Blomzka (from the French "blouson" - jacket) is a women's outerwear made of thin fabric in the form of a short fitted shirt, a light jacket. Traditional blouses have sleeves, a collar and cuffs. Often fastened with buttons, but there are models in the form of tunics. Often decorations in the form of frills, frills, ruffles, as well as beaded appliqués.

progenitor modern blouse can be safely considered a "chiton", which is a kind of shirt that was worn on a naked body. In ancient Greece and Rome, the chiton served outerwear. Such clothes existed in the period from the 14th to the 13th centuries BC. e.

Also shirts, which in their own way appearance resembled chitons, worn by the ancient Germans and other northern peoples. In their case, they no longer served as outerwear, but underwear and were designed to keep the body warm in cold weather. Such a shirt was already in use in the 3rd century BC. e.

A shirt woven from wool or linen served as home wear for many ancient peoples. But such clothing was no longer a simple piece of cloth that was wrapped around the body. Sewn from two panels, the shirt covered both shoulders, and was put on over the head. At first, she had only side armholes; then she had short, elbow-length sleeves, which were not sewn in, but were formed by folds of fabric.

Over the centuries, the shirt has been developing and modernizing, and only in the 14th century does it become an adornment of a person. At that time, shirts were sewn from the finest cambric, which means that not everyone could afford to wear such a thing. To create the effect of a blouse on the body, many went to the trick: they decorated the suit with lace collars and cuffs, which supposedly were part of the shirt.

Until the end of the 18th century, a blouse, as an element of a woman's wardrobe, was practically not in demand. From time to time she appeared in certain styles of clothing, but she did not stay anywhere for a long time.

In the 19th century, in European women's clothing, the bodice becomes an independent part. And the final division of clothing into a skirt and a blouse occurs already in the mid-1840s, but only at the end of the century this fashion spread throughout Europe, as well as in North America.

Initially, the blouse is called a "vest" with lacing, and the name "blouse" itself is fixed later.

At the end of the Biedermeier period, in the 40s of the XIX century, in Europe, women wore tightly fitted blouses, richly decorated with ruffles, frills and lace with very wide balloon sleeves.

During the late Victorian era(1837-1901) blouses were common as informal, home wear for women.

Blouses with high stand-up collars, the bodice of which is finished with lace, flounces and other decorative elements in front, began to appear with the advent of the Modern era, around 1870.

In the 1900-1910s, blouses were considered an element of lingerie, because they had very complex embellishments in the form of embroidery or lacing, and these elements were characteristic of underwear. Even a special style was formed - the Gibson style, blouses in this style had pleats and were pleated, they quickly became very popular both for daytime parties and as informal clothes for the evening.

Now it is difficult to say exactly where they appeared in our wardrobewomen's blouses and shirts , but we can state the obvious fact: these clothes have become popular at all levels of the social ladder, from American and European business women to residents of the poorest countries in Africa. The only criterion that has periodically changed since the appearance of this clothing is the length of blouses and shirts, as well as the shape of their sleeves and the depth of the cutouts.

What was before

During the late Middle Ages and the Renaissance, when women's shirts and blouses first came into use, as depicted by the artists of that period, women trimmed and decorated these clothes as best they could: with embroidery, colored threads, and weaving beads on the sleeves, at the collar and hem. Tellingly, only noble women could afford a blouse in those days, and the “commoners” were content with homespun shirts, which have little in common with modern ones.

In the course of the development of the textile industry, the quality of the fabric increased, more elegant patterns appeared, and the style of blouses and shirts became more diverse. In the 17th-19th centuries, batistes, poplins, voiles, various chiffons began to appear on these clothes en masse. The development of trade between countries has led to an increase in the popularity of blouses among fashionistas from all over the world. Ordinary girls still continued to be content with shirts or simple cotton blouses.

Then came the turbulent 20th century, when fashion developed so rapidly that trends began to change each other every season, and not for several (sometimes dozens) years, as it was before. The types of fabrics, their colors, styles, as well as the cut of blouses and shirts were rapidly changing. Only one thing remained unchanged - the desire of women to be beautiful.

Formation of business style and modern look of women's blouses and shirts

Until the mid-50s of the last century, blouses continued to be the main detail of the women's wardrobe, along with casual dresses, and the wearing of shirts, especially in the male style, was considered something shameful. Although already during the Second World War, the first pin-up posters began to appear, which depicted seductive girls wearing shirts, tying them at the stomach in a feminine manner.

By the 60s, a large-scale emancipation broke out, which led to another revolution in the fashion world, thus, a new chapter opens in the history of blouses and shirts - the formation of a feminine business style and the popularization of modern style shirts. Beautiful and strict blouse or shirt, dressed under business suit, has become the personification of any business woman, regardless of her country of residence. Also in the fashion world, many styles have finally appeared. women's shirts, which could satisfy any whim and female desire: strict and businesslike, open and erotic, light and comfortable, beautiful and elegant.

Thus, the very styles that we see now were formed. Moreover, almost all the styles developed in the 60s have changed little since then, since all the design moves that would diversify women's blouses and shirts were invented back then.

Modernity

Now at the disposal of every girl and woman there are thousands of types of blouses and shirts "of all sorts and colors" - as one hero of a famous movie said. Based on this simple clothing, as well as its amazing versatility, you can create a wardrobe for all occasions: whether it is a social event, or an ordinary picnic trip out of town.

It is unlikely that there will be at least one women's wardrobe in which there would not be one or a pair of women's blouses. This piece of clothing is so versatile that it is a must in a business trouser or skirt. women's suit, decorate any romantic image.

The prototype of a blouse is a chiton, a very popular ancient Greek outfit, which consists of two loose panels fastened on the shoulders with decorative buckles.

Later, such panels are transformed into wide shirts with sleeves. Such clothes were worn by northern peoples as home clothes or underwear. Sleeves did not appear immediately, at first such shirts had only armholes, then short sleeves, which then lengthen.

Linen shirts as a luxury item become popular by the 16th century. Blouses, being the subject of women's underwear, are decorated with lace, lacing, and have pleated details. And only in the 17th century the blouse becomes independent subject clothes.

At the beginning of the 20th century, when the skirt becomes noticeably shorter, the blouse lengthens significantly. Blouses are tucked into skirts and trousers. The styles of blouses are changing, bows, ties, ribbons are added to them.

Emphasizing the fragility and tenderness of their mistress, blouses at that time became very popular. At that time, blouses were noticeably different from modern ones. A feature is that the fasteners of most blouses are located on the back, so that you can unfasten it only with outside help.

The famous Coco Chanel in the 50s introduces a simple style of a white blouse with a bow instead of a collar. This model instantly becomes popular and does not go out of fashion for a long time.

Conventionally, all blouses can be divided into types:

- batch file - a blouse that resembles in appearance men's shirt, sewn from thin, dense materials. The classic silk blouse is very popular.

- top - blouse with thin straps. The top appeared in the 80s and is very popular now.

- tunic - an elongated blouse resembling a dress. These blouses are worn with both trousers and leggings.

Today, a blouse is an integral part of a woman's wardrobe, as it plays a very important role in creating a business image of a woman, emphasizing that a woman remains a woman in a business suit. Every woman should have a white plain blouse in her closet that matches any business suit. But with translucent and tight styles, you should be very careful, since such models do not always withstand the dress code adopted at business meetings.

Well, for a casual outfit, there are many styles with and without buttons, with embroidery and trim, with different fabric densities, cuts, and colors.

Agitation team of the factory. CRAF "Blue blouse". 1929
In the photo: Stepan Sergeyevich Mayorov (last on the right is standing), Ivan Okhapkin, Alexei Yagodkin, Raya Popova (sitting, first from the left), Tanya Pavlovcheva (last on the right, sitting), Mikhail Bogomolov (standing, second from the left), Lodkina (Grigorieva) Nastya, Savelyeva Raya

The youth propaganda team "Blue Blouse" was created in 1925 at the club of the factory. CRAF. The organizer of the propaganda team is Konstantin Shesterin. Initially, the brigade was headed by Petr Shalaev and Mikhail Bogomolov. The brigade scourged the negligent from the stage very sharply. At the same time, members of the Komsomol showed leaders who should be emulated. "Blueblouses" were in the center of attention literally at all holidays, their frequent performances in the club of workers named after. V. Strogalin and on the stage of the Summer Theater every time became an event. Many members of the Blue Blouse were also members of the factory's amateur theatrical group.

And this is what the "Blue Blouse" looked like in neighboring Sergiev. 1920s

In the Sergievsky district, the “blue blouses” staged both massive crowded performances (“January 9, 1905”) and performances own plays(“For Freedom”, “Stepan Razin”).

History reference:

"Blue Blouse"- propaganda youth, at first amateur variety theatrical group, promoting the revolution and the new revolutionary mass art, opposing their propaganda, journalistic work to the professional stage. However, by the nature of the repertoire (small forms), multi-genre (singing, dance, choral recitation, acrobatics, performance of skits, literary montages, etc.), by the openness of direct communication with the audience, the performances of blue blouses were close to variety performances.

There was a movement from early 1923 until 1933. The first, then nameless, team called "Blue Blouse" was organized under the leadership of Boris Yuzhanin ( Boris Semyonovich Gurevich(pseudonym Yuzhanin, 1896-1962) - figure of Soviet culture, journalist) in 1923 at the Moscow Institute of Journalism on the basis of "Live Newspaper". In the 1930s he lived for several years in Alexandrov and Mytishchi.

Boris Yuzhanin

The name of the team whose slogan was: "In the morning in the newspaper - in the evening in the verse", gave overalls - a loose blue blouse and black trousers (or skirt), in which the artists began to perform, which corresponded to the traditional look of a worker on propaganda posters.

"Blue blouse" pasta factory. Moscow city

The Moscow City Council of Trade Unions (MGSPS) proposed to B. Yuzhanin to create several such groups to serve workers' clubs, canteens and tea houses. The program, designed for one hour, accurately timed, went to the piano (or accordion) in a rapid rhythm. It began and ended with a general march-parade (entre), the most famous "We are blue blouses, we are trade unionists ...". It changed every week and introduced the latest political, international, economic and other news in forms accessible to anyone, even to an illiterate viewer. Information was "laid" into ditties, monologues of Grandfather Raeshnik, into literary montages, accompanied by acrobatic rearrangements (pyramids) for better perception. A strong impression was made by choral melody recitations, the so-called oratorios, with their help the Blue Blouse solved heroic and pathetic themes. A verse set to a popular melody helped to master such seemingly non-stage topics as “Monetary reform”, “Insurance funds”, “Liquidation of illiteracy”, etc. In satirical scenes, bureaucracy, drunkenness, protectionism, hooliganism, and various shortcomings of modern life were ridiculed.
The aesthetics of the "Blue Blouse" completely contradicted the aesthetics of the realistic theater of the Stanislavsky school, the formation of which also fell at the same time, with its precisely calibrated psychological image of each character. Psychologically, individual characters were alien to the ideas of the "blue blouses" - their pathos was collectivism and the pathos of great social goals.

Speech by the team "Blue Blouse". 1929

Many Soviet writers, composers, actors, directors, and artists began their creative activity in the variety performances of The Blue Blouse. Among them are Vladimir Mayakovsky, Sergei Yutkevich, Vasily Lebedev-Kumach, young writers, poets, playwrights A. M. Argo, V. E. Ardov, N. Aseev, Semyon Kirsanov, pop artist Alexander Shurov, film director Alexander Rou, future composer Yuri Milyutin, composers Konstantin Listov (was music director one of the departments of the "Blue Blouse"), M. I. Blanter, Sigismund Abramovich Katz (author of the hymn music), actors Boris Tenin, Vladimir Zeldin, Lev Mirov, author of film studies books A. V. Macheret, artist B. R. Erdman and there are many others who have now become legendary figures of Soviet culture, and then only began their journey in art. One of the ideologists of the "Blue Blouse" was Osip Maksimovich Brik.
The Blue Blouse's performances made extensive use of the eccentric. Over time, much attention began to be paid to the costume. The artist N. Aizenberg developed a technique for using appliqués, with the help of which blue blouses instantly turned into costumes for sailors, pilots, etc. In the works of artists B. Erdman, V. Komardenkov, P. Galadzhev and others, costumes acquired picturesqueness, combinations of color spots played, the geometry of the lines, which gave the performance a vivid entertainment.

Hymn of the Blueblouses:

We are bluebloods
We are unionists
We know everything about everything -
And along the world
his satire
Like a fiery torch we carry.

We are bluebloods
We are trade unionists.
We are not bayans-nightingales.
We are just nuts
In the great sleep
One working family...

In its heyday, the Blue Blouse successfully competed with the professional stage, performed in the Hall of Columns, the Alcazar Variety Theater, and the Hermitage. She annually toured the country: the Volga region, the Urals, Siberia, Transcaucasia, Turkestan, etc. Foreign tours in Germany and Latvia (1927), where 125 performances were given, also received great response, also in Manchuria and China (1928).

The Blue Blouse movement was widespread. Very soon after its emergence in Moscow, similar groups arose in other cities of the country, serving as the basis for the creation of a number of professional theaters and giving impetus to the search for new forms of theater and variety performances. After some time, there were about 400 such groups, professional and amateur. Their repertoire consisted of literary and artistic montages, reviews, skits reflecting industrial and social life, international events. The theme was topical, it combined heroism and pathos, satire and humor. Agitation teams of "blue blouses" performed with propaganda art poems, choral recitations, sports scenes, sports dances in front of the workers, went to factories, factories, clubs, traveled around the cities and villages of the country. The following facts also testify to the scale of the movement: in 1925, the 1st All-Union Conference of Blue Blouse Workers was held, and the fifth anniversary of the movement was celebrated at the Bolshoi Theater.

"Blue blouses" Kuratmysh (Kurgan region). 1930s

"Blue blouses" of the Votkinsk plant. Votkinsk (Udmurtia)

In 1927, the gradual departure of "S. B." from traditional programs. Formed in line with the “leftist” art, the “Blue Blouse” ceased to meet new aesthetic ideals: the “leftist” theater, with its focus on the mask, on the eccentric, is forced to give way to psychological theater. Former blue blouses are called to turn their faces “to production”, to local topics and local authors, that is, they are returned to the mainstream of amateur performance (to the agitprop brigade), from which the Blue Blouse once emerged. By the beginning of 1933. "Blue blouse" "because of unprofitability" is closed.

Amateur theater "Blue Blouse" of the factory club in the city of Puchezh (Ivanovo region). 1926

Titled "Blue Blouse""From October 1924 to 1928, a printed edition of the MGSPS (Moscow City Council of Trade Unions) was published in Moscow. The publication was intended for various groups of “blue blouses” and contained the texts of the programs of the Moscow groups of the “Blue blouse”, repertoire materials (at first untitled, and since 1926 with the names of the authors), methodological developments, comments, advice from directors, artists, musicians, theoretical articles and discussions about the development of the Blue Blouse, etc. The publication was not permanent, its periodicity and appearance changed several times. The "blue blouse" spread throughout the country. A total of 80 issues saw the light of day. The publication was also published under the names "Bow", "Machine", "Bolt", "Nut". In connection with the closure of the Blue Blouse movement, the release of collections also ceased, in 1928-1930 the repertoire was published in the journal Small Forms of a Club Show.

"Blue blouse" Spassk (Tatarstan). 1927

Youth team "Blue Blouse" of the LRD (Lenin Workers' House) in Irkutsk.

The soul and ringleader was the constant leader and at the same time the head of the club K.I. Gronsky - he was easily called "Uncle Kostya". The “blue blouses” have always been in the thick of things - they put on sharp, satirical performances on the topic of the day, staged theatrical “trials” of speculators, priests, drunkards, in winter and summer they hurried on foot to nearby villages, performed at workers and school sites, went to pioneer camps. In this photo, the Komsomol guys posed in new "sailor suits" before the upcoming trip to the sailors of the Amur Flotilla.

School blue blouse. Moscow city. 1927

) - women's light clothing made of thin fabric in the form of a short fitted shirt. The blouse contains sleeves, collar and cuffs. Often fastened with buttons, but there are also tunic blouses. Jewelery in the form of frills, frills, frills, as well as beaded appliqués are not uncommon. A white blouse is an essential element of a strict business style. Blouses are usually worn with skirts.

A blouse is a loose shirt worn without a belt. This is a medieval blio transformed by time. Clothes for both men and women. It was especially popular with workers and rural residents. It has long been part of the military uniform. "Blouse" was called the participants of the revolutionary movements.

Story

Blouse as an element women's clothing appeared in the 19th century as a result of the division of the dress into the top (actually, a blouse) and the bottom (skirt).

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Notes

Links

Literature

• Blouse - Concise Encyclopedia household/ ed. I. M. Skvortsov and others - M .: State Scientific Publishing House "Great Soviet Encyclopedia" - 1959.

see also

An excerpt characterizing Blouse