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WE FEEL WARM HERE
stories about winter clothes of the Yakuts
Winter clothing was the embodiment of Yakuts' religious and aesthetic views of life. It was the most elegant clothes, so they were put on during a wedding ceremony, Ysyakh and other significant events. From head to toe, a person was covered with signs and symbols having magical functions. They protected from the effects of evil spirits and bad thoughts. The glitter and ringing of silver jewelry sewn on clothing drove away the spirits of sickness and misfortune. Color scheme and combination of woolen cloth, brocade and precious fur made up a single ensemble. The whole appearance was supposed to talk about nobility and staidness of the aiyy solar ulus' representative.
In addition to the fur coat and cap, the costume included cloth bands to protect certain parts of the body from cold: forehead, nasal, chin, abdominal and back bands. Mittens had transverse incisions on the inner side of the wrists. They allowed people to perform actions with their hands without removing the mittens and leaving the back of the hands covered. Long fur squirrel tails made it possible to always have dry fur at the cheeks: when the fur at the cheeks and mouth was covered with frost, it was enough to turn the boa around the neck a little and it became warm again.
Every Yakut woman could handle fur and leather
and sew everyday clothes for the whole family.
Ready-made factory fabrics became available
only in the 19th century and were highly valued.
For the manufacture of elegant and ceremonial
clothing, special needlewomen were hired. It is
known from folklore that rich families hired
several such craftswomen, and they could live for several years on complete provision of the
customer by carrying out a special order. It
referred to preparation of a wedding dress and a
bride's dowry and could take about three years.
A lot of attention was paid to a craftswoman's mastery: to the patterns' grace and subtlety, to its semantic richness. As a
rule, applied ornaments were a wish to have many descendants, to expand and multiply cattle stock of a young family.
Each pattern on the wardrobe item had its own magical function, and application of patterns was strictly regulated. As a rule, the richest pattern was embroidered on the bride's clothes. The entire ornamental composition was algys blessing, encrypted in the form of signs and symbols.
Each pattern on the wardrobe item had its own magical function, and application of patterns was strictly regulated. As a rule, the richest pattern was embroidered on the bride's clothes. The entire ornamental composition was algys blessing, encrypted in the form of signs and symbols.
Floral motifs with burgeons symbolized desire to have many descendants and to increase the family's wealth. Geometric patterns in the form of lines and zigzags served as a fence against evil spirits. Circles, crosses and dots were symbols of the sun, they protected the person from all kind of evil. The arrow-shaped contrasting patterns on the back of the women's fur coat protected the owner from the back from the evil thoughts and views of strangers.

Ornaments on shoes had a special importance, as shoes protect people from the inhabitants of the lower world. Therefore, the pattern on the shoe was applied on the contrary, so that it would be understandable to the person looking down, and not from below.
When decorating clothes, favorite techniques were embroidery with colored threads, beads and the use of silver stripes and pendants. The main decoration of the cap was the "Tuosakhta" disk. In the old days, this disk could reach 20 cm in diameter, and it was worn by men and women. Gradually, it became part of only women's headgear. The disk is a symbol of the sun, and it indicates belonging of its owner to the aiyy solar tribe. The disk repels everything negative with its radiance, it was believed that it could even drive away the spirit of disease.

The joints and open sections of the sleeves, neck and hem on the outer clothing were necessarily decorated. It was believed that these places are most vulnerable to the penetration of the spirits of diseases into the human body, and embroidered patterns performed a magical protective function.
When decorating clothes, favorite techniques were embroidery with colored threads, beads and the use of silver stripes and pendants. The main decoration of the cap was the "Tuosakhta" disk. In the old days, this disk could reach 20 cm in diameter, and it was worn by men and women. Gradually, it became part of only women's headgear. The disk is a symbol of the sun, and it indicates belonging of its owner to the aiyy solar tribe. The disk repels everything negative with its radiance, it was believed that it could even drive away the spirit of disease.

The joints and open sections of the sleeves, neck and hem on the outer clothing were necessarily decorated. It was believed that these places are most vulnerable to the penetration of the spirits of diseases into the human body, and embroidered patterns performed a magical protective function.
The costumes of Chyskhaan, Ehe Jyl, Khaar Kyys and many other heroes of the Yakut epics and legends are sewn in the studio of the fashion designer Avgustina Filippova with the most talented hands of folk craftsmen. Sketches and the concept of outfits are invented for months, or even years, based on the traditional features of local peoples, rich folklore and originality.
The costumes of Chyskhaan, Ehe Jyl, Khaar Kyys and many other heroes of the Yakut epics and legends are sewn in the studio of the fashion designer Avgustina Filippova with the most talented hands of folk craftsmen. Sketches and the concept of outfits are invented for months, or even years, based on the traditional features of local peoples, rich folklore and originality.
Fur, sequins, beads, precious metals on chic dresses are mandatory attributes of traditional events.

Having such a rich and unique baggage of experience and skills, Yakutia has taken significant steps in the world of modern fashion in the past twenty years. Designers and craftsmen present exclusive models in the world's catwalks, skillfully combining traditions and new technologies.
Longrid prepared by:
Sardaana Syromyatnikova
Maria Nikitina
Alexandra Prokopyeva
Maria Udovkina

Translated:
Savina Danilova

Photos:
Galina Savinich
Ekaterina Mozina
Alexey Vasilyev
"Sakhabult" FAPK JSC

Archive photos provided by:
Krasnoyarsk Regional Ethnography Museum
Republic of Sakha (Yakutia) National Art Museum
Irkutsk Museum

Video:
"Most Media" Children's Television Studio

Technical implementation:
Advexus Agency
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