foreign guests did not fall to their knees but, past remaining standing in Russian dress, disrupted the usual order of things and could exert a bad influence on the people. At the same time, Tsar Aleksei Mikhailovich (1629-1676) made more severe the punishment for Russians who wore European dress or imitated strange hairstyles.
Boyar Clothing
The boyars wore the richest and about decorative clothing. A distinctive feature of the boyar dress was the gorlatnyi or "neck" lid (a tall cylinder made of the neck furs of black foxes or other expensive fur). Boyars gave as gifts and rewards their sable furs, covered with gold brocade or patterned velvet, but they never parted with their hats, which were symbols of their power. At home, their hats were safeguarded on wooden stands with painted designs. The tsar's everyday wearing apparel did not differ from that of the nobles, and during his reception of ambassadors, he was obliged to wearable the platno (a long, collarless brocade garment that had broad sleeves extending to the wrists). Instead of a collar, barmy garments roofing the shoulders and decorated with precious stones and pearls, were worn. Only the tsar and priests had the right to wear a "breast" cross. During especially important ceremonies, the tsar had to habiliment a crown (the hat of Monomakh) and the okladen' (a gold concatenation of two-headed eagles).
Feriaz
The outer formal piece of wear worn past a nobleman was the feriaz' (broad and with long sleeves) and the okhaben' (with narrow folded-back sleeves that could be tied at the dorsum and with a large rectangular folded-back collar). Women and young girls of the dignity wore the letnik (a garment with very broad, short sleeves with detachable flaps made of expensive fabrics embroidered with stones and pearls). Because of the heavy fabrics and the abundance of precious stones and pearls, the dress of both men and women was very heavy, weighing as much as 44 pounds.
Sarafan
In the middle of the fourteenth century occurs the first mention of the sarafanets (male clothes consisting of a long, narrow opened-out garment with sleeves), from which later the main function of the sarafan-a long, sleeveless garment which became the national costume of the Russian adult female-got its proper name. This gender confusion is associated with the fact that the original Persian word meant "honorable dress" and referred to clothes fabricated of imported cloth. But in the seventeenth century did this term come to utilise exclusively to women's clothing. The sarafan was worn over the rubakha (shirt), and became common in the central and northern regions of Russia. The south preferred the paneva, which necessarily was combined with the apron. The sarafans of rich city women were made of silk and velvet, whereas those of peasant women were made of painted domestic linen. The cutting of the sarafan differed profoundly depending on the place where it was made and on the material: it could be straight, or it could be composed of oblique wedges, kumanchiki, kindiaki, then on. Over the sarafan was worn the dushegreia (a short, wide jacket).
Variety of National Wearing apparel
The enormous extent of the territory, the diversity of the raw materials, and the weather of life did not favor the creation of a single national costume in Russian federation. There existed many different kinds of wear and headdresses, differing not only from region to region, merely even from village to hamlet. In the fundamental and northern parts of the land, the chief decoration of the female headdress was river pearls, while in the south of Russia information technology was painted goose down, glass beads and buttons, and woolen embroidery. The names of the headresses also differed: soroka, kokoshnik, kika. But i tin say with certainty that all the versions of the national costume-from the most ancient combination with the poneva to the later combination with the sarafan-tended toward a general esthetic ideal: a massive, not-highly articulated form and a singled-out and elementary silhouette.
The men's national costume was more uniform and consisted everywhere of rubakha, porty, and belt.
Reform Era
The reforms of Peter the Great changed the dress merely of the upper strata of lodge. The clothes worn by the common folk changed very slowly and were gradually displaced from the cities to the villages. From this time forth information technology became accepted to speak not of the national dress, just of the people'southward clothes. The clothes worn by the urban poor and handicraftsmen combined traditional and fashionable elements. Even the rich merchant class did not part all at once with the before ideas of dignity. Merchants' wives might take worn the most fashionable lownecked dresses, just on their heads they wore shawls tied in a special way, the povoiniki, and they kept wearing them until the middle of the nineteenth century.
Furniture and the configuration of home interiors changed nether the influence of European fashion. Skirts worn on frames made information technology necessary to supercede traditional benches with chairs and to acquire fans, gloves, feathers, and lace to decorate one'south hairdo. Together with decrees, which inverse the national dress, the tsar instituted measures to establish the national production of fabrics. Female lace-makers were invited from Flanders and taught weaving to nuns from nunnery workshops. If the efforts to constitute a national industry came to fruition simply at the finish of the century, the dress reform was realized in and transformed both capitals (Leningrad and Moscow) very rapidly.
Over the grade of his reign, Peter the Great (1672-1725; tsar from 1682, emperor from 1721) issued seventeen decrees in his proper noun that laid down the rules governing the wearing of European-blazon dress, the types of fabrics, and the character of the trim for uniforms and festive attire. This attests that Peter the Great reserved a special office for article of clothing in the system of reforms he was instituting. Two decrees-On the wearing of German dress and footwear past all ranks of people and on the use of German saddles in horseback riding and On the shaving of beards and whiskers by all ranks of men, except priests and deacons, on the taxing of those who practise non obey this decree, and on the handing-out of tokens to those who pay the tax-were viewed as disastrous for the sense of national identity in the nineteenth century polemic concerning the consequences of the Petrine reforms. However, hither information technology was non taken into business relationship that, in Peter's fourth dimension, the word "German" referred not to the nation of Deutschland just to foreign lands in general; and what was unsaid was that Saxon, French, and other elements would exist combined to create a European style of dress suitable for solving problems that the reformer-tsar set for himself. As far as the dress for the various military services was concerned, the superiority of the short-flap compatible in the European mode was obvious and did not raise any questions. The prohibition confronting wearing the national dress extended only to the narrow circle of people close to the throne, specially the boyars. In social club to institute his new policies, Peter needed new people, whom he enlisted for service to the throne without regard to which form they belonged. The national wearing apparel remained a precise indicator of form. Moreover, the consciousness that the peasant's son who wore the armiak (obviously cloth coat) had of himself was, even if he was invested with the personal trust of the tsar, different from that of the boyars who wore the hereditary gorlatnyi lid and the brocade-covered sable fur. In forcibly changing the form in which class was manifested, Peter did not meet with any resistance. For the lower classes, the wearing of European wearable fabricated it possible to modify their lives, and they did this without regrets. Merely the boyars, who from aboriginal times prided themselves on the luxuriousness of their furs, their long beards, and the precious stones they wore in their rings-likewise were concerned more with preserving the proximity of their families to the throne than with their personal dignity.
In all things the new wearing apparel contradicted the traditional wear. If a human being'due south feet were uncovered, that was a sign that he had not yet reached marriage age; however, the new decree allowable the wearing of stockings and shoes. The former large multilayer garments gave people the appearance of swell majority and were handed downwardly from generation to generation, just the new wearable was cut to the person'southward figure and was sewn from several pieces. The about troubling outcome of the introduction of the new dress was the change produced in the habitual gestures and behavior. People's manner of walking became less stately; and when the chin was shaved, the need to smooth out one'south beard disappeared, and at that place was thus no pretext to speak more slowly or to exist expressively silent. This was accompanied past the disappearance of the kushak (sash), which had customarily been worn below the waist; and there was now no place to stick one'southward hands. Nevertheless, the boyars offered virtually no resistance. But single individuals, inspired by true religiosity and fidelity to tradition, offered any resistance.
Eighteenth Century Influences on Russian Clothing
The formative element of the European female dress that had been brought to Russia in the eighteenth century was the corset, and it contradicted the Russian platonic of beauty; yet, more of import for the female clothes was a type of headdress-the fontange. The latter was successful in supplanting, if only in part, the traditional headdress of the wife, which had to cover the hair fully. In combination with heavy silken fabrics, this considerably facilitated the assimilation of the new forms. A. S. Pushkin later wrote: "The anile grand ladies cleverly tried to combine the new form of dress with the persecuted past: their caps imitated the sable cap of the Empress Natal'a Kirillovna, and their hoop skirts and mantillas were reminiscent to some extent of the sarafan and dushegreia." The outset to alter their dress were the members of the tsar'due south family unit; and members of the court followed them. The Petrine menstruation had already seen the appearance of the notions of "fashionable" and "unfashionable" with reference to European-style apparel; and this signified that the reforms had borne their fruit.
Near until the end of the eighteenth century, European-style clothes (as in the past, Byzantine-style dress) signified that 1 belonged to the powerful classes, whereas the remaining classes of society retained the traditional dress. The process of the assimilation of European fashions was incredibly rapid. The severe and heavy style of the beginning of the century was replaced adequately rapidly past the rococo style, since with the enthronement of Elizaveta Petrovna (1709-1761, empress from 1741), the quotidian civilization and life were oriented toward French way.
Catherine the Bully (1729-1796, empress from 1762), High german by nascency and having occupied the throne as the result of a conspiracy, considered information technology necessary to emphasize the national character of her reign by means of dress. She created her own fashion, including elements of traditional dress. She wore circular dresses without a train and a wide-opening outer garment with folded-back sleeves; and in contrast to the French style, the coiffures in the Russian court were worn rather depression. This was called fashion "in the manner of the Empress," and it was imitated at the court.
Nineteenth and Twentieth Century Changes
Tsar Nicholas I (1796-1855, emperor from 1825), from the showtime days of his reign, desired to come across ladies at the court wearing Russian wearing apparel, and in 1834, a female court "compatible" was introduced by the law of 27 Feb. Contemporaries chosen this uniform a "Frenchified sarafan," since it combined the traditional headdress and folded-back sleeves with a tightly cinched waist and an enormous train. The gold or silver embroidery on the velvet dresses corresponded to the embroidery on the uniforms of the court officials. This dress continued to exist at the Russ-ian courtroom without modification until 1917. Even men of the nobility who were non engaged in war machine or civil service were required to wear the noble uniform, and involvement in traditional male dress was viewed as ideological opposition to the existing social club.
From 1829, industrial exhibitions were held in Russian federation. The first exhibition of Russian fabric manufactures was held in Saint Petersburg and showed the indisputable successes of Russian manufacturers of textiles, accessories, and shawls. The manufacture of the latter is an important stage in the history of Russian textiles. This marked the first competitive production of fashionable European accessories. The beginning fabric factory for shawls belonged to Due north. A. Merlina. In 1800, Merlina began to produce reticules (which became stylish because of the absenteeism of pockets in dresses of the traditional style) and bordiury (vertical and horizontal borders); and in 1804 she began to produce complete shawls. And so, in the province of Saratov, D. A. Kolokol'tsov opened his manufacturing plant. The last to start operation, in 1813, was V. A. Eliseeva's complete shawl factory, which meant that it used native, not imported, raw materials. Instead of the wool of mountain goats, the owner used the fur of the saigak antelopes of the southern Russian steppe. Prince Iusupov was too engaged in the production of shawls; his factory in Kupavna, almost Moscow, produced fashionable shawls for merchant women and city women, which indicates how ingrained the European fashions became in the everyday life of Russians.
Influential Designers
By the stop of the nineteenth century, Russian culture, having passed through its catamenia of apprenticeship, had accumulated a vast creative potential, manifested in all spheres of art, including the art of wearable. The best artists of that time, M. Vrubel' (1856-1910), Ivan Bilibin (1876-1942), L. Bakst (1866-1924), and others, created not only costumes for the stage merely also everyday wearable for their female relations and female acquaintances.
The First International Exhibition of Historical and Contemporary Apparel and Its Accessories was held in Petrograd in 1902 and 1903. In Jan 1903, the exhibition "Contemporary Fine art" opened, with an unabridged section being devoted to wearing apparel. The majority of the pieces were based on the sketches of V. von Meck (1877-1932). The involvement in the applied arts and in dress in detail was exemplified in the most spectacular mode by the success of Russian stagecraft, justly appreciated by the international community, during the "Russian Seasons" program in Paris in 1908 and 1909, organized by Serge Diaghilev (1872-1929). The European spectator encountered an indisputable innovation in the art of stage-arts and crafts: a single creative person was responsible for creating the decorations and the dress of all the characters, something unprecedented for either the Russian or the European stage prior to the group of Russian artists associated with the celebrated magazine The Earth of Art.
Alexander Benois (1870-1960), A. Golovin (1863-1930), and North. Goncharova (1881-1962) had an enormous influence on the Parisian public, and L. Bakst was invited to work with the Parisian fashion houses. The influence of Russian artists on the European fashions of the first decade of the twentieth century was indisputable. P. Poire repeatedly collaborated with Bakst.
Of the professional dressmakers the most celebrated was North. Lamanova, who started her own business in 1885, and in 1901 began her collaboration with the Moscow Art Theater. It was at Lamanova'south invitation that Poire, with whom she frequently met in Paris, visited Moscow and Saint Petersburg in 1911. Lamanova continued to work in Moscow, and after 1917 she became ane of the founders of Soviet apparel: she participated in the publication of the magazine Atel'due east (1923), devised programs for teaching the dressmaking craft, and continued her collaboration with the Moscow Art Theater and other Moscow theaters. In 1925, at the Paris globe exhibition, Lamanova's collection was deemed worthy of the grand prize "for national originality in combination with a gimmicky orientation in fashion." However, before long after receiving this accolade, she lost the right to vote because she had used hired workers in her workshop.
Shortly after 1917, the grouping of constructivist artists who were associated with the magazine Lef-5. Stepanova (1894-1958), Alexander Rodchenko (1891-1956), L. Popova (1889-1924), as well as A. Exter (1884-1949)- distinguished themselves in the making of contemporary dress. Rejecting the previous forms of dress, the constructivists proclaimed "condolement and purposefulness" every bit their master principle. Apparel had to exist comfy to work in, easy to put on, and like shooting fish in a barrel to motility around in. The master orientation of their piece of work was the so-called prozodezhda, production dress. The basic elements of this clothing were simple geometrical shapes: squares, circles, and triangles. Particular attention was given to athletic clothes; vivid colour combinations were used to distinguish the diverse competing teams. The fashion of those years was urban fashion, and the places of action were stadiums and squares, which were appropriate just for young and strong people. Private life, as well as the individual person, disappeared. Individual gustation was inappropriate. All resources were expended on the industrial production of habiliment; hither, complicated cuts and intricate ornaments hindered the unceasing operation of the machines.
In 1921, V. Stepanova and Fifty. Popova were invited to the first cotton wool-print mill in Moscow. Both of them stopped working on machine painting and began to work with bully enthusiasm on cotton specimens, preferring geometrical patterns and deliberately rejecting traditional vegetation motifs. The ornaments they created did not accept analogues in the history of textiles, and with their vivid colors they imparted a festive and fresh appearance to elementary cotton fabrics.
The rigid ideological control of all spheres of life in the 2d half of the 1920s led to a state of affairs in which the creative heritage of bright artists was not under-stood, non actualized, and was forgotten for a long period of time. The rulers considered it necessary to rewrite the recent history, expelling from everyday life all mention of the by and, first and foremost, the cloth incarnation of the revolutionary aesthetic ideal. The administrative system controlled consumption and encouraged the germination of new elites, offer them the possibility of acquiring clothing in special ateliers and stores. Clothes designers were being educated in the arts section of the Textile Institute, but this profession was not considered a artistic one, with corresponding privileges. Furthermore, since there was no private enterprise, these designers could find work only at state-endemic firms and institutions (design houses, large specialized studios), submitting to the state plan and worrying that they would be accused of being conservative degenerates.
All attempts to limited ane's individuality through dress, to carve up oneself from the faceless gray crowd, were thwarted by administrative measures. In 1949, the word stiliaga entered the Russian linguistic communication and was used to stigmatize lovers of colorful clothing. In each metropolis there appeared a "Broadway" (usually the main thoroughfare of the metropolis, named afterward the street in New York City); and a promenade on this street could result in expulsion from the Material Establish or arrest for hooliganism.
The start to legalize the profession and to escape from the administrative captivity was Slava Zaitsev (b. 1938), who established the Theater of Fashions (1980), which subsequently became his fashion business firm. By this time Russian federation had more than a few brilliant designers who were also recognized away. Irina Krutikova (b. 1936) became widely known as a designer of fur clothing and received the championship "queen of fur." She resurrected many old traditions and created new methods for coloring and finishing fur. She opened her ain studio in 1992.
The perestroika or great political change of the late 1980s made information technology possible to organize one's own business, to travel the earth, and to open boutiques of international brands in Moscow, Saint Petersburg, and other cities of the former Soviet Spousal relationship. It also offered dandy opportunities for both creators and consumers of Russian fashion. This changed the appearance of cities and liberated people from having to expend enormous endeavor to acquire the necessities of life. Designers appeared who specialized in accessories. Irina Deineg (b. 1961) became known every bit a designer of both common and exclusive styles of hats. Viktoriia Andreianova, Viktor Zubets, Andrei Sharov, Andrei Bartenev, Valentin Yudashkin, and Iulia Ianina showroom their collections every year, and at the same they are developing designs for individual individuals equally well every bit for mass product, filling corporate orders.
Run across too Ethnic Apparel; Royal and Aristocratic Clothes; Traditional Dress.
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