The traditional women’s costume of the Unecha region included a shirt, a sayan (a type of sleeveless overdress or skirt), an apron, a belt, a headdress, jewelry, and footwear. At the heart of this ensemble was the shirt.
The primary material for these shirts was homespun linen or hemp fabric. Earlier shirts were sewn from handwoven linen or hemp canvas and were composite — that is, made of two distinct parts, sometimes even from different textiles.
The upper section was crafted from fine, bleached homespun cloth and, later, from factory-produced fabric. The lower part was made of coarser, less-bleached canvas. Since the lower part wore out more quickly, it could be easily removed and replaced without having to resew the entire garment.
In the southwestern part of the Bryansk region — including Unecha — composite shirts were typically assembled from three fabric panels, with the vertical seam usually placed on the right side. By the early 20th century, however, one-piece shirts made from factory fabric had become increasingly common.
Shirts from the early 20th century fall into two main types based on cut: those with straight inserts — called politsy — that widened the chest area; and those with diagonal inserts that merged seamlessly into the sleeve. The first type was far more widespread. The collar was formed by gathering the upper edges of the front and back panels onto a narrow band, to which the inserts were attached. At each end of this band, a small slit allowed the collar to be fastened at the front with a ribbon.
A defining feature of regional shirts was the gusset — a diamond-shaped insert sewn under the arm to join the sleeve to the body of the shirt and ensure freedom of movement. In older shirts, gussets were small and discreet, made from the same fabric as the lower section. In later examples, they grew larger, often lighter in color, bleached, or even made from contrasting fabric. Together with the inserts and collar structure, these elements gave the sleeve a full, gathered appearance, finished at the wrist with a narrow, unadorned cuff.
Nearly all shirts were embellished with embroidery and colored inserts. This tradition has ancient roots: embroidery functioned less as decoration and more as a protective talisman. It was believed essential to “guard” the vulnerable openings of the garment — collar, hem, and cuffs — since these were seen as passages through which evil forces could enter.
Early shirts featured predominantly geometric patterns, while later ones embraced floral motifs: blossoms, leaves, and delicate twigs. Particularly striking was the black and red embroidery adorning collars, cuffs, hems, and the upper sleeves.
Shirts also reflected a woman’s life stage and social role. Those worn by young brides in their first year of marriage were especially elaborate and richly adorned. Unmarried girls wore more modest versions, while elderly women typically wore plain white shirts with little or no embroidery. Additionally, festive and everyday shirts were clearly distinguished — the former being far more ornate.
The shirt on display in the exhibition is a festive one. It is richly decorated with floral embroidery, and a delicate strip of lace runs along the lower hem.
