“Folk costume” has been defined as “the visible, outward badge of folk-group identity, worn consciously to express that identity. In the peasant cultures of Europe, identity was determined geographically, and local costumes expressed locality, region, or province…(1).” The traditional folk costume of Bohemia and Moravia (and Slovakia) is called “Kroje.”

In a history of Slovak Folk Costumes, it is written:

“Folk costumes are now generally worn at festive occasions as a declaration of one’s ethnic identity. The origins of these colorful costumes arise from a humble beginning. While most people are attracted to the bright colors, intricate designs, and overall beauty of folk costumes, ethnographers are interested because the costumes serve as expressions of the culture and the way of living that gave rise to it. The basic function of all clothing, including folk costumes, is to protect the body. Another social function is to differentiate between men and women. Work clothing was purposely adapted to the local natural conditions as well as the work itself. It is generally held that it was over an extended period of time that festive clothing came into existence as more expensive material became available and more and more time was spent making and decorating the costume. It is, thereby, the decoration, high price, and the style of clothes that became characteristic features of the festive dress. Its real form was first determined by national, local and religious allegiance; and then, also, by age, condition, and social status of the wearer. (2)”

Although the same basic articles of clothes constitute as components of the folk costumes throughout the Czech lands, the shapes, colors, designs, and decorations of these components varies greatly. “There are many varieties of costumes (kroje) in Czechoslovakia,” wrote Ms. Willa Mae Cervenka in the June 1992 issue of the Český hlas “Out of approximately 550 costumes, 27 are more familiar to us because they bear the names of important cultural centers…Each county has its own costume, but each village within that county varies just a bit. The differences among the costumes can be explained by the different geographical positions and influences by neighboring cultures. To a great extend, the appearance of the kroje depends, not only on the district of origin, but also on the purpose for they were used. Fine distinguishing features such as embroidery, colors, shapes of designs, ornaments, flowers, and the style of the woman’s blouses, kerchiefs, lace, etc. characterized the locality. They were so distinctive that an expert could identify the origin of each costume. (3)”

An overview of kroje in the Czech lands is as follows:

“As Czechs started earning more money but had little time, they began using more expensive fabrics, some handwork, and muted colors. The result was a more refined look. In Moravia, where people had less money and more time, you see less expensive fabrics, more embroidery and handwork and brighter colors for a more lavish look. The Slovaks, with few exceptions, had no money and lots of time, so their kroje used a lot of homespun cloth, fabulous embroidery, and a riot of colors producing an exuberant, high-spirited look… Czech/Bohemian women’s kroje were made of more expensive materials such as fine broadcloths and silk, in softer colors, to emulate the wealthy and nobility. Skirts were made of fine wool, linen, or brocade, and were worn below the knee. Designs were generally woven in, not embroidered. Moravian women’s kroje could be rich, and when they were more common, they were more heavily embroidered. Skirts were shorter and more full than in Bohemia, and worn over many heavily starched and embroidered white petticoats…The fabric of women’s kroje in Slovakia can be something as common as homespun; linen and wool are also wide spread (4).”

                              

Kroje from the Chodsko region of Bohemia.

 

Domažlice, in the Chodsko area of Bohemia (near the German border), claims to be the “last remaining ethic area of Bohemia.” In this area there are still many individuals who don kroj for church and special occasions. In addition, newly made kroje items with traditional designs can still be purchased. To see a gallery of kroj (as well as handicrafts) from this area, visit: http://web.quick.cz/chodsko1/kroj.htm.

An example of uniqueness of the folk costumes from a specific area (the Haná region) is as follows: “Every costume reflects its period and its region, its land and its people. It describes a peasant, his work, and his enjoyment. You can see it especially in the Haná region costume. You can find a wealth of the Haná region and its fertile soil. The Haná costumes sing about the physical ability of the Haná men and the attractive Haná women. You can feel a sense of traditions and joyful folklore coming from them.” So wrote Doctor Jan Kuehndel, the former director of the Prostějov Regional Museum in 1940 (5).

In the Haná region, there were typical differences for every period in history: during the Renaissance; the collar and sleeves were emphasized, during the Rococo; large skirts and deeply cut camisoles, and during the Empire; it was high belts. Not all locations with the Haná area followed all the changes in design and this resulted in the costumes being “multiform and a bit different from one part of the Haná region to another,” wrote Ms. Marta Čížová, in a book titled The Haná Region Costume (6).

Kroj identified as being from the Haná-Slovacka area of Moravia, C. R.

The Haná region represents the whole central area of Moravia, from Uničov to Bílovice (north to south) and from Litovel to Holešov (east to west). This area was prosperous and was one of the first in which the traditional peasant costume was replaced as daily wear. In 1858, the first factory for the production of ready-to-wear clothing opened in Prostějov. The inexpensive ready-to-wear clothing first replaced the folk peasant costume in that town and then throughout the Haná area. The peasant folk costume remained in use in less prosperous and more remote regions of the Czech lands well into the 1900’s. It has been written that “the further west your ancestors lived, the sooner they modified or gave up the kroj tradition. People who lived in the Czech/Bohemian area generally stopped wearing kroje in the mid to late 1800’s, when this part of the Austro-Hungarian Empire became more industrial and prosperous. Whereas in parts of Slovakia and Moravia, people still wore them everyday until the 1930’s (7).”

While the Haná region lies in central Moravia, Břeclav is located near the borders of Moravia, Slovakia, and Austria. In this area, each kroj was not only unique to each village but also to the dialect spoken and the folk songs and dances of that particular area as well. Here, a culture developed with aspects from different sides of the border. Influences from the area‘s past can still be seen in current kroje. Once, true Moravian-Croatian kroje could be seen in this area. Now, however, one must view photographs in museum collections, as they no longer exist. These peasant costumes were made from colorful cashmere fabrics with multi-color embroidery. This same embroidery can, however, can still be found on older pieces from Podluzan and Kyjov. (8)

In Slovakia, the evolution of the folk costumes followed the same basic pattern. In a short history of Slovak folk costumes it is written: “The elaboration of the forms of local folk costumes was significantly influenced by uneven economic development in individual regions of Slovakia and also by increasing social differentiation of society. Economic prosperity of a region and the welfare of the people found expression in the folk costume (9).”

According to Jana Vaculik of the McLennan-Hill Chapter of the CHS, “Westfest is the best time to see some authentic costumes because we have over 30 people including children dressed in authentic or Texas Czech costumes.” Westfest is scheduled for August 31^st and September 1^st this year. Ms. Vaculik represented Texas in the fifteenth annual Miss Czech-Slovak-U. S. A. Pageant held in conjunction with the fortieth annual National Czech Festival in Wilber, Nebraska (see Český hlas/Czech Voice, Vol. 16, Issue 3, November 2001, page 34).

William and Mildred Soukup Dokupil of West enjoying Westfest along with their grandchildren Brady and Bria Dokupil.

 

Ms. Vaculik also related that “When I went to the Czech Republic, I asked about books telling something about krojes of different regions but they did not have anything. They usually have calendars with people posing in the authentic costumes. It is sad because everybody in the United States/Texas are interested in this but people in the Czech Republic are selling their costumes because the next generation does not care as much. These are older kroje too and they are very delicate.”

An on-line photo album of authentic kroj from the Czech Republic, Slovakia, and Poland can be found on the editor’s web site at: www.angelfire.com/tx5/texasczech/.

(1) Landrum, Cindy, “Folk Lore,“ Available at http://virtual.park. uga.edu/~clandrum/category_html/costume.html; INTERNET. Quoting Yoder, Don. "Folk Costume." Folklore and Folklife: An Introduction. Ed. Richard M. Dorson. Chicago: The University of Chicago Press, 1972. 295.

(2) ”Slovak Folk Costumes,” http//krojjanka.szm.sk.historia.htm; INTERNET.

(3) Cervenka, Willa Mae, “Czechoslovak “Kroje” Costumes, Český hlas/Czech Voice, June 1992. Quoted in http//www.czech heritage.org/Countypages/kroje.html.

(4) Author Unknown, title unknown. This information has been excerpted from a copy with no title and without the name of the author. I am trying to identify and contact the author. If anyone has any information about the article, the author, or where else it has been printed, please contact Susan Rektorik Henley.

(5) Kuehndel, Jan, 1940. Introduction to “The Haná Region Costume,” by Marta Čížková, Prostějov. Quoted in http://www.volny.cz/hanaci-praha/krojgb.htm; INTERNET.

(6) Čížková, Marta, “The Haná Region Costume,” edited 1940, Prostějov. Quoted in http://www.volny.cz/hanaci-praha/ krojgb.htm; INTERNET.

(7) Author Unknown. See Note 3 above.

(8) “Kroje - vznik a jejich vivo,” translated by Jana Vaculik from http://www.rotrekl.cz/kroje.htm, INTERNET.

(9) ”Slovak Folk Costumes,” http//krojjanka.szm.sk.historia.htm; INTERNET.

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