Inoethnic borrowings and their influence on the formation of traditional folk costume in Transcarpathia during 20-40’s of the 20th century

Artistic and stylistic influences on the formation of Transcarpathian
costume during 20-40’s of the 20th century as well as the differences in
ornaments and techniques in decoration are explored in the article. The role
of inoethnic borrowings, namely the influence of the Hungarian and
Romanian costumes on the formation of the Ukrainians’ traditional folk
costume in Transcarpathia during the interwar period is highlighted. The
phenomena of Hungarian and Romanian mutual influences on the
formation of the folk costume in Transcarpathia particularly affected artistic
peculiarities of the style trend in folk traditions, composition, predominant
ornamental motifs, embroidery technique, and colour.

Consequently, differences in traditional construction of the Ukrainians’
clothing items in Transcarpathia primarily appeared in proportions pattern
and dress silhouette, while the way of connecting individual costume parts,
cut, décor, and ornament retained national peculiarity. For example, local
originality of the Hungarians’ and Romanians’ costume was clearly
manifested in the cut and decoration, and differed significantly from
traditional decoration of the Ukrainians’ costume in Transcarpathia during
that time period. Romanians and Hungarians in Transcarpathia skillfully
adopted and preserved their folk peculiarity in the traditional formation of
the construction of clothing items, demonstrating artistic-figurative
indigenous peculiarity of the local embroidery centres.
Attention is paid to the processes of influence, formation of the Romanian
costume and the clothes in neighbouring Ukrainian villages as well as in
mixed Ukrainian-Romanian villages. Characteristic differentiation factors
that played an important role in self-identification, self-preservation, and
self-defense of their own ethnic features can be seen.
At the present stage of the development of art studies when the interest to
the folk construction of clothing items has become a kind of fashion it is
especially important to know the background of this ancient art.
Comprehensive study of the artistic-figurative specificity of traditional folk
clothes of people in Transcarpathia enables us to form a general vision of
art of the Ukrainian folk clothes, to learn more deeply about stages of
development of the Romanians’ and Hungarians’ folk costume on the
territory of Transcarpathia.