Dirndl Fick
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From Wikipedia, the free encyclopedia
A dirndl (German: [ˈdɪʁndl̩] (listen), is the name of a feminine dress which originated in German-speaking areas of the Alps. It is traditionally worn by women and girls in southern Germany, Austria, Liechtenstein, Switzerland and Alpine regions of Italy. A dirndl consists of a close-fitting bodice featuring a low neckline, a blouse worn under the bodice, a wide high-waisted skirt and an apron.[1][2][3]
The dirndl is regarded as a folk costume (in German Tracht). It developed as the clothing of Alpine peasants between the 16th and 18th centuries.[1][4][5] Today it is generally considered the traditional dress for women and girls in the Alps, and has particular designs associated with different regions. The usual masculine tracht counterpart of the dirndl is Lederhosen.
In the late 19th century the dirndl was adapted as a fashion style by the upper and middle classes, and subsequently spread as a fashion outside its area of origin. There are many varieties of adaptations from the original folk designs.[1] The dirndl is also worn as an ethnic costume by German diaspora populations in other countries.
Dirndl is a diminutive of Dirn(e). In current German usage Dirne now mostly signifies 'prostitute', however originally the word meant only 'young woman'.[6] In Bavaria and Austria, Dirndl can mean a young woman, a girlfriend or the dress. The dress can for clarity be called Dirndlkleid (literally 'young woman's dress') or Dirndlgewand ('young woman's clothing').[7][8][4]
Dirndl is the form of the word in Standard German. In the Bavarian and Austrian dialects of German (Bairisch), the word is interchangeably Dirndl or Diandl.[8]
The difference between "Dirndl" and "Tracht" (folk costume) is disputed between German speakers. Some speakers make a rigid distinction between the two, describing the traditional designs as "Tracht" and reserving the name "Dirndl" for modern designs. For example, dirndl scholar Simone Egger emphasises discontinuity between the traditional designs and the modern dirndl, which she says was invented in the late 19th century.[9][10][11] However, many other German-speakers use the terms "Dirndl" and "Tracht" interchangeably for a woman´s dress of the general dirndl style, regardless of whether the design is traditional or modern. For instance, Gexi Tostmann (likewise a scholar in the field of dirndls and tracht) makes no sharp distinction, but sees the modern dirndl as having developed from traditional tracht designs.[1][12][13]
A developing consensus is that a dirndl can be described as "Tracht" when it has been traditionally worn by a distinct people group over a long period.[14] This implies that a Tracht dress corresponding to the general dirndl prototype can be called a "Dirndl", even if it has a documented history of centuries as a folk costume. For example, the traditional dress of the Wachau region of Austria can be referred to either as "Wachauer Tracht"[15][16] or as the "Wachauer (everyday) dirndl"[12][16][17] In English, the name "dirndl" is used interchangeably for traditional and modern designs.[2][18]
The bodice (in German Mieder or Leiberl) is tight to the body, with a low neckline (décolletage). It is typically made in a single piece, with the join in the front centre, secured by lacing, buttons, a hook-and-eye closure or a zip. A zip can also be on the back or the side. Traditionally, the bodice was made from dark heavy cotton, so that it would be hard-wearing. In more modern designs, it may be made from cotton, linen, velvet or silk. The material is coloured or printed. The neckline (Ausschnitt) of the bodice is traditionally round or rectangular (called "balconette"). In more modern designs, it may alternatively be high, V-shaped, heart-shaped or extra deep. The bodice often has embroidered decoration, especially when worn for public events.[1][4][12][21]
The skirt (Rock) is full, with folds gathered in at the waist. Before the 1930s, it was separate from the bodice, but since then the two have been sewn to one another. Originally the skirt was long, but in more modern designs it is typically mid-length. Miniskirt versions also exist. Traditionally, the skirt has a pocket on the side or in front, which is hidden under the apron.[1][4][19][21]
The blouse (Bluse) is worn under the bodice and accentuates the overall effect of the dirndl. A bodice with low neckline combines with a deeply cut blouse to emphasize décolletage, whereas a blouse with a high neckline creates a more understated effect. In the more traditional dirndl designs, the blouse neckline is at the base of the throat. Other popular necklines are V-shaped, balconette or heart-shaped. The blouse is cropped just above the waist and typically white. The materials most often used are cambric, linen or lace. Short puff sleeves are most typical, although narrow sleeves (short or long) are also common.[4][19][21][22]
The apron (Schürze) is attached to the skirt and is narrow, covering only the front of the skirt. Traditional apron designs vary according to local tradition and are typically only a single colour; in modern designs, the designs are more elaborate.[4][19]
The winter style dirndl has heavy, warm skirts, long sleeves and aprons made of thick cotton, linen, velvet or wool. The colours are usually brown, deep green or dark blue.[4]
Traditional dirndls vary in design between regions and even villages. The different details may indicate the place of origin and social status of the wearer.[23] As with other folk costumes, traditional dirndls often come in two forms: one for everyday occasions, the other for traditional festivals and formal wear. Dirndls worn in everyday use are rural domestic clothing, made from grey or coloured linen, sometimes with leather bodice and trim. Dirndls used on formal occasions are usually made with materials, designs, colours and embroidery specific to the region.[21][13]
Some traditional designs feature pieces which drape over the breast, often combined with an elaborate collar. This has the function of concealing décolletage, in line with traditional Catholic ideas of modesty.[13][24] [25]
Jewellery worn with the dirndl includes necklaces, earrings, chokers and chains. Also popular are brooches made of silver, the antlers of deer or even animals' teeth.[20]
As footwear, dirndls are normally worn with court shoes (pumps) or flat, ballerina-type shoes. Knee-length socks or tights are common.[20]
Other accessories may include a waistcoat or a woollen shawl. In many regions, especially the Ausseerland in the Austrian Salzkammergut, vibrantly coloured, hand-printed silk scarfs and silk aprons are worn. In spring, the front of the bodice is sometimes decorated with fresh flowers.[24] In colder weather, long-sleeved woollen jackets (Janker) are worn, as are knitted shawls.[20] Especially at large public events, décolletage is often enhanced with a balconette bra (dirndl-BH).[20][21][26]
In traditional customs, the dirndl is worn with a hat or bonnet, especially in church settings.[27] In some regions of southern Germany and Austria, the dirndl is traditionally worn with a style of bonnet called a goldhaube. This headgear developed in the 17th century from a veil or headscarf and was worn by middle class urban women; later the custom spread to the countryside. The goldhaube is characterized by interwoven silk and golden threads, embroidered with lamé, gold and sequins. There are many regional varieties, including the Riegelhaube in Munich, the Linzer Goldhaube in Linz and the Brettlhaube in Wachau.[28][29] In Hinterskirchen in Bavaria, unmarried women wear a small crown (kranl).[29] Garlands featuring flowers (real or imitation) are also popular as hair ornaments.[30]
Because the appeal of the dirndl is its rustic look, plastic dirndls with flashy ornaments are looked down upon.[31] Style experts recommend staying away from cheap outfits that one can buy on the street corner; it is better to spend a little more to get an outfit.[26] The dirndl should be tightly fitted to look right.[31]
It is an absolute faux-pas to wear a dirndl without a blouse.[31][26]
There is an urban legend that claims the placement of the knot on the apron is an indicator of the woman's marital status.[4] In this story, which is not based in tradition, tying the sash on the woman's left side indicates that she is single, and a knot tied on the right means that she is married, engaged or otherwise not interested in dating.[19][26][32]
A dirndl skirt is a full, wide skirt, gathered into folds at the waist.[2]
Dresses that are loosely based on the dirndl are known as Landhausmode (literally "country house style") dresses.
In recent decades, fashion designers have been creating their own interpretations of the dirndl. While appearing to be simple and plain, a properly made modern dirndl may be quite expensive as it is tailored, and sometimes cut from costly hand-printed or silk fabrics.[20]
The dirndl has passed through different periods in its history. These include (1) its origins as rural clothing, (2) development as a recognized folk costume, (3) evolution as a fashion style, (4) appropriation by the Nazis, (5) decline in popularity after the Second World War, followed by a resurgence from the 1990s. Each of these periods has left an impression on the design and perception of the dirndl.
The dirndl originated as a dress worn in rural areas, a more hardy form of the costume worn today. Rural costumes originated in the countryside; they showed that the wearer belonged to a particular social class, occupation, religious persuasion or ethnic group. Differing designs developed in the different regions. They were influenced by urban fashions, costumes in neighbouring regions, available materials, as well as fashions in the royal courts and in the military.[33]
Dresses similar to the dirndl, featuring skirts with bodices, aprons and blouses were commonplace in Europe from the 16th to the 18th centuries. Similar elements are present in other German folk costumes, for instance the tracht designs found in the Black Forest; they also occur in folk costumes in other parts of Europe, such as the Norwegian women´s Bunad and the Gorenjska noša costume of Slovenia. Distinctive features of the dirndl (including the tight bodice, lower neckline and wide skirt), developed from the women´s fashions of the royal court in the 17th century; over time, the court fashions made their way into urban and rural clothing. Alpine traditional costume spread to regions in Bavaria and Austria outside the mountains through migration in search of work. As a result, the dirndl developed over time into female Austrian servants' work clothes.[13]
Distinctions developed between the everyday version of rural costumes and the version used for festive occasions; the festive version of each costume tradition was considered the ideal form.[33] Festive dirndls were especially worn at events associated with the Catholic church, such as Sunday church services and public pilgrim processions. Other popular occasions included markets and Volksfeste. Over time, festive versions of the dirndl developed elaborate decoration around the collar and breast, including embroidery, floral decorations, tassels and lace collars draped over the shoulders and breast. Elaborate headwear (such as the Goldhaube) developed to indicate distinctions in social status.[13][24]
Nevertheless, folk costume was increasingly perceived as a marker of rural and working classes. The background to this development was the French government policy from the mid-17th century onwards of promoting French luxury fashion. With the purpose of promoting conspicuous consumption, the French designs used expensive materials such as silk, lace, and gold and silver thread. French modes were promoted throughout Europe by printed media, fashion shows and diplomatic exchanges, with the consequence that by the 18th century France became the European leader of fashion amongst the upper classes. Attempts by other European governments to fight French economic dominance of the fashion industry had the effect of spreading fashion in the French style. For instance, the Austrian empress Maria Theresa considered imposing a sumptuary tax to prevent expenditure on French luxury fashions, but was persuaded to establish a homegrown fashion industry on the French model.[34]
Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance, but still uncomfortably close for the elites.[35] By 1800, most Western Europeans were dressing alike (or thought they were); local variation became first a sign of provincial culture and later a badge of the conservative peasant.[35][36]
Thus the spread of French fashions increased the contrast between the fashionable clothes of the wealthier classes and folk costumes, which were increasingly perceived as rustic, not fit for polite society. This point is illustrated by the first Oktoberfest, held in 1810 to celebrate the wedding of Crown Prince Ludwig of Bavaria (later King Ludwig I) to Therese of Saxe-Hildburghausen; the citizens of Munich were invited to the festivities but were supplied with fashionable French clothing, since their folk costumes were not considered suitable for public occasions.[9][10]
As antithesis to the dominance of French fashion, in the early 19th century a movement to study and preserve the traditional costumes of the rural populations developed in many European countries. Examples of this movement outside the German-language sphere include the Highland romantic revival in Scotland, the Danish folklore movement and the Bunad movement in Norway. In German-speaking countries, the movement was known as the Trachtenbewegung (Tracht movement), and resulted in initiatives to study and promote folk costumes, including the dirndl. The folk costume movement is one aspect of national romanticism, and part of the more widespread Romantic movement of the early 19th century.
Art historian Gabriele Crepaldi points out the links between the ideological and political dimensions of the Romantic movement:[37]
The label romantic... (refers to) a cultural movement which spread in Great Britain, France, Italy and other European countries between the late 18th century and the first half of the 19th century. Its protagonists were philosophers, writers, musicians and painters. In Germany it was the writers and intellectuals of the Sturm and Drang movement who reacted critically against the rationalism of the Enlightenment and the doctrines of neo-Classicism. The Romantics defended the creative and spiritual autonomy of individuals and proclaimed their freedom from aesthetic norms and pretensions. Inwardness and subjective feeling found in romantic art their authentic expression... On the other side, political positions stood behind Romantic expressions: in contrast to the Enlightenment´s ideology of global citizenship, the Romantics re-discovered the idea of the homeland and the value of the folk culture. Especially in Italy and Germany, a connection can be seen to the movements for national reunification.
As Crepaldi observes, the Romantics promoted emotion against the rationalism of the Enlightenment, individual freedom against academic dictates and national against global culture. In Germany, Austria and Switzerland, the Enlightenment was especially associated with France, which had sent its armies across Europe in the Revolutionary and Napoleonic Wars (1792–1815). In response to the humiliations of the repeated French invasions, the protagonists of German romanticism sought to strengthen their cultural heritage. The result was a flowering of research and artistic work centred around Germanic cultural traditions, expressed in painting, literature, architecture, music and promotion of German language and folklore.[38] The promotion of folk costumes similarly strengthened national identity in a visible way, especially against French-inspired fashions.
The earliest public promotion of tracht in the German-speaking world occurred in Switzerland, at the Unspunnen festivals of 1805 and 1808. At both events, a parade of traditional costumes was held; the 1808 festival resulted in the formation of the Swiss National Costume Association.
In Bavaria and Austria, the royal courts developed enthusiasm for the different costumes of the rural population,[39] which they saw as a means of strengthening national unity; this was consistent with the philosophy of national romanticism, which considers the state to derive its political legitimacy from the unity of those it governs.[40] The first extensive description of traditional tracht in the different regions was given by the Bavarian official Joseph von Hazzi (1768–1845). A comprehensive description of Bavarian national costumes was published in 1830 by the archivist Felix Joseph von Lipowsky. A parade of traditional costumes took place in 1835 at Oktoberfest, to celebrate the silver wedding anniversary of King Ludwig I of Bavaria (reigned 1825-1848) and Queen Therese. Under his successor Maximilian II (reigned 1848-1864), traditional costumes were officially recognised as clothing suitable for wearing at the royal court. The king himself included officials wearing tracht in his court ceremonies and wrote in 1849 that he considered the wearing of folk costume of "great importance" for national sentiment.[41]
In 1859, the first association to promote folk costume was founded in Miesbach in Bavaria. In the following years, similar tracht associations (Trachtenvereine) were founded throughout Germany and Austria. The tracht associations promoted research and wearing of the traditional clothing in each region. This helped preserve the traditions against modern fashions; in contrast, the wearing of the traditional tracht declined in regions where the tracht associations were not active. The first umbrella organisation for the tracht associations was founded in 1890.[12][39][41]
By the later 19th century, it had become popular for members of the royal courts in Austria and Bavaria to wear folk costume, in order to promote identification between the population and the court.[13] Among the most prominent royal patrons of folk costume were the Austrian Emperor Franz Joseph and Luitpold, Prince Regent of Bavaria, the successor of Ludwig II; both often hunted wearing lederhosen.[39] Around 1875, Elisabeth of Bavaria, the wife of Austrian Emperor Franz Joseph, promoted wearing a rustic dress called a 'Sisi', based on the peasant dirndl.[41][19]
The wearing of folk costume by royalty encouraged its adoption by other members of the upper and wealthier middle classes. From the 1870s onwards, the dirndl developed as a typical "country" dress amongst the wealthy patrons of the summer resort towns in Austria and Bavaria. An important influence was German Romantic literature, which contrasted the allegedly natural, unspoilt and unpolluted people of the countryside with the artificiality and depravity of urban society. The adoption of the dirndl as a fashion resulted in a synthesis of tradition and high fashion: the dirndls worn by upper class women took the basic design of the traditional dirndl but also used more fashionable materials such as silk, lace and expensive thread. The garment was made more closely fitted to emphasize the female body shape.[13] The adoption of the dirndl by upper and middle classes raised the status of the traditional clothing; this in turn encouraged country people to value and continue wearing the traditional folk costumes.[12]
Key in this development were the Jewish brothers Julius (1874–1965) and Moritz Wallach (1879–1963),[42] originally from Bielefeld in north-western G
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