Photos from the fashion show at UT Viljandi Culture Academy where the graduates of the local textile curriculum presented 13 collections.
See more: http://blog.ut.ee/national-fashion-show-in-viljandi.
Alim Gasimov is considered Azerbaijan's foremost mugham virtuoso. Mugham is an ancient musical tradition from Azerbaijan that Gasimov has helped evolve into a modern genre. He experiments with fusing mugham with other world music styles. Gasimov has collaborated with renowned groups like Kronos Quartet and is praised for his unique voice and emotional performances. He is seen as integral to preserving Azerbaijan's cultural heritage through mugham and would represent the country in a global time capsule.
Kafirstan is a region in northern Pakistan inhabited by the Kalash people. The Kalash live in three valleys near Chitral: Birir, Bumburet, and Rambur. They have a unique culture and traditions, including building houses from logs and holding festivals throughout the year. After someone dies, the Kalash create wooden effigies in their likeness that are decorated based on how much food is provided for the community. These effigies are then displayed in graveyards and museums.
The Gymnasium of Konstantinoupoleos is a small secondary school located in Nicosia, Cyprus with 255 students aged 12-15. It has 46 teachers who teach subjects like Greek, Math, History, Foreign Languages, Sciences, and more. The school has had success in sports and literature competitions. It also emphasizes learning through activities like art, dance, music, and foreign languages. Students participate in events like a fire drill, road safety lecture, folk dancing, and a school trip to an archaeological site to further their learning.
1) The document summarizes several cultural events that take place in Prilep, Macedonia including Christian holidays like Prochka and Spasovden, festivals like Bear Fest and 11th of October, and the patron saint day of St. Nicholas.
2) It also describes some traditional customs and beliefs practiced in Prilep such as Vasilica involving eating pudding with coins and Amkanje involving children trying to catch eggs in their mouths.
3) The document highlights the importance of crafts and craftsmen in Prilep's history and economy, though many crafts like pottery and metalworking are now disappearing due to industrialization.
The document discusses the history and types of Irish dances. It notes that Irish dances originated in the 9th century as fleis dances that were line dances or round dances. The Middle Ages saw the rise of formal dancing groups and traditional dance figures. Common dance types include jigs, reels, hornpipes, and soft shoe dances. The document also describes traditional Irish dance attire, footwear, and the popularity of Irish dance performances and festivals today.
Photos: How Students Invoke The Christmas Spirit in TartuUniversity of Tartu
Rūta Petersonaitė, a fourth year student of publishing at Vilnius University, took out her camera and captured the Christmas spirit among the students in Tartu.
Tartu, Estonia is summarized in 3 sentences:
Tartu is a picturesque university town located in Estonia along the Baltic Sea that has been a center of culture and higher education since 1632 with the founding of the University of Tartu which today has over 17,000 students and is ranked among the top 600 universities in the world, focusing on academic excellence across various fields from astronomy to humanities. Tartu combines a peaceful natural setting with a vibrant student life supported by its large university at the heart of the city.
Students at the University of Tartu produced a Gangnam Style video: http://youtu.be/yCdQtiiBBUk.
See the behind-the-scenes story: http://blog.ut.ee/ut-gangnam-style-behind-the-scenes.
Alim Gasimov is considered Azerbaijan's foremost mugham virtuoso. Mugham is an ancient musical tradition from Azerbaijan that Gasimov has helped evolve into a modern genre. He experiments with fusing mugham with other world music styles. Gasimov has collaborated with renowned groups like Kronos Quartet and is praised for his unique voice and emotional performances. He is seen as integral to preserving Azerbaijan's cultural heritage through mugham and would represent the country in a global time capsule.
Kafirstan is a region in northern Pakistan inhabited by the Kalash people. The Kalash live in three valleys near Chitral: Birir, Bumburet, and Rambur. They have a unique culture and traditions, including building houses from logs and holding festivals throughout the year. After someone dies, the Kalash create wooden effigies in their likeness that are decorated based on how much food is provided for the community. These effigies are then displayed in graveyards and museums.
The Gymnasium of Konstantinoupoleos is a small secondary school located in Nicosia, Cyprus with 255 students aged 12-15. It has 46 teachers who teach subjects like Greek, Math, History, Foreign Languages, Sciences, and more. The school has had success in sports and literature competitions. It also emphasizes learning through activities like art, dance, music, and foreign languages. Students participate in events like a fire drill, road safety lecture, folk dancing, and a school trip to an archaeological site to further their learning.
1) The document summarizes several cultural events that take place in Prilep, Macedonia including Christian holidays like Prochka and Spasovden, festivals like Bear Fest and 11th of October, and the patron saint day of St. Nicholas.
2) It also describes some traditional customs and beliefs practiced in Prilep such as Vasilica involving eating pudding with coins and Amkanje involving children trying to catch eggs in their mouths.
3) The document highlights the importance of crafts and craftsmen in Prilep's history and economy, though many crafts like pottery and metalworking are now disappearing due to industrialization.
The document discusses the history and types of Irish dances. It notes that Irish dances originated in the 9th century as fleis dances that were line dances or round dances. The Middle Ages saw the rise of formal dancing groups and traditional dance figures. Common dance types include jigs, reels, hornpipes, and soft shoe dances. The document also describes traditional Irish dance attire, footwear, and the popularity of Irish dance performances and festivals today.
Photos: How Students Invoke The Christmas Spirit in TartuUniversity of Tartu
Rūta Petersonaitė, a fourth year student of publishing at Vilnius University, took out her camera and captured the Christmas spirit among the students in Tartu.
Tartu, Estonia is summarized in 3 sentences:
Tartu is a picturesque university town located in Estonia along the Baltic Sea that has been a center of culture and higher education since 1632 with the founding of the University of Tartu which today has over 17,000 students and is ranked among the top 600 universities in the world, focusing on academic excellence across various fields from astronomy to humanities. Tartu combines a peaceful natural setting with a vibrant student life supported by its large university at the heart of the city.
Students at the University of Tartu produced a Gangnam Style video: http://youtu.be/yCdQtiiBBUk.
See the behind-the-scenes story: http://blog.ut.ee/ut-gangnam-style-behind-the-scenes.
The document summarizes the traditional costumes of the Klaipėda region of Lithuania. For women, the costumes typically included long skirts, shirts, aprons, head coverings, and decorative bags called "delmonas." Men's costumes usually consisted of shirts, trousers, vests or jackets, felt hats, scarves, and boots. Children's holiday outfits mimicked the styles of adults. The costumes reflected the region's history as part of Prussia and incorporation of German influences into traditional Lithuanian dress.
This document summarizes the traditional national costumes of the Klaipėda region in Lithuania. It describes the clothing worn by women, men, and children, including specific details of the materials, styles, and accessories that comprised their outfits. It also provides some brief historical context about Lithuania Minor and interesting facts about distinctive elements of the regional costumes like the decorative "delmonas" handbags worn by women.
The document provides information on traditional Cypriot costumes from various regions of Cyprus. It describes in detail the typical elements of male and female costumes, including the materials used, pieces of clothing, accessories, and some regional variations. The female costume generally consisted of an outer garment, chemise, and long trousers, with the main outer garments being the saya, foustani, and saya. The male costume was characterized by baggy pleated trousers called vraka, along with a waistcoat or jacket. Accessories for both included head coverings, jewelry, and footwear. The costumes reflected the local traditions and identities of the island's communities while also incorporating some European influences over time.
This document provides information about the history and development of the Icelandic wool sweater. It discusses how the sweater originated as a practical work garment but has since become a national and fashion symbol. The document outlines key periods in the sweater's evolution, from its origins in cottage industries to a factory product and popular export in the mid-20th century. It also describes influential designers and the development of standardized patterns that helped spread Iceland's knitting traditions.
1) The document describes several traditional holidays and events celebrated in Prilep, Macedonia including Prochka, Spasovden, Bear Fest, October 11th, and St. Nicholas.
2) It also discusses traditional masks such as the Mechkari mask worn during Bear Fest, and customs including Vasilica involving distributing coins in pudding and Amkanje involving children trying to catch eggs in their mouths.
3) The document provides details on crafts practiced in Prilep such as pottery, metalworking, and weaving, which were historically important but have declined, and the collection of cultural artifacts and traditions by ethnographers including folktales, customs, clothing and craft descriptions.
Dzūkija traditional clothing was more varied and colorful than other Lithuanian regions. Women's clothing consisted of a shirt, skirt, apron, vest, belt, and headdress that depended on age and season. Headscarves were made of wool or linen and decorated with embroidery. Skirts were typically checkered in colors like green, purple, and blue. Aprons had striped or plaid patterns in red and white or blue and white. Men's clothing included caps, shirts with embroidered details, trousers in various fabrics and plaid patterns, and sermėga jackets made of decorated cloth. Belts were an important part of costumes for both women and men.
Traditional costumes from 18th century Sicily are described. Typical female costumes included red or yellow damask skirts, black striped velvet waistcoats, and white blouses. Typical male costumes were made of black striped velvet trousers and waistcoats, and white or checked shirts. Details are provided on traditional wedding attire, including the bride wearing a silver grey dress with embroidery and lace and the groom wearing a blue vest with a velvet dress. Traditional dances and musical instruments from the region are also outlined.
This document describes a Comenius project between 2012-2014 involving 6 schools from Cyprus, Estonia, Italy, Greece, Poland, and Romania. The project aimed to promote cultural and intercultural awareness through activities exploring cultural heritage. Students from the Romanian school created traditional Romanian costumes as a final project outcome. Photos show the students wearing the costumes and participating in cultural celebrations.
The document summarizes an upcoming event called "Culture Couture" that will showcase Indigenous Australian fashion designs. University of Virginia students designed and constructed garments using fabrics from Indigenous Australian artists and their designs will be modeled in a fashion show. The event aims to introduce Charlottesville to Indigenous fashion creativity and bring together UVA students and Indigenous artists. In addition to the student designs, established Indigenous fashion labels from Australia will also present pieces at the event. There will be a performance by the Indigenous music trio Biliirr to celebrate Indigenous creativity.
Ukrainian embroidery is an ancient folk art form that originated in the 2nd century BC. It involves decorating fabrics such as canvas and leather with ornate geometric, floral, zoomorphic, or anthropomorphic designs using threads of various colors. Specific colors like red, black, white, blue, yellow, green, brown, and gray carry symbolic meanings. For the author, embroidery represents an important part of Ukrainian culture and family tradition, with embroidered garments being treasured family heirlooms that connect them to their heritage.
Women in Dzūkija traditionally wore colorful, finely patterned skirts and bodices with embroidered details. Their headwear included bonnets, headbands, and scarves, with married women favoring intricate bonnets. Men wore shirts decorated with embroidery and caftans that widened at the bottom. Footwear included leather shoes but also local styles like bast shoes and crocheted čempės. Traditional clothing was worn in Dzūkija into the early 20th century and distinguished by its bright colors and small patterns.
Cultural diversity. Project made by 2nd Junior High school, Leros GREECE, 202...ELENIPAPAIOANNOU15
On the occasion of the 21st of May (World Culture Day), the students of the 2nd Junior High School of Leros participated in an eTwinning action entitled: Cultural diversity. Schools from all over the world take part in this action. The students of the 2ndJunior High School of Leros collaborated with the teachers Stamou Dimitra and Papaioannou Eleni PE. The project is entitled: Cultural diversity. Let's talk about Greece. The aim is to promote Greek culture.
This document discusses the history of reconstructing ancient Finnish costumes based on textile fragments found in burial sites. It notes that inhumation burials from 600 AD onward in areas like Eura, Köyliö, and Yläne have provided the most information about Iron Age dresses. Textile remains are often poorly preserved but spiral bronze ornaments have helped preserve some details. While graves provide scattered details, extensive excavation, documentation, and laboratory analysis are needed to understand how ornamentation and costumes were assembled. The reconstructions aim to piece together dresses from archaeological evidence but there is still a long way from fragments to full costumes.
The document summarizes the traditional costumes of the Suvalkija region in Lithuania. It describes that the costumes incorporate styles from the Kapsai and Zanavykai peoples who settled the region after it was laid waste. The women's costumes are noted as being the most colorful in Lithuania, featuring brightly decorated aprons, wide skirts with stripes, and bodices made of expensive fabrics. The men's costumes include dark coats, shirts, sashes, boots, and hats. The document provides pictures and details on various elements of the traditional costumes.
The students from I.C. 3 “Don Peppe Diana” visited the National Museum of San Martino in Naples to learn about local crafts. At the museum, they saw the Cuciniello Nativity scene which features over 600 handcrafted figurines and miniature objects. The students then had workshops where they learned about the history and symbolism of figures in the Neapolitan nativity scene from a local artisan. They also learned how to make wicker baskets and model clay into fruits and vegetables as miniatures for the nativity scenes. Naples is famous for its nativity scene tradition, and the street of Via San Gregorio Armeno features many shops selling unique handcrafted n
This document provides information about traditional Icelandic clothing from the 16th-19th centuries as well as some contemporary Icelandic fashion brands. It describes traditional men's, women's, and children's costumes and materials like lopi wool. Specific costumes discussed include the Upphlutur and Peysuföt worn by women and the traditional men's ensemble. Contemporary Icelandic fashion brands highlighted are Farmers Market, 66NORTH, Steinunn, and Mundi. In conclusion, it outlines some popular brands and styles typically worn by Icelandic teenagers today.
This document provides an overview of Icelandic culture presented by three authors. Alicia Lowe discusses Icelandic clothing traditions from the Viking age to present day. Traditional costumes are still worn for special occasions and describe social classes. Lisa Stensgard covers Icelandic nonverbal and verbal traditions, including direct speech, handshakes, eye contact and importance of punctuality. She also discusses folk music, dances and games that date back centuries. Kathleen Intile will discuss gender roles in Iceland. The presentation aims to illustrate how Icelandic culture has evolved from Norse heritage to present day.
The document summarizes the traditional costumes of the Aukštaitija region in northeastern Lithuania. The men's clothing consisted of grey, brown or undyed wool caftans and black or white boots. The women's clothing featured the dominant color of white in veils, shirts, aprons and sometimes skirts. Key components of the traditional costumes included headdresses, sashes, shirts, bodices, skirts, aprons and gloves.
Cypriot traditional costumes provide insight into the island's culture and history. Regional costumes display local variations in style, materials and details while maintaining a shared Cypriot identity. The most common items of traditional dress include the pleated male vraka trousers, the female saya dress or foustani robe, and decorative headscarves. Materials like cotton and silk were locally cultivated and crafted into distinctive garments, embellished with embroidery, lace and jewelry reflecting social status and occasion. Overall, Cypriot costumes demonstrate the island's assimilation of foreign influences within its own conservative folk artistic traditions.
The document summarizes the traditional costumes of the Klaipėda region of Lithuania. For women, the costumes typically included long skirts, shirts, aprons, head coverings, and decorative bags called "delmonas." Men's costumes usually consisted of shirts, trousers, vests or jackets, felt hats, scarves, and boots. Children's holiday outfits mimicked the styles of adults. The costumes reflected the region's history as part of Prussia and incorporation of German influences into traditional Lithuanian dress.
This document summarizes the traditional national costumes of the Klaipėda region in Lithuania. It describes the clothing worn by women, men, and children, including specific details of the materials, styles, and accessories that comprised their outfits. It also provides some brief historical context about Lithuania Minor and interesting facts about distinctive elements of the regional costumes like the decorative "delmonas" handbags worn by women.
The document provides information on traditional Cypriot costumes from various regions of Cyprus. It describes in detail the typical elements of male and female costumes, including the materials used, pieces of clothing, accessories, and some regional variations. The female costume generally consisted of an outer garment, chemise, and long trousers, with the main outer garments being the saya, foustani, and saya. The male costume was characterized by baggy pleated trousers called vraka, along with a waistcoat or jacket. Accessories for both included head coverings, jewelry, and footwear. The costumes reflected the local traditions and identities of the island's communities while also incorporating some European influences over time.
This document provides information about the history and development of the Icelandic wool sweater. It discusses how the sweater originated as a practical work garment but has since become a national and fashion symbol. The document outlines key periods in the sweater's evolution, from its origins in cottage industries to a factory product and popular export in the mid-20th century. It also describes influential designers and the development of standardized patterns that helped spread Iceland's knitting traditions.
1) The document describes several traditional holidays and events celebrated in Prilep, Macedonia including Prochka, Spasovden, Bear Fest, October 11th, and St. Nicholas.
2) It also discusses traditional masks such as the Mechkari mask worn during Bear Fest, and customs including Vasilica involving distributing coins in pudding and Amkanje involving children trying to catch eggs in their mouths.
3) The document provides details on crafts practiced in Prilep such as pottery, metalworking, and weaving, which were historically important but have declined, and the collection of cultural artifacts and traditions by ethnographers including folktales, customs, clothing and craft descriptions.
Dzūkija traditional clothing was more varied and colorful than other Lithuanian regions. Women's clothing consisted of a shirt, skirt, apron, vest, belt, and headdress that depended on age and season. Headscarves were made of wool or linen and decorated with embroidery. Skirts were typically checkered in colors like green, purple, and blue. Aprons had striped or plaid patterns in red and white or blue and white. Men's clothing included caps, shirts with embroidered details, trousers in various fabrics and plaid patterns, and sermėga jackets made of decorated cloth. Belts were an important part of costumes for both women and men.
Traditional costumes from 18th century Sicily are described. Typical female costumes included red or yellow damask skirts, black striped velvet waistcoats, and white blouses. Typical male costumes were made of black striped velvet trousers and waistcoats, and white or checked shirts. Details are provided on traditional wedding attire, including the bride wearing a silver grey dress with embroidery and lace and the groom wearing a blue vest with a velvet dress. Traditional dances and musical instruments from the region are also outlined.
This document describes a Comenius project between 2012-2014 involving 6 schools from Cyprus, Estonia, Italy, Greece, Poland, and Romania. The project aimed to promote cultural and intercultural awareness through activities exploring cultural heritage. Students from the Romanian school created traditional Romanian costumes as a final project outcome. Photos show the students wearing the costumes and participating in cultural celebrations.
The document summarizes an upcoming event called "Culture Couture" that will showcase Indigenous Australian fashion designs. University of Virginia students designed and constructed garments using fabrics from Indigenous Australian artists and their designs will be modeled in a fashion show. The event aims to introduce Charlottesville to Indigenous fashion creativity and bring together UVA students and Indigenous artists. In addition to the student designs, established Indigenous fashion labels from Australia will also present pieces at the event. There will be a performance by the Indigenous music trio Biliirr to celebrate Indigenous creativity.
Ukrainian embroidery is an ancient folk art form that originated in the 2nd century BC. It involves decorating fabrics such as canvas and leather with ornate geometric, floral, zoomorphic, or anthropomorphic designs using threads of various colors. Specific colors like red, black, white, blue, yellow, green, brown, and gray carry symbolic meanings. For the author, embroidery represents an important part of Ukrainian culture and family tradition, with embroidered garments being treasured family heirlooms that connect them to their heritage.
Women in Dzūkija traditionally wore colorful, finely patterned skirts and bodices with embroidered details. Their headwear included bonnets, headbands, and scarves, with married women favoring intricate bonnets. Men wore shirts decorated with embroidery and caftans that widened at the bottom. Footwear included leather shoes but also local styles like bast shoes and crocheted čempės. Traditional clothing was worn in Dzūkija into the early 20th century and distinguished by its bright colors and small patterns.
Cultural diversity. Project made by 2nd Junior High school, Leros GREECE, 202...ELENIPAPAIOANNOU15
On the occasion of the 21st of May (World Culture Day), the students of the 2nd Junior High School of Leros participated in an eTwinning action entitled: Cultural diversity. Schools from all over the world take part in this action. The students of the 2ndJunior High School of Leros collaborated with the teachers Stamou Dimitra and Papaioannou Eleni PE. The project is entitled: Cultural diversity. Let's talk about Greece. The aim is to promote Greek culture.
This document discusses the history of reconstructing ancient Finnish costumes based on textile fragments found in burial sites. It notes that inhumation burials from 600 AD onward in areas like Eura, Köyliö, and Yläne have provided the most information about Iron Age dresses. Textile remains are often poorly preserved but spiral bronze ornaments have helped preserve some details. While graves provide scattered details, extensive excavation, documentation, and laboratory analysis are needed to understand how ornamentation and costumes were assembled. The reconstructions aim to piece together dresses from archaeological evidence but there is still a long way from fragments to full costumes.
The document summarizes the traditional costumes of the Suvalkija region in Lithuania. It describes that the costumes incorporate styles from the Kapsai and Zanavykai peoples who settled the region after it was laid waste. The women's costumes are noted as being the most colorful in Lithuania, featuring brightly decorated aprons, wide skirts with stripes, and bodices made of expensive fabrics. The men's costumes include dark coats, shirts, sashes, boots, and hats. The document provides pictures and details on various elements of the traditional costumes.
The students from I.C. 3 “Don Peppe Diana” visited the National Museum of San Martino in Naples to learn about local crafts. At the museum, they saw the Cuciniello Nativity scene which features over 600 handcrafted figurines and miniature objects. The students then had workshops where they learned about the history and symbolism of figures in the Neapolitan nativity scene from a local artisan. They also learned how to make wicker baskets and model clay into fruits and vegetables as miniatures for the nativity scenes. Naples is famous for its nativity scene tradition, and the street of Via San Gregorio Armeno features many shops selling unique handcrafted n
This document provides information about traditional Icelandic clothing from the 16th-19th centuries as well as some contemporary Icelandic fashion brands. It describes traditional men's, women's, and children's costumes and materials like lopi wool. Specific costumes discussed include the Upphlutur and Peysuföt worn by women and the traditional men's ensemble. Contemporary Icelandic fashion brands highlighted are Farmers Market, 66NORTH, Steinunn, and Mundi. In conclusion, it outlines some popular brands and styles typically worn by Icelandic teenagers today.
This document provides an overview of Icelandic culture presented by three authors. Alicia Lowe discusses Icelandic clothing traditions from the Viking age to present day. Traditional costumes are still worn for special occasions and describe social classes. Lisa Stensgard covers Icelandic nonverbal and verbal traditions, including direct speech, handshakes, eye contact and importance of punctuality. She also discusses folk music, dances and games that date back centuries. Kathleen Intile will discuss gender roles in Iceland. The presentation aims to illustrate how Icelandic culture has evolved from Norse heritage to present day.
The document summarizes the traditional costumes of the Aukštaitija region in northeastern Lithuania. The men's clothing consisted of grey, brown or undyed wool caftans and black or white boots. The women's clothing featured the dominant color of white in veils, shirts, aprons and sometimes skirts. Key components of the traditional costumes included headdresses, sashes, shirts, bodices, skirts, aprons and gloves.
Cypriot traditional costumes provide insight into the island's culture and history. Regional costumes display local variations in style, materials and details while maintaining a shared Cypriot identity. The most common items of traditional dress include the pleated male vraka trousers, the female saya dress or foustani robe, and decorative headscarves. Materials like cotton and silk were locally cultivated and crafted into distinctive garments, embellished with embroidery, lace and jewelry reflecting social status and occasion. Overall, Cypriot costumes demonstrate the island's assimilation of foreign influences within its own conservative folk artistic traditions.
Similar to Photos: The National Fashion Show in Viljandi (20)
Photos from the commencement of Gyaneshwer Chaubey, the first Indian student to defend PhD at the University of Tartu in Estonia. Photos by Jüri Parik.
Viire Pajuste conducted an experiment to build a Viking Age house using only Iron Age tools and techniques. The article documents various stages of construction through photos, including transporting logs, lifting and placing logs as a team, using birch bark for insulation, building ladders and ropes from natural materials, and finishing the floor with earth and clay. Most work was done using copies of 9 Iron Age axes.
Insanony: Watch Instagram Stories Secretly - A Complete GuideTrending Blogers
Welcome to the world of social media, where Instagram reigns supreme! Today, we're going to explore a fascinating tool called Insanony that lets you watch Instagram Stories secretly. If you've ever wanted to view someone's story without them knowing, this blog is for you. We'll delve into everything you need to know about Insanony with Trending Blogers!
MISS RAIPUR 2024 - WINNER POONAM BHARTI.DK PAGEANT
Poonam Bharti, a guide of ability and diligence, has been chosen as the champ from Raipur for Mrs. India 2024, Pride of India, from the DK Show. Her journey to this prestigious title is a confirmation of her commitment, difficult work, and multifaceted gifts. At fair 23 a long time ago, Poonam has as of now made noteworthy strides in both her proficient and individual lives, encapsulating the soul of present-day Indian ladies who adjust different parts with beauty and competence. This article dives into Poonam Bharti’s foundation, achievements, and qualities that separated her as a meriting champion of this award.
This edition features a handful of business America's Trendsetting Interior Designer Showcasing Interior Excellence that are at the forefront of leading us into a digital future
1. Photos: The National Fashion
Show in Viljandi
Text: Merilyn Merisalu Photos: Merli Antsmaa
June 5, 2012
2. The models presented Ilme Kossesson’s linen dresses, inspired by Muhu design
and decorated using a knitting machine, together with Aili Järvesaar's Muhu-
themed crocheted vests.
3. "Knitted Stripes of Viru County” by Kersti Loite uses fragments of stripes from a skirt
from Jõhvi parish, knitted into different parts of modern apparel as folded patches. The
designer has made seven suits consisting of overcoats, skirts, jackets, vests and a tunic.
4. The master of
ceremony, Kristjan
Lüüs – a first-year
theatre student at the
Culture Academy –
wore the national
dress of the Tarvastu
area, made by Kersti
Roosmaa.
5. Triin Amur presented a collection of women’s clothes that was inspired by the
national dress of Vormsi women and made of recycled material. The designer used
fabric leftovers and textiles from secondhand shops for the clothes.
6. Maaja Kalle's collection included colorful dresses and skirts for children with designs
from the islands of Western Estonia. Although such skirts were originally woven at
Saaremaa from woolen yarn, using looms, Kalle used knitting needles and cotton.
7. Karolina Lehtma and Liisi-Ly Viitkin had a joint collection inspired by jackets from
Sõrve. The modern collection that included jackets and overcoats for both men and
women made many in the audience woo and desire the clothes they saw on the stage.
8. Gerly Karu's collection
included open pockets
attached to the sides of
scarves. According to the
author, there's no great
interest in belt
pockets, hence the idea to
put the pockets needed to
carry stuff in the sides of
scarves, as the latter
happen to be hot items.
The winter scarves were
made of drugget; those for
the spring season were
made of wool.
9. Kersti Pook’s graduation work consisted of four urban-style jackets from Põltsamaa
and Kolga-Jaani parishes, accompanied by suitably striped skirts. The jackets are
made of modern materials and decorated with colourful ribbons and lace.
10. Külli Vähi had re-created
the clothing of Ruhnu men
from the beginning of the
20th century. The order
came from the Rannarootsi
Museum. The collection is
going to comprise a
uniform for the captain of a
Ruhnu-type ship. The
buttons for the shirt had to
be made of silver, so that if
the seaman drowned and
washed up on a foreign
shore there'd be
something to cover the
costs for his funeral.
11. This collection of children's clothing by Janne Vaabla is based on the ethnographic
style of mainland Estonian children’s clothing. The girls were wearing national shirts
made of linen. Trench coats, denim sweaters and breeches were also presented.
12. Iriina Rei’s graduation work consisted of woolen knitted leggings that wouldn't
look out of place today. The embroidery was inspired by the flowery designs of
Muhu from the first part of the 20th century, distinguished by stylised plant
figures.
13. Models in black-and-white
costumes presented
knitted gloves by Liivi Vain
while making fluid dance
moves with their hands.
Vainu was inspired by bird
and fir motifs from
Lihula, as well as cross
signs, believed to grant
protection.