The most interesting area for the Italian tradition
surely consists of Dignano, Gallesano and Valle. In these territories a
traditional women’s dress - with local versions - was worn until the last
decades of the 19th century, when it was replaced by a bourgeois fashion.
Available clothes and information are almost all from
the Dignano area.
Apart from the artifacts preserved in Vienna, some
parts of the traditional clothing from Dignano are kept in the Pisino Museum.
However, it is not certain, whether they are
authentic, since they may have been specifically created for the folk groups
between the two world wars. As mentioned before, there are some pieces kept in
Gallesano. The only other available references are represented by two statues
of respectively a woman from Valle and one from Dignano. They are exhibited in
the Museum of Rome.
My main reference points are the artifacts from the
museum in Vienna and the information collected by Domenico Rismondo in the
first years of the 20th century. His contribution, as great expert of the
traditions of Dignano, is fundamental for folk customs and practices.
A little linguistic note: the diphthongs èi and òu,
typical of the Dignano dialect, become simple vowels in the Valle and Gallesano
dialects, i.e. “i” and “u”, whereas “u” becomes “o”.
The women’s blouse - called camèisa or camisa in Valle
and Gallesano - was worn without a petticoat and covered the body from the
shoulders down to the knee. It was underwear and outwear at the same time. The
everyday blouse was made of hemp, its sleeves made of linen or bonbàs cotton.
The blouse for special occasions was made of a more refined fabric. The upper
part was decorated by a ruffle, sometimes with a lace embroidery. The sleeves
tighten up at the wrists and were wrinkled at the ends.
The artifact in Vienna consists of four square pieces
of cloth, two for the back and the front, the other two for the sleeves. All
four pieces gather in the upper part and form the hole for the head. Two little
fabric squares are inserted under the armpits, following a diagonal fold. Below
the waistline women wore a “carpita” skirt that could be green, red or light
blue, with frills at the waistline and covering the legs down to the toes. The
rim was in silver lace (a thread called rumana). Later this skirt was replaced
by white petticoat, namely “sotana”. From the mid-20th century some
undergarments started to be used: sleeveless corsets (bustèin) and underwears
(mudande) open at the crotch.
On top of the blouse they wore a sleeveless bodice
(camisulein or camisolin), of dark wool for the working days and red (or black
for the old women) on holidays and lined with white cloth.
The bodice had a round front neckline whose tails were
fastened by clasps or overlapped and kept together by a needle. The bodice from
Gallesano is longer and has more of a square neckline.
The skirt, “soca” or “suoca” was made of a black thick
wool produced locally (gurgàn, gorgàn) or bought in shops.
The Istro-Romance term “soca” corresponds to the
Istro-Croatian term “suknja”, translated as “cloth dress”. This pan-Slavic term
spread across Europe from Poland in the XII-XIII centuries and was the name
used for a female dress model called “suckenie” in Germany and “sousquanie” in
France. References to the soca are to be found in medieval texts from Trieste
and Koper. The ankle-length soca was ruffly at the waistline. The soca made of
gurgan usually had a red or turquoise hem. The sample conserved in the Vienna
museum consists of seven fabric layers: the one in front is smooth, whereas the
other six on the back and on the sides were beautifully pleated. Narrow holes
were made near the seams that sewn together the front layer and the other ones.
Colourful ribbons were inserted through these holes.
On special occasions women wore a lower bodice
(bresarola) and detachable sleeves (manighe). These two pieces were usually
made of the same fabric and conceived as one garment. In Dignano and Gallesano
the bresarola was made of two rectangular brocade silk pieces with a multicolor
flower pattern. Otherwise it was made of red or green damask and was 10-12 cm
long. On the short side these two pieces were kept together by matching white
or multicolor ribbons. Both pieces had a white inside lining and a white or red
ribbon on all three sides and white one on the 4-8 cm wide hem.
The three sides of the bodice were trimmed with rumana
silver thread and had colourful ribbons called “spalari”.
The typical bodice of Valle was a bit higher and had
matching shoulder straps. According to Rismondo, as well as on the statue of
the museum, the bodice was worn on top of the camisulèin. The term
“bracciaiola” refers to the sleeve or the cuff, as well as to rectangular patch
- perhaps due to its length, since the Italian word “braccio” stands for arm.
The detachable sleeves, worn on top of the blouse,
were made of two pieces of cloth sewn together. Their floral fabric was the
same as the bodice’s one. In alternative, black or light blue fabric was used
and only the cuffs matched the bodice. These three-quarter-length sleeves were
tight and let the blouse come out in the upper side of the arm, thus creating a
puffed line. A ribbon (travesàn) joined the sleeves on the back with a
decorative knot in the middle.
On top of the skirt went the apron (travesa or traversa
in Venetian), which was of black silk or violet/green satin for holidays. In
winter the brasarola and manighe were replaced by the “ghèlero”, a brown jacket
with a black fur hem.
Hairstyle was also very important. Some women with
specific skills in hairdo were called by their clients at their homes to take
care of their hair. Hair was divided into four sections with a double cross
parting. In the back the hair formed two braids, tied up with a black silk band
(sensalèina or sendalèina, from the word sensi, “tie up”) and gathered in a bun
on the nape.
The bun was decorated by many different silver
hairpins. The simplest version was a needle with a little bird or other
decorations at the end. The silver pins were usually twelve and arranged
radially, together with bigger filigree pins.
The wealthiest ladies wore even up to twenty-four
pins, which corresponded to the full set - whereas a lower number of pins
corresponded to the half set. The central pin was called “pianeta” and had a
large flat end with decorative ramification. Other pins, like the “pianetole”,
had a ball-shaped head, the “spadèini” had a sword-shaped basis. “Tremuli” were
pins with a spiral ending resembling a spring, decorated with flowers that
would sway at every movement.
A stiff hat of local black wool (capèl) was worn as a
sign of mourning or simply as sun-hats. It had a low crown and a very wide
brim, as well as a black ribbon with a bow on the left side. No hats have been
preserved to the present day.
Other headgear was also used: the tovaiòl and the
sèndal - later called capa. They were made of light embroidered linen and
secured to the hair with a pin. We don’t have any information about how they
were worn or folded and about their shape.
In the period between the two wars, the elderly women
going to church or to religious procession, wore the “capa”, a wide shawl
covering their heads and shoulders, made of wool or silk, plain or in damask,
produced in different colours (bright or dark red, green, black, light blue,
etc.) according to the religious community one belonged to.
Around the neck they wore a white embroidered piece of
cloth that formed a triangle covering the back, whereas in the front it had
beautiful pleats and was fastened in the skirt belt.
White handkerchiefs are exhibited in Vienna, but we
don’t know whether they were meant for the head or for the shoulders. It was
also customary to carry a little white handkerchief in the right side of the
belt (fasulito for the nose). Stockings were in white cotton or black wool.
Their shoes were open-toed, made of black leather and worn without laces.
Apart from hairpins, another precious accessory were
golden earrings. These semi-circles had three pear-shaped pendants. They had an arched wire which would go
through the earlobe and held in place by a silk band to avoid any damage to the
ear. Another version included a fourth smaller pendant affixed upon the
semi-circle. About forty silver pearls (tondèini) embellished the ladies’
necks, strung together on a silk string. Another type of necklace was made of
twenty golden little balls (pirùseini) with filigree decorations. Sometimes
just a plain chain was worn in venetian style, with different pendants: a
cross, a heart, a star or other little charms. Talking about rings, apart from
the wedding ring, the most common were snake shaped rings or with two folded
hands, gems or pearls.
In other Istrian areas with a strong Italian presence
there is no documented tradition of a specific female dress in the second half
of the 19th century., not even in the other Istro-Romance city of Rovigno. The
statues in the museum in Rome, together with Babudri’s notes, help us
understand what fabrics and styles were used in that period. In most cases the
dress consisted of a skirt reaching to the calves or ankles. It was matched to
a sleeveless bodice in the area of Muggia or with sleeves in the areas of
Koper, Isola and Rovigno. The fabric could be plain, multicolour, flowered or
checkered. Only women from Buie would wear a tight-waist jacket with a flower
pattern and yellow hems. It was customary to wear a smooth apron, ruffled at
the waist, either plain or floral with vertical pleats in Muggia and Isola.
Only in Muggia and Buie women would wear a black neckerchief with white and
blue flowers, knotted under the chin. Some wore white or yellow shawls crossed
at the front and tucked under the apron (Koper and Isola). In Buie and Rovigno
women wore white or checkered scarves, tied at the chest. The young girls from Rovigno would also wear
large black shawls with fringes.
Shoes were generally open-toed, flat and made of dark
leather. Yet women from Buie would wear ankle boots made of a light leather
with laces whereas women of Rovigno would wear chopines (platform shoes) with
wooden toe caps and a leather upper. In Koper and Isola women would wear golden
earrings with enamel coating or pearls. In the Municipal Museum of Trieste, the
visitor can admire two pairs of earrings, one from Rovigno and the other from
Pirano. The first one resembles a boat (navicella) and the other a lock of hair
(recini a cioca). Special attention is
given, in particular, to the dress worn by women of Pirano for special
occasions in the first half of the19th century. It was made of damask or brocade.
The skirt formed ruffles at the waist and the high-necked bodice would tighten
at the bosom where it was decorated by ribbed seams. The head was covered by a
black silk cloak (sandal, sendado) that reached the hips. In conclusion, there
is another specific outfit designed for women working in salt mines of Pirano
during the summer. They wore a shirt and a skirt, an apron and a shawl around
their shoulders, as well as a large straw hat and flat shoes (pianelle) whose
sole was designed to prevent any damage to the banks and the bottom of the
saltworks. The straw cone-shaped hat (capèl de pàia) and wooden shoes
(taperini) with a leather strap were used even after the WW2 in the salt mines
of Sicciole.