Kersba – long scarf – tying instructions
Kersba – long scarf – tying instructions
Bonnet, Omšenie, first quarter of the 20th century. Women could only wear the bonnet inside the house or in the yard. If they went out on the street, outside the house, they had to have a scarf, rúbok, tied to the bonnet. It was a long, narrow scarf made of thinner bought cotton fabric, with ends decorated with embroidery. It was always starched. It was tied in such a way that both ends were equally long and hanging down the back. To prevent them from flying, they were held by a woolen belt. Women wore rúbok on both ordinary and festive days.
Viera Škrabalová-Líčeníková was a prominent Slovak textile artist with a wide range of creative activities. During her work at ÚĽUV, Viera Škrabalová-Líčeníková also engaged in fashion design. Her fashion sketches incorporate decorative elements of folk costumes, such as embroidery or lace, and are inspired by the design solutions of traditional folk clothing pieces. These drawings document the situation of the 1950s when ÚĽUV closely collaborated with embroidery, lace-making, and blueprint production cooperatives. This collaboration between the cooperatives and design studios resulted in several valuable models that also went into regular production.
The collection of drawings in the Museum of Folk Art Production includes mainly designs for women’s day and evening dresses, as well as blouses. The designs are accompanied by brief descriptions indicating the material, cut, and decoration of the garments. Natural fabrics were proposed for making the dresses – cotton, linen, and silk materials.
In addition to designing and implementing interior decorative and utility textiles, she was actively involved mainly in the spheres of theater, film, and television.
Viera Škrabalová-Líčeníková was a prominent Slovak textile artist with a wide range of creative activities. During her work at ÚĽUV, Viera Škrabalová-Líčeníková also engaged in fashion design. Her fashion sketches incorporate decorative elements of folk costumes, such as embroidery or lace, and are inspired by the design solutions of traditional folk clothing pieces. These drawings document the situation of the 1950s when ÚĽUV closely collaborated with embroidery, lace-making, and blueprint production cooperatives. This collaboration between the cooperatives and design studios resulted in several valuable models that also went into regular production.
The collection of drawings in the Museum of Folk Art Production includes mainly designs for women’s day and evening dresses, as well as blouses. The designs are accompanied by brief descriptions indicating the material, cut, and decoration of the garments. Natural fabrics were proposed for making the dresses – cotton, linen, and silk materials.
In addition to designing and implementing interior decorative and utility textiles, she was actively involved mainly in the spheres of theater, film, and television.
