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Dirndls worn in everyday use are rural domestic clothing, made from grey or coloured linen, sometimes with leather bodice and trim. Dirndls used on formal occasions are usually made with materials, designs, colours and embroidery specific to the region.

In more traditional designs, the blouse worn on formal occasions features an elaborate collar made from lace or tassels, which draped over the shoulders and breast.

Jewellery worn with the dirndl includes necklaces, earrings, chokers and chains. Also popular are brooches made of silver, the antlers of deer or even animals' teeth.

As footwear, dirndls are normally worn with court shoes pumps or flat, ballerina-type shoes. Knee-length socks or tights are common.

Other accessories may include a waistcoat or a woollen shawl. In many regions, especially the Ausseerland in the Austrian Salzkammergut , vibrantly coloured, hand-printed silk scarfs and silk aprons are worn.

In spring, the front of the bodice is sometimes decorated with fresh flowers. In traditional customs, the dirndl is worn with a hat or bonnet, especially in church settings.

This headgear developed in the 17th century from a veil or headscarf and was worn by middle class urban women; later the custom spread to the countryside.

Because the appeal of the dirndl is its rustic look, plastic dirndls with flashy ornaments are looked down upon.

It is an absolute faux-pas to wear a dirndl without a blouse. There is an urban legend that claims the placement of the knot on the apron is an indicator of the woman's marital status.

A dirndl skirt is a full, wide skirt, gathered into folds at the waist. Dresses that are loosely based on the dirndl are known as Landhausmode literally "country house style" dresses.

In recent decades, fashion designers have been creating their own interpretations of the dirndl. While appearing to be simple and plain, a properly made modern dirndl may be quite expensive as it is tailored, and sometimes cut from costly hand-printed or silk fabrics.

The dirndl has passed through different periods in its history. These include 1 its origins as rural clothing, 2 development as a recognized folk costume, 3 evolution as a fashion style, 4 appropriation by the Nazis, 5 decline in popularity after the Second World War, followed by a resurgence from the s.

Each of these periods has left an impression on the design and perception of the dirndl. The dirndl originated as a dress worn in rural areas, a more hardy form of the costume worn today.

Rural costumes originated in the countryside; they showed that the wearer belonged to a particular social class, occupation, religious persuasion or ethnic group.

Differing designs developed in the different regions. They were influenced by urban fashions, costumes in neighbouring regions, available materials, as well as fashions in the royal courts and in the military.

Dresses similar to the dirndl, featuring skirts with bodices , aprons and blouses were commonplace in Europe from the 16th to the 18th centuries.

Alpine traditional costume spread to regions in Bavaria and Austria outside the mountains through migration in search of work. As a result, the dirndl developed over time into female Austrian servants' work clothes.

Distinctions developed between the everyday version of rural costumes and the version used for festive occasions; the festive version of each costume tradition was considered the ideal form.

Other popular occasions included markets and Volksfeste. Over time, festive versions of the dirndl developed elaborate decoration around the collar and breast, including embroidery, floral decorations, tassels and lace collars draped over the shoulders and breast.

Elaborate headwear such as the Goldhaube developed to indicate distinctions in social status. Nevertheless, folk costume was increasingly perceived as a marker of rural and working classes.

The background to this development was the French government policy from the midth century onwards of promoting French luxury fashion. With the purpose of promoting conspicuous consumption , the French designs used expensive materials such as silk , lace , and gold and silver thread.

French modes were promoted throughout Europe by printed media, fashion shows and diplomatic exchanges, with the consequence that by the 18th century France became the European leader of fashion amongst the upper classes.

Other governments e. Austria attempted to fight French economic dominance of the fashion industry by building their own luxury fashion industries; this had the effect of further spreading fashion in the French style.

Thus the spread of French fashions increased the contrast between the fashionable clothes of the wealthier classes and folk costumes, which were increasingly perceived as rustic, not fit for polite society.

This point is illustrated by the first Oktoberfest , held in to celebrate the wedding of Bavarian Crown Prince Ludwig later King Ludwig I to Therese of Saxe-Hildburghausen ; the citizens of Munich were invited to the festivities but were required to dress in French fashions, since their folk costumes were not considered suitable for public occasions.

As antithesis to the dominance of French fashion, a widespread movement to study and preserve the traditional costumes of the rural populations developed in the early 19th century: examples in other European countries included the Highland romantic revival in Scotland , the Danish folklore movement and the Bunad movement in Norway.

In German-speaking countries, the movement was known as the Trachtenbewegung Tracht movement , and resulted in initiatives to study and promote folk costumes, including the dirndl.

The folk costume movement is one aspect of national romanticism , and part of the more widespread Romantic movement of the early 19th century.

Art historian Gabriele Crepaldi points out the links between the ideological and political dimensions of the Romantic movement: [30].

The label romantic It is used for a cultural movement which spread in Great Britain, France, Italy and other European countries between the late 18th century and the first half of the 19th century.

Its protagonists were philosophers, writers, musicians and painters. In Germany it was the writers and intellectuals of the Sturm and Drang movement who reacted critically against the rationalism of the Enlightenment and the doctrines of neo-Classicism.

The Romantics defended the creative and spiritual autonomy of individuals and proclaimed their freedom from aesthetic norms and pretensions.

Inwardness and subjective feeling found in romantic art their authentic expression Especially in Italy and Germany , a connection can be seen to the movements for national reunification.

As Crepaldi observes, the Romantics promoted emotion against the rationalism of the Enlightenment , individual freedom against societal norms and national against global culture.

In Germany, Austria and Switzerland, the Enlightenment was especially associated with France , which had sent its armies across Europe in the Revolutionary and Napoleonic Wars — In response to the humiliations of the repeated French invasions, the protagonists of German romanticism sought to strengthen their cultural heritage.

The result was a flowering of research and artistic work centred around Germanic cultural traditions, expressed in painting, literature, architecture, music and promotion of German language and folklore.

The earliest public promotion of tracht in the German-speaking world occurred in Switzerland, at the Unspunnen festivals of and At both events, a parade of traditional costumes was held; the festival resulted in the formation of the Swiss National Costume Association.

In Bavaria and Austria, enthusiasm for the different costumes of the rural population developed at the royal courts in the early 19th century.

A comprehensive description of Bavarian national costumes was published in by the archivist Felix Joseph von Lipowsky. A parade of traditional costumes took place in at Oktoberfest , to celebrate the silver wedding anniversary of King Ludwig I of Bavaria and Queen Therese.

Under his successor Maximilian II , traditional costumes were officially recognised as clothing suitable for wearing at the royal court. The king himself included officials wearing tracht in his court ceremonies and wrote in that he considered the wearing of folk costume of "great importance" for national sentiment.

The wearing of dirndls and lederhosen was thus given royal favour. In , the first association to promote folk costume was founded in Miesbach in Bavaria.

In the following years, similar tracht associations Trachtenvereine were founded throughout Germany and Austria. The tracht associations promoted research and wearing of the traditional clothing in each region.

This helped preserve the traditions against the ravages of modernism; in contrast, the wearing of the traditional tracht declined in regions where the tracht associations were not active.

The first umbrella organisation for the tracht associations was founded in By the later 19th century, it had become popular for members of the royal courts in Austria and Bavaria to wear folk costume.

The wearing of folk costume by royalty encouraged its adoption by other members of the upper and wealthier middle classes. In the s and 90s, the dirndl became established as a typical "country" dress amongst the wealthy patrons of the summer holiday resorts of Austria and Bavaria.

An important influence was German Romantic literature, which contrasted the allegedly natural, unspoilt and unpolluted people of the countryside with the artificiality and depravity of urban society.

The adoption of the dirndl as a fashion resulted in the use of a greater variety of materials and colours, and a closer fit to emphasise the female body shape.

As a result, the traditional costume worn by country people was also raised in perceived status. Key in this development were the Jewish brothers Julius — and Moritz Wallach — , [34] originally from Bielefeld in north-western Germany.

After they moved to Munich with their family in , they became interested in and began promoting Alpine tracht.

They employed seamstresses, who industriously produced the first elegant dirndls from colourful printed fabrics, predominantly silk.

The dresses were exhibited by models from the firm in the Alpine resorts. In the hard economic times following the First World War , the dirndl became a big-seller; as a simple summer dress, it was an affordable alternative to the often expensive and elaborately worked historic women's costumes.

In , Moritz Wallach founded the Wallach-haus Wallach House , a specialist supplier of tracht and folk art, which became well-known outside the borders of Germany.

In Austria, the wearing of folk costume was promoted by Viktor von Geramb — , professor of folk culture at the universities of Graz and Vienna.

He saw folk costume as a means of rejuvenating Austrian identity after the collapse of the Austro-Hungarian monarchy during the First World War.

He argued that, for folk costume to be a living tradition, it needed to express the individuality of the wearer; thus designs and materials needed to be adapted to contemporary culture and technology.

Consequently, Alpine tracht gained in general popularity and even spread to eastern Austria, where it had not been part of the traditional clothing culture.

The dirndl was increasingly perceived as the Austrian national dress. The dirndl was also promoted through the Trapp Family Singers, who wore dirndls during their performance at the Salzburg Festival , and later on their worldwide tours.

By that year, the dirndl was considered a 'must' in the wardrobe of every fashionable American woman. German traditional costume, including the dirndl, was instrumentalized by the Nazis as a symbol of pan-German identity in the countries under Nazi rule Germany from , Austria from Jews were forbidden to use "folk culture", even though they had played such a prominent role in documenting and promoting it.

Moritz Wallach emigrated to the United States , followed shortly after by Julius. Their brother Max, who had also been involved in the business, was interned in Dachau concentration camp and was murdered at Auschwitz in Viktor von Geramb, who had promoted the dirndl in Austria, lost his position at the University of Vienna in because of his public opposition to Nazi racial theory.

He was especially criticized for his strong attachment to Christian ideas of human worth. The overall effect accentuated the female form and especially the breasts.

The Second World War — began a downturn in the popularity of the dirndl. In turn, new fashion influences appeared in popular culture, such as the film Gone With the Wind , which premiered less than three months after the fall of Warsaw.

By , the dirndl had been replaced as an American fashion craze by the wasp waist. In Germany and Austria, the dirndl declined in popularity, especially in the cities.

As a consequence, the dress was regarded as old-fashioned or rustic by many, especially those connected with the fashion industry. Nevertheless, many others continued to wear the dirndl as a dress for festive occasions, both in the countryside and in cities such as Munich.

Dirndls were regarded as suitable clothing for attending church, public holidays, Oktoberfest and other festive occasions.

The dirndl was especially popular in Bavaria as a bridal dress. A wider revival of interest came with the Summer Olympics in Munich.

Led by Silvia Sommerlath now Queen Silvia of Sweden , the hostesses wore sky-blue dirndls as a promotion of Bavarian identity.

In the s, there was a further revival of interest in the dirndl, as traditional clothing was adopted by the environmental and anti-nuclear movements.

Beginning in the late s, dirndls and lederhosen experienced a boom in Austria and Bavaria, with some commentators speaking of a "dirndl Renaissance".

Since the s, increasing numbers of fashion houses have become involved in designing and selling high-end versions.

If every woman wore a dirndl, there would not be any more ugliness". Dirndls and lederhosen have long been standard attire for staff at Volksfeste , but in the s visitors at the festivals did not normally wear folk costume, even at Oktoberfest.

Simone Egger comments that the idea of wearing folk costume to Oktoberfest would previously have been considered "completely absurd, even embarrassing.

One reason given for the increasing popularity of the dirndl and lederhosen is an increased confidence in German self-identity.

In recent decades, there has been a celebration of being German. The culture historian Peter Peter comments on this increased pride in German identity and traditions: [60].

Now there is a new generation that did not know the problems of the Cold War or the Second World War, for whom it is cool to try these old-fashioned things.

I think a very good symbol of this new Germany is the Oktoberfest. Twenty years ago nobody there would dress in the traditional Bavarian costume.

The Oktoberfest, with its enormous number of beer consumers, is a wonderful example of the new Germany that combines iconic tradition with open-mindedness.

It brings people and peoples together more even than football. It is not nationalist — it is now a symbol of German hospitality.

Other commentators link the upsurge in folk costume to economic insecurity caused by globalization, prompting a return to traditional cultural symbols.

Just as jeans, originally rural clothing, were used as an urban antidote to tradition, so dirndl and lederhosen show that, a generation later, people in their metaphysical homelessness are nevertheless in a complex way missing the traditional rural values.

All this is typical of our time. From yoghurt to magazines with rural themes, one abandons oneself to the illusion of the good old times, in which the windowpanes can still keep out the cold wind of globalization.

The dirndl is increasingly attracting attention apart from its area of origin. In , the Times of India ran an article featuring Bollywood actress Celine Jaitley wearing a dirndl; she urged other Indian women to add the dress to their wardrobe.

In Austria, dirndls continue to be worn on public occasions, even by younger women. The dirndl is considered an important part of Alpine folk culture.

Other aspects of folk culture are Lederhosen for men, traditional sports e. The Catholic church has played an important role in promoting the dirndl in Austria; traditional dress is worn for worship services, especially the major church holidays e.

The Tyrol has a tradition of the heiligen Tracht holy folk costume , which is not to be worn on secular occasions marked by drinking. Folk costume also continues to be worn for most weddings and festivals.

Old traditions are carefully maintained among inhabitants of Alpine areas, even though this is seldom obvious to the visitor: many people are members of cultural associations where the Alpine folk culture is cultivated.

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