Kovács Ferenc et al.: Fardagály és kámvás rokolya. Divat és illem a 19. században (Budapest, 2010)
A dísz-magyar öltözetről
On Hungarian Formal Attire BUDAPEST HARISNYA És SZÖVÖTTÁRÚ ■ KÜLÖNLEGESSÉGEKEREDETI D-JAEGER TANÁRÉ.'! NORMAL ALSÓ-RUHÁZATARÖVIDÁRÚKÉs MINDEN NEMŰ- SZABÓ KELLÉKEK • 1*1 N G EK, GALLÉR О К és К ÉZELQ K-! L __________ ________ mth. Grund V utó dal Bt fo Számolócédula, 1890-es évek Back of notepad with advert, 1890s guards and members of the various (cavalry) processions were captured using the modern, new technology, the photograph. Thaly also wrote an enthusiastic account of Queen Elisabeth’s two, white-coloured Hungarian formal gowns. One was made from heavy, white silk embroidered with silver thread and gemstones reminiscent of elderberry flowers, her long silver-embroidered veil was pinned to her diamond-studded state crown. Mihály Kovács immortalised her in this regalia, and his portrait is now part of the collection of the Budapest Museum of History. She posed in the other dress for the painter Sándor Wagner and the court photographer. The body of this second dress was made from black velvet, stitched with pearls, with a skirt of white silk and a veil and sleeves of white lace. All the ladies-in-waiting who formed part of the Queen’s entourage complied with her request and wore white formal attire embroidered with either silver or gold. Stefánia Prandau, lady-in-waiting ofthe order of the starred cross and the wife ofthe Lord Chancellor and Chiefjustice, György Majláth, was also part of the entourage. She wore a red waist-sash, and a gold-embroidered veil and pinafore with her skirt, which was heavily embroidered with flowers and gold. This fine formal dress, which is now in the custody of the Hungarian National Museum, is one of the most impressive ensembles of clothes from that era. Together with the Compromise ended the passive resistance, and its mode of expression, Hungarian formal attire, was alsoputbackin the wardrobe. On weekdays men and women alike followed the fashion ofWestem Europe and this is when fashionable and traditional dress begin to diverge. The latter becomes the paraphernalia of state, church and civil celebrations, a type of ornamental attire, and in the words of the fashion periodicals and advertisements ofthe era “Formal Hungarian Costume". Men’s attire consists - as it did hundreds of years earlier - of two types of coat. The “pelisse", a short topcoat covered in braiding and piping was usually made from velvet, its original fur lining had by the 19lh century given place to mink trimmings. The “dolman", a short jacket worn under the pelisse, was exchanged for the waist-length version, the Atilla. A compulsory part of the costume are the tight-legged “Hungarian trousers’, machine-woven from silk, the long spurred riding-boots made from fine, coloured leather and the shako (a type of peaked cap), complete with gemmed badge and egret-feather, or else the “kalpag", a type of round, brimless skullcap splaying conically upwards and with a flat top. It is from this period that jewellery is made and sold in sets. These were generally embossed, engraved, chiselled or enamelled from silver or gold-plate, and decorated with almandine, pearl, turquoise or other precious stones. The parts of the ‘small jewellery set" included: the pelisse-binder, the belt, large buttons for the pelisse and smaller ones for the dolman, the shako-badge and the spurs, while the
