unbroken threads of the past / nepretrgane niti preteklosti

Zbirke so osnova vsakega muzeja. Predmeti so v zbirke na splošno lahko uvrščeni po dveh merilih, eno je namembnost, drugo snovnost. Naša tekstilna zbirka sodi bolj v slednjo, saj so predmeti, kljub različnemu izvoru in namembnosti, skoraj vsi v celoti izdelani iz tkanine. Ta zahteva tudi posebne načine konserva-torske in restavratorske obdelave ter pogoje hranjenja kot so prostor, klima in depojska oprema.Današnja tekstilna zbirka je nastala v začetku devet-desetih let prejšnjega stoletja, ko smo, po zgoraj ome-

njenem merilu snovnosti, združili več manjših zbirk, ki so načrtno ter bolj ali manj spontano nastajale v preteklosti, z novo pridobljenim gradivom. V teh zbirkah so bili večinoma samo predmeti iz obdobja 2. svetovne vojne. V njih smo imeli zbrane partizanske zastave in prapore, partizanske in okupatorske uniforme, taboriščne obleke, marionete Partizanskega lutkovnega gledališča in kostume partizanskega Slovenskega narodnega gledališča. Ker pa smo svojo dejavnost razširili na celotno 20. stoletje, smo sčasoma pridobili veliko drugega tekstila, ki pa ga v obstoječe zbirke nismo mogli uvrstiti. Novosti so bile poleg, novih vojaških in drugih uni-form ter zastav, predvsem različna civilna in športna oblačila, bivanjski tekstil ter raznovrstna civilna obutev. S tem zbiranjem pa se ni povečala samo raznovrstnost,

ampak tudi številčnost, zato je bilo oblikovanje nove in enotne tekstilne zbirke edi-no smiselno.Pred leti smo začeli s postopno prenovo muzejski depojev, ki je bila tudi primerna priložnost za ugotavljanje stanja predmetov v zbirkah. Najprej je prišla na vrsto prav tekstilna zbirka, kar je posledično porodilo zamisel o razstavni predstavitvi njenih iz-branih najštevilčnejših, najzanimivejših in unikatnih predmetov, čeprav so bili neka-teri od njih že pokazani na različnih razstavah v preteklosti. To je prelomna razstava za naš muzej, z njo smo obrnili nov list v razstavljanja našega gradiva, saj še nikoli nismo tako podrobno predstavili ene od zbirk. S tem smo omogočili ogled tudi tistih predmetov, ki jih iz najrazličnejših vzrokov še nikoli nismo pokazali širši javnosti.Veseli smo vašega obiska ter vam želimo veliko uživanja pri ogledu in sproščanju radovednosti. Collections are the basis of any museum. Items in a col-

lection can in general be classified according to two criteria: in terms of purpose or material. Our textile collection belongs more among the latter, since the items, despite various origins and purposes, are al-most all made from textiles. This also requires special methods of restoration and conservation, as well as conditions of storage, such as space, climate and sto-rage equipment.Today's textile collection was created at the begin-

ning of the nineteen nineties when, on the basis of the aforementioned criterion of material, we combined a number of smaller collections that had been created in the past, both planned and more or less spontaneously, with newly obtained material. These earlier collections contained for the most part only items from the period of the Second World War. They included partisan flags and banners, partisan and occupier uniforms, concentration camp clothing, puppets from the Partisan Puppet Theatre and costumes of the Partisan Slovene National Theatre. Because we extended our activities to cover the entire 20th century, we gradually obtained a large quantity of other textiles that could not be included in the existing col-lections. The new items, in addition to new military and other uniforms and flags,

consisted mainly of various items of civilian and sports clothing, household textiles and various civilian footwear. This collecting increased not only the diversity but also the quantity of items, so it was only sensible to create a new, unified textile collection.A year ago, we began the gradual modernisation of the museum’s storage facili-ties, which was also a suitable opportunity for checking the condition of items in collections. The textile collection was first in line, which consequently gave rise to the idea of an exhibition of its most numerous, most interesting and most unique items, although some of them have already been shown at various exhibitions in the past. This is a pivotal exhibition for the museum; it turns a new page in dis-playing our material, since we have never before presented one of the collections in such detail. We have thus also enabled an examination of items that, for various reasons, have never previously been shown to the wider public.We are very pleased that you have chosen to visit and hope that you enjoy viewing the exhibits and relaxing while you satisfy your curiosity.

Spomladi 1942 so slovenski partizani od hrvaških prevzeli novo pokrivalo. Partizanka, kot so jo imenovali na Hrvaškem, je bila kapa s tremi roglji, krojena po vzoru španskih vojaških kap. Prav za-radi rogljev so jo pri nas preimenovali v triglavko, saj je njena oblika spominjala na obris Triglava, ki ni samo naša najvišja gora, ampak tudi eden izmed slovenskih simbolov. Pod tem imenom se je razširila po Sloveniji ter postala najznačilnejši del partizanskih oblačil vse do uvedbe vsejugoslo-vanskega partizanskega pokrivala titovke.Obstajale so štiri različice triglavke, izdelane iz raznovrstnega blaga različnih barv. Prva je bila enostavno krojena na tri roglje, od katerih je bil srednji nekoliko višji ali nižji. Druga se je od prve razlikovala po zavihanem robu na zadnjih dveh tretjinah triglavke. Tretja različica se je od druge razlikovala samo po dodanem senčniku, pri četrti pa je bil poleg senčnika zavihan rob med dru-gim in tretjim rogljem toliko podaljšan, da se je na vrhu kape prekrival in zapenjal z gumbom. Poleg tega je bila večina triglavk tudi obrobljena z rdečim trakom.

TRIGLAVKA / TRIGLAVKAvolna, platno; dolžina 27 cm, višina 13,5 cm / wool, canvas; length 27 cm, height 13.5 cm

inventarna številka 3382 / inventory number 3382

In the spring of 1942, the Slovene partisans adopted new headgear from the Croatians. The “partizanka” as it was called in Croatia, was a three pron-ged cap, tailored on the model of the Spanish military cap. Because of its shape, it was called in Slovenia a “triglavka”, since it was reminiscent of the

outline of Triglav, which is not just the highest mountain in the country but also one of the symbols of Slovenia. It spread throughout Slovenia under this name and became the most characteristic part of partisan clothing right up to the introduction of the all-Yugoslav partisan headgear the “titovka”.Four variants of the “triglavka” existed, made from a variety of materials of different colours. The first was simply sewn into three prongs, the central one of which was slightly higher or lower. The second differed from the first in having up-turned edges on the last two-thirds of the “triglavka”. The third variant differed from the others only in having an added peak, and the fourth, in addition to having a peak the up-turned edge between the second and third prongs was slightly extended, so that it covered the top of the cap and was held with a button. Most “triglavkas” were also edged with a red ribbon.

Cilinder so začeli nositi v začetku 19. stoletja kot značilno meščansko pokrivalo napram aristo-kratskim dvorogeljnikom in trirogeljnikom. Oblika in barva sta se spreminjali, tako da je cilinder, kot ga poznamo danes, dobil svojo značilno podobo v drugi polovici 19. stoletja. Izdelan je iz lepenke, ki je lahko prevlečena z živalsko dlako, svilo ali žametom črne barve, notranji del je naj-pogosteje podložen s svilo. Zaradi cene in zahtevnega vzdrževanja ni bil nikoli primeren za vsa-kodnevno pokrivalo Privoščili so si ga lahko samo premožnejši sloji, nosili so ga skupaj s frakom, in sicer na najrazličnejših slavnostnih prireditvah, kar velja tudi danes. Cilinder ni samo pokrivalo, ampak je imel, in še ima, tudi simbolni pomen.

CILINDER / TOP HATzajčja dlaka, svila, lepenka; dolžina 31 cm, višina 16 cm /

Rabbit fur, silk, cardboard; length 31 cm, height 16 cm


Top hats began to be worn at the start of the 19th century, as typical mid-dle class headwear in contrast to the aristocratic bicorne or cocked hat, or tricorne. The shape and colour changed, so that the top hat as it is known

today obtained its characteristic appearance in the second half of the 19th century. It is made of cardboard, which can be covered with black animal fur, silk or velvet and the inside is usually lined with silk. Because of the price and the demanding maintenance, it was never suitable for everyday wear. Only the propertied classes could afford it and they wore it, together with a tailcoat, for a variety of formal events, as is still the case today. A top hat is not just headwear; it had and still has symbolic meaning.

Slovenci ne prej ne pozneje nismo imeli nobenega oblačila ali dela oblačil, ki bi bil tako medna-rodno prepoznaven , kot je bil domžalski slamnik. Njihovo izdelovanje je temeljilo na tradiciji slamnikarstva, s katerim so se v domžalski okolici ukvarjali že v 18. stoletju, zlata doba slamnikar-stva pa je bila od druge polovice 19. stoletja do 1. svetovne vojne. V tem obdobju je izdelovanje slamnikov iz obrtne dejavnosti preraslo v industrijsko proizvodnjo, pri tem so ključno vlogo imeli Tirolci. Zaradi izjemne kakovosti se slamniki niso dobro prodajali samo na evropskem, ampak tudi na ameriškem tržišču. Največ povpraševanja je bilo po trdih slamnikih s ploskim vrhom in ravnim krajcem, vrste canotier, bolj znanimi tudi pod nazivom girardi.

DOMŽALSKI SLAMNIK / DOMŽALE STRAW HATpšenična slama; premer 33 cm, višina 11 cm /

wheat straw; diameter 33 cm, height 11 cm

inventarna številka. 22422 / inventory number 22422

The Slovenes have never had any clothing or article of clothing as internationally recognised as a Domžale straw hat. Its manufacture was based on a tradition of making straw hats that had existed in the

Domžale area since the 18th century, with its golden era being in the second half of the 19th cen-tury, up until the First World War. During this period, the making of straw hats expanded from a craft activity into industrial production, in which the Tyroleans played a key role. Because of their exceptional quality, the straw hats sold well not just on the European but also on the American market. The largest demand was for firm straw hats with a flat top and a level rim, a type of “cano-tier” or boater, better known as a “girardi”.

Preden je bilo pri nas mogoče kupiti športne copate proizvajalcev, kot so Adidas, Puma, Nike in ostalih, je imela tovarna Borovo skoraj popoln monopol na tržišču tovrstne obutve. V njihove iz platna in gume izdelane nizke copate so bili obuti športniki, šolarji in dijaki pri urah telesne vzgoje, primerne pa so bile tudi kot izletniško obuvalo. Najpogostejša barva copat je bila modra, rebrast gumijast rob pa je bil bel. Prodajali so jih v značilnih podolgovatih zelenih škatlah na katerih je bilo ime izdelovalca napisano v latinici in cirilici. Zaradi materialov in lepila so imele tudi svojevrsten vonj, ki je bil zaznaven še nekaj časa po uporabi, dokler se niso navzele vonja stopal. Po vzgledu teh copat so kasneje začeli izdelovati legendarne »startarske«, katere predvsem mladi še danes nosijo kot vsakodnevno obuvalo.

COPATI BOROVO / BOROVO PLIMSOLLSplatno, guma; dolžina 30 cm / canvas, rubber; length 30 cm


Before it was possible to buy sports shoes made by manufacturers such as Adidas, Puma, Nike and others, the Borovo factory had an almost com-plete monopoly on the market of such shoes. Sportspersons, school pu-pils and students during physical education lessons wore their low shoes

made from canvas and rubber, and they were also suitable as footwear for excursions. The com-monest colour of the plimsolls was blue, and the ribbed rubber edge was white. They were sold in characteristic rectangular green boxes on which the maker's name was written in both Latin and Cyrillic letters. Because of the materials and glue, they had their own distinctive smell, which was recognisable even after some time of use, until they took on the smell of feet. They later began to produce the legendary »starters« which the young above all still wear as everyday footwear today.

Kljub večnim težavam z obleko in obutvijo so nekateri partizani svojo zunanjost popestrili z z rdečo trikotno rutico, ki so jo nosili okoli vratu.Verjetno so to navado prevzeli iz ljudske noše. Te rutice so jim izdelale in podarile dekleta in tako največkrat izrazila svojo čustveno naklonjenost. Prav zato so bili obdarovanci na rutice zelo ponosni in so jih radi nosili. Še posebno lepo okraše-ne so imeli partizani na Gorenjskem. Poleg folklornih okraskov so bila na njih izvezena še različna gesla: »Vsi v boj za svobodo!«, »Proletarci vseh dežel, združite se!« ali simboli, kot so slovenska trobojnica, zvezda, srp in kladivo itd. Tako te rutice niso bile samo oblačilni kos, ampak so kazale tudi takratno miselnost in čutenje pripadnikov osvobodilnega boja.

PARTIZANSKA RUTKA / PARTISAN SCARFbombaž; dolžina 96 cm, širina 50 cm / cotton; length 96 cm, width 50 cm

inventarna številka. 22425 / inventory number. 22425

Despite constant difficulties with clothing and footwear, some partisans livened up their external appearance with a triangular red scarf, which they wore around the neck. They probably adopted this habit from folk costume. These scarves were made and given by girls and so usually

expressed a sentimental attachment. The recipients were similarly very proud of the scarves and wore them with pleasure. Those worn by partisans in Gorenjska were especially finely decorated. In addition to folklore ornament, various slogans were embroidered onto them: “All in the stru-ggle for freedom!”, “Proletarians of all lands unite!” or symbols such as the Slovene tricolour, a star, hammer and sickle etc. So these scarves were not just items of clothing but also indicated the then thinking and feelings of members of the liberation struggle.

Začetki izobešanja zastav, kot enega od narodnih simbolov segajo v začetek 19. stoletja in pribli-žno sovpadajo s pomladjo narodov, prva tovrstna zastava naj bi bila francoska trikolora. Slovenci smo svojo narodno trobojnico dobili po marčni revoluciji leta 1848. Med 2. svetovno vojno so slovenski partizani imeli enako zastavo, z dodano protifašistično rdečo zvezdo v sredini. Ker pa ni bilo natančno določeno, kako mora zastava izgledati, so bile te zastave pravzaprav unikati. Razlikovale so se po materialu, razmerju med dolžino in širino, odtenkih barv, načinu izdelave ter obliki in položaju zvezde. Do osamosvojitve leta 1991 je bila ta zastava, s poenotenim videzom, slovenska državna zastava.

SLOVENSKA PARTIZANSKA ZASTAVA /

SLOVENE PARTISAN FLAGbombaž; dolžina 73 cm, širina 63 cm / cotton; length 73 cm, width 63 cm

inventarna številka 661 / inventory number 661 /

Hanging flags as one of the national symbols goes back to the start of the 19th century and corresponds approximately to the spring of nations; the first such flag is thought to have been the French tricolour. The Slovenes

obtained their own tricolour after the March revolution of 1848. During the Second World War, the Slovene partisans had the same flag, with the addition of the anti-fascist red star in the cen-tre. Because it was not exactly specified how the flag must look, each of these flags was actually unique. They differed in terms of material, the ratio between the length and width, the shades of colour, the manner of production and the shape and position of the star. This flag, with a uniform appearance, was the Slovene state flag until independence in 1991.

Inscription on the banner: »WE GUARD YUGOSLAVIA«

Prapor ni zastava, saj ni simbol države ali naroda, temveč društev, vojaških enot, cerkvenih redov in ostalih združenj. Izdelan je ročno, iz organske tkanine, najpogosteje iz svile. Na eni ali obeh straneh prapora so izvezeni pomenski simboli in besedila ter različni okraski, zato je vsak prapor unikat. K njemu sodi tudi drog, s katerim tvorita celoto. Nikoli ga ne obešamo kot zastavo, ampak ga vedno drži ali nosi praporščak. Prapor Legije koroških borcev je bil najprepoznavnejši simbol združenje veteranov, ki so se v letih 1918 do 1920 borili za priključitev slovenskih delov Koroške k matični domovini. Po 2. svetovni vojni so bili bolj znani kot borci za severno mejo.

PRAPOR LEGIJE KOROŠKIH BORCEV / BANNER

OF THE LEGION OF CARINTHIAN COMBATANTSplatno; dolžina 98 cm, višina 96 cm / canvas; length 98 cm, height 96 cm


A banner is not a flag, since it is not the symbol of a country or nation, but of societies, military units, religious orders and other associations. It is made by hand, from organic material, usually silk. Important symbols

and words and various decorations are embroidered on one or both sides of the banner, so each banner is unique. The pole also belongs to them, by which the whole thing is carried. They are never hung as a flag but always held or carried by the banner bearer. The banner of the Koroškan/Carinthian combatants was the most recognisable symbol of the League of Veterans who had fought from 1918 to 1920 for the inclusion of the Slovene parts of Carinthia to the homeland. After the Second World War, they were better known as the comba-tants for the northern border.

Inscription on the banner: »LEGION OF KOROŠKAN/CARINTHIAN COMBATANTS 1918 - 1920«

Ženske so bile vedno, in najverjetneje tudi bodo, za trenutni modni izgled pripravljene prenašati marsikatero neugodje, ki si ga povzročajo z nošenjem nekaterih oblačil in obutve. Med te zago-tovo sodi steznik ali korzet, ki ga mirno lahko uvrstimo med svojevrstne mučilne naprave. Nosile so ga močno zategnjenega med boki in prsmi, od 17. sedemnajstega stoletja do prve polovice 20. stoletja. Ponavadi je bil izdelan iz platna ali bombaža in kitovih kosti, zaradi katerih je tudi imel togo obliko. Sredi 19. stoletja je nekatere končno le srečala pamet in so nošnji steznika začeli nasprotovati. Toda to ni dosti pomagalo, kajti ravno ob koncu tega in na začetku 20. stoletja so bili zelo moderni stezniki S – linije. Ti so bili še posebno tesni, s čimer so ženske še bolj poudarile zadnjice in prsi. Danes so stezniki drugačnega kroja, izdelani iz mehkejših materialov in brez kosti, tako da ne stiskajo več života.

STEZNIK / BODICE bombaž; obseg 59 cm, višina 40 cm / cotton; extent 59 cm, height 40 cm


Women have always been and will probably continue to be willing to put up with many discomforts caused by wearing certain clothes or shoes for the fashionable look of the moment. A bodice or corset is certainly one of these, which can easily be ranked among unique forms of torture. It was

worn pulled tight between the hips and the breasts, from the 17th century to the first half of the 20th century. It was normally made from canvas or cotton and whalebone, because of which it also had a rigid shape. In the middle of the 19th century, some people finally had the sense to start opposing the wearing of the corset. However, it didn't help much and right to the end of the 19th and into the start of the 20th century the S-line corsets were very fashionable. These were especially tight, whereby women additionally stressed their buttocks and breasts. Corsets today are tailored completely differently, made from softer materials and without bone, so that they no longer constrict the waist.

Predpisane barve dresa jugoslovanske nogometne reprezentance so bile modra majica z držav-nim grbom na levi strani in številko na hrbtu, bele hlačke in rdeče dokolenke. Med temi je najbolj izstopala majica in to prav zaradi svoje barve, ki je najočitneje določala pripadnost reprezentanci in na simbolni ravni tudi jugoslovanstvu. Zato so navijači najpogosteje vzpodbujali reprezentan-te in reprezentantke v moštvenih športih s skandiranjem: »Plavi, plavi!« Če je navijačem uspelo po tekmi priti do igralcev, so jim najpogosteje slekli ravno majice. Seveda samo moškim! Zelo redko jim je uspelo dobiti tudi hlačke, kar je pravzaprav razumljivo. Muzej te majice ni dobil na tak način ampak, mu je bila podarjena.

MAJICA JUGOSLOVANSKE NOGOMETNE

REPREZENTANCE / SHIRT OF A MEMBER

OF THE YUGOSLAV FOOTBALL TEAMbombaž, poliester; konfekcijska številka 5 / cotton, polyester; garment no. 5


Nosil jo je jugoslovanski nogometni reprezentant Branko Oblak. / Worn by the Yugoslav

footballer Branko Oblak.

The prescribed colours of the playing gear of the Yugoslav national football team were a blue shirt with the state coat-of-arms on the left side and the number on the back, white trousers and red knee-length socks. The shirt stood out most of all, because of its colour, which very clearly showed membership of the national team and, on a symbolic level, also allegiance to Yugoslavia. Fans therefore very often encouraged members of team sports by shouting: »Blue, blue!«. If the fans managed to get to the players after a game, they usually stripped off their shirts. Only from the men of course! They very rarely succeeded in getting the trousers, too, which is actually un-derstandable. The museum did not get this shirt in such a way; it was donated.

Marionete v partizanih!? Nenavadna zamisel za vojni čas, ki pa veliko pove o vsestranskosti slo-venskega osvobodilnega gibanja. Uresničili so jo sodelavci grafičnega oddelka pri Centralni tehniki KPS, ko so jeseni 1944 ustanovili Partizansko lutkovno gledališče, najverjetneje edino tovrstno gledališče kateregakoli odporniškega gibanja v 2. svetovni vojni. Njihova najbolj znana lutkovna igra je bila Jurček in trije razbojniki, ki so jo prvič uprizorili februarja 1945, v Črmošnjicah. Lutke je deloma po lastnih zamislih, deloma pa po osnutkih Nikolaja Pirnata, izrezljal Lojze Lavrič. Obleke zanje je sešila Mima Pajk, scena je bila narejena po predlogah Alenke Gerlovič. Vseh šest-najst lutk se je ohranilo in sedaj sodijo med naše najdragocenejše muzealije. Eden od najbolj priljubljenih likov igre je bil prav Pavliha, verjetno tudi zato, ker je bil že prej po-znan kot domišljijski šaljivi ljudski junak, kar je razvidno tudi iz njegove zunanjosti.

LUTKA PAVLIHE / PUPPET PAVLIHAles, svila; višina 43 cm / wood, silk; height 43 cm


Puppets in the partisans? An unusual idea for a time of war but it says a great deal about the all-round Slovene liberation movement. They were realised by members of the graphics department of the Central Technical Unit of the CPS, when they founded the Partisan Puppet Theatre in 1944, probably

the only such theatre in any resistance movement during the Second World War. Its best-known puppet play was Jurček and the Three Bandits, which was first performed in February 1945, in Črmošnjice. The puppets were carved by Lojze Lavrič, partly from his own imagination and partly on the basis of designs by Nikolaj Pirnat. The costumes were made by Mima Pajk and the sets designed by Alenka Gerlovič. All sixteen puppets have been preserved and are now among our most valuable museum exhibits. One of the best loved figures of the play was Pavliha, probably also because he was already famili-ar as an imaginary humorous popular hero, as is also clear from his external appearance.

Gardisti so bili in so v vseh vojskah boljše in lepše, predvsem pa bolj prepoznavno oblečeni. To še posebno velja za njihove svečane oziroma paradne uniforme. V stari Jugoslaviji je kopenska vojska v kraljevi gardi imela pripadnike pehote, topništva, konjenice in inženirije. Slavnostne uniforme gardistov teh rodov so se najbolj opazno razlikovale po barvi suknjičev, imenovanih »atile«. Pešaki so imeli temno modre, topničarji temno rjave, konjeniki in inženirci pa temno zelene. Samo zožene hlače, »čakšire«, so imeli vsi rdeče barve. Najslikovitejše so bile uniforme konjenikov. Poleg atile, pošite z rumenimi ali zlatimi vrvicami, so imeli preko leve rame ogrnjeno še suknjo, »dolamo«, svetlo modre barve, prav tako okrašeno z vrvicami. Pokriti so bili s »kalpaki«, ki so imeli na vrhu desne strani viseč vrečast del s čopom in poleg njega še medeninast tulec z majhno perjanico. Obuti so bili v do visokega sijaja zloščene usnjene škornje z mehkimi sarami. Ni kaj, tudi med gardisti so bili nekaj posebnega.

VOJAŠKA KONJENIŠKA PARADNA UNIFORMA GARDE KRA-

LJEVINE JUGOSLAVIJE / PARADE UNIFORM OF A CAVAL-

RYMAN OF THE GUARDS IN THE KINGDOM OF YUGOSLAVIA

sukno / woollen cloth

inventarna številka 22432 ( suknjič). 22432/1 ( hlače) / inventory number 22432 (jacket), 22432/1 (trousers)

Guardsmen in all armies have always been and still are better and

finer and, above all, more recognisably dressed. This applies in particular to their ceremonial or parade uniforms. In old Yugoslavia, the king's guard included members of the infantry, artillery, cavalry and engineers. The colour of the jacket, or “atile”, of the ceremonial uniforms of the gu-ards most clearly designated their origin: the infantry had dark blue, artillery dark brown and cavalry and engineers dark green. Only the narrow trousers, or “čakšire”, were red for all. The most colourful were the uniforms of the cavalry. In addition to the “atile”, decked with yellow or gold braid, over the left shoulder they wore an additional jacket, a “dolamo”, light blue and similarly decorated with braid. They wore a busby on their heads, a “kalpak”, which had a bag hanging at the top right hand side with a tassel and, in addition, a bronze cockade with a small feather. They had highly polished leather boots with soft upper parts. Even among the guards they were something special.

O tem kakšen naj bo moški sokolski kroj, so določili že na ustanovnem sestanku Južnega Sokola, oktobra 1863 leta, v Ljubljani. Za zgled jim je bil lahko samo kroj čeških sokolov, zato se tudi niso bistveno razlikovali od njih. Najopaznejši kos kroja je bila garibaldiska srajca in to zaradi kričeče rdeče barve. Nosili so jo preko bele srajce in to tako, da so se videli bel ovratnik in manšeti. Hlače so bile sivorjave barve, obuti pa niso bili v škornje kot njihovi češki sodrugi, ampak v čevlje. Za po-krivalo so imeli črn klobuk s širokimi krajci, »čikoš«, ki so ga kasneje zamenjali z okroglo črno čepico s sokoljim peresom. To so v stari Jugoslaviji zamenjali s šajkačo. Preko srajce so nosili sivkasto rjav suknjič, »surko«, ki je bil pri nas že prej priljubljen med pristaši ilirskega gibanja. Najpogosteje so ga imeli obešenega preko levega ramena. Zato, da jim ni zdrsnil, so ga okoli telesa speli s samo zato namenjeno pleteno vrvico. Člani sokola so kroj lahko nosili samo na društvenih prireditvah in predpisanih slavnostnih dogod-kih. V teh oblačilih so se seveda tudi postavljali pred dekleti, in to ne brez odziva, saj se jih še danes nekatere spomnijo in jih pohvalijo z besedami: » Sokoli so bili fejst fantje!«

SOKOLSKA SURKA / SOKOL JACKETsukno / clothinventarna številka 22429 / inventory number 22429

It was already decided at the founding meeting of the Southern Sokol (meaning ‘falcon’) movement in October 1863 in Ljubljana what kind of costume the men would wear. They could only take as a model the style of the Czech Sokols, so it did

not essentially differ. The most noticeable item of the costume was the 'garibaldi' shirt, so-called because of the blood red colour. It was worn over a white shirt so that the white collar and cuffs could be seen. The trousers were grey-brown but they wore shoes rather than the boots of their Czech colleagues. They wore a black hat with a wide brim, a »čikos« ,which was later replaced by a circular black cap with a falcon's fe-ather. These were replaced in old Yugoslavia with a military-style beret. Over the shirt they wore a greyish brown jacket, a »surko«, which was already popular here among adherents of the Illyrian movement. They usually had it hung over the left shoulder. So that it didn't slip, it was held with a braided cord intended specifically for this, wrapped around the body. Sokol members could only wear this costume to society performances and prescribed ceremonial events. They also swaggered in front of the girls in these clothes, of course, and not without response, since some people still remember them today and praise them with the words: »The Sokols were fine lads!«

Januarja 1944 je bilo na osvobojenem ozemlju ustanovljeno Slovensko narodno gledališče, ki je do konca vojne uprizorilo osem celovečernih iger domačih in tujih avtorjev. Program je bil sesta-vljen tako domiselno, da je imel poleg propagandnih tudi umetniške cilje. Tako so igrali Linhar-tovo Županovo Micko, Čehovi enodejanki Snubač in Medved, Cankarjevega Kralja na Betajnovi, Nušićevo Sumljivo osebo, Borovi igri Težko uro in Raztrgance, Zupanove enodejanke (npr. Tri zao-stale ure) ter Molierovega Namišljenega bolnika.Posebno slednja predstava je bila zaradi živobarvnih kostumov kostumografsko zelo zahtevna, saj niso imeli primernega blaga. Vendar je zopet prišla do izraza dobro znana partizanska iznaj-dljivost. Kostume za to in še za nekatere druge igre so sešili iz svilenih kupol padal, s katerimi so zavezniki spuščali partizanom raznovrstno pomoč.

GLEDALIŠKI KOSTUM / THEATRE COSTUME

padalska svila / parachute silkinventarna številka 249 ( suknjič), 250 (hlače) / inventory number 249 (jacket), 250 (trousers)Nosil ga je Nace Simončič kot notar Bonnefoy v Molierovi komediji Namišljeni bolnik. / Worn by Nace Simončič as notary Bonnefoy in Moliere's comedy The Imaginary Invalid.

The Slovene National Theatre was founded in the liberated terri-tories in January 1944. By the end of the war, it had staged eight full length plays by domestic and foreign authors. The program was imaginatively devised so that it had not just propaganda but also artistic aims. They thus staged Linhart’s Micka the Mayor’s Daughter, Čeh’s one-act plays The Suitor and The Bear, Cankar’s King of Bajtonova, Nušić’s A Suspicious Person, Bor’s plays Hard Times and The Ragamuffin, Zupan’s one-act plays (e.g. Three Hours Left) and Moliere’s The Imagi-nary Invalid.The last named, in particular, was very demanding because of the lively costumes, since they did not have suitable materials. However, the well-known partisan ingenuity came into its own. The costumes for this and several other plays were sewn from the silk of the parachutes with which the allies dropped various kinds of assistance to the partisans.

Slovenski partizani niso bili enotno oblečeni. Njihova oblačila so bila zelo raznovrstna, saj so nosili vse, od različnih civilnih oblačil do jugoslovanskih, okupatorskih in zavezniških uniform. Po ka-pitulaciji Italije so razmere omogočale množičnejšo izdelavo izvirne partizanske uniforme, delno krojene po vzoru španske republikanske uniforme. Tisti, ki so imeli možnost dobiti to, ponavadi iz sukna sešito uniformo, so nosili bluzo s širokim ovratnikom in štirimi našitimi žepi, jahalne hlače in titovko. Prvi uradni predpis o partizanskih uniformah je bil objavljen šele februarja 1945. Z njim so za slovenske partizane predpisali dva tipa uniform. Uniformo tipa A so sestavljali dolga bluza, jahalne ali dolge hlače, plašč, škornji ali čevlji in visoke gamaše. Uniforma tipa B, ki so jo imenovali tudi »zavezniški tip«, je bila sestavljena iz zavezniške bluze, hlač, plašča, gamaš in čevljev.Ženska partizanska uniforma se v bistvu ni razlikovala od moške. Razlike so bile samo v manjših posebnostih. Tako na sredini hlač ni bilo značilnega moškega razporka (»šlica«), ampak so se te hlače zapenjale pri strani, z gumbi ali zadrgo.

ŽENSKA PARTIZANSKA UNIFORMA /

FEMALE PARTISAN UNIFORMstrižen žamet, svila / brushed velvet, silkinventarna številka 22431 / inventory number 22431Nosila jo je partizanka Mara Rupena. / Worn by the partisan Mara Rupena.

The Slovene partisans were not dressed uniformly. Their clothing was very diver-se, since they wore anything, from various civilian clothes to Yugoslav, occupier

or allied uniforms. After the capitulation of Italy, conditions allowed the more mass production of ori-ginal partisan uniforms, partially modelled on the Spanish republican uniform. Those who were able to obtain them, normally a uniform sewn from woollen cloth, wore a blouse with a wide collar and four pockets sewn on, riding breeches and a 'titovka'. The first official regulation on partisan uniforms was only published in February 1945. It prescribed two types of uniform for Slovene partisans. Uniform Type A consisted of a long blouse, breeches or long trousers, an overcoat, boots or shoes and high gaiters. Uniform Type B, which was also called the »allied type«, consisted of an allied blouse, trousers, overcoat, gaiters and shoes.Women's partisan uniform did not essentially differ from that of men; there were only differences in minor details. Thus there was not the characteristic men's slit (flies) in the middle of the trousers but they were fastened at the side, with buttons or a zip.

Auschwitz, Bergen – Belsen, Dachau, Buchenwald, Ljubelj, Ravensbrück, ... imena nemških kon-centracijskih taborišč, prizorišča medvojnega pekla na zemlji. Kraji, kjer so brezobzirno duševno, duhovno in telesno uničevali ljudi, ki so jih na silo prignali iz vse okupirane Evrope. Pravi industrij-ski obrati, katerih končen proizvod so bila trupla ali samo njihov pepel. Vse je bilo tipizirano sko-raj do popolnosti. Od podolgovatih nizkih lesenih barak, ograje z bodečo žico s stražarskimi stolpi do oblačil za internirance. Prav zaradi slednjih je bil zunanji izgled taboriščnikov tako značilno enoličen Narejena so bila iz grobega sukna, »raševine«, pobarvane s sivimi in temno modrimi navpičnimi progami. Moški so nosili hlače, bluzo in kapo, podobno baretki, ženske pa enodel-no obleko in kapo.V hladnejšem delu leta so bili vsi oblečeni še v plašče. Kroj teh oblačil je bil zelo ohlapen, kar je še posebno prišlo do izraza po nekaj tednih bivanja v taborišču, ko so zaradi podhranjenosti internirancev dobesedno visela na njih. Zagotovo je bila taboriščna obleka v tem obdobju edino oblačilo, ki ga prav nihče ni oblekel prostovoljno.

TABORIŠČNA OBLEKA CONCENTRATION CAMP CLOTHING raševina / sackclothinventarna številka 22433 / inventory number 22433

Auschwitz, Bergen–Belsen, Dachau, Buchenwald, Ljubelj, Ravensbrück ... the names of German concentration camps, scenes of the wartime hell on earth. Places where people who had been forcibly rounded up from all over occupi-ed Europe were ruthlessly destroyed spiritually, mentally and physically. Real

industrial factories whose final products were bodies or merely their ashes. Everything was almost completely standardised: from the rectangular low wooden huts, surrounded by barbed wire with guard towers, to the clothing for internees. Precisely because of this, the external appearance of camp inmates was thus characteristically drab. The clothing was made from rough cloth, »sackcloth«, coloured grey with dark blue vertical stripes. Men wore trousers, blouse and a cap, like a beret, and women a one-piece dress and a cap. During the colder parts of the year, they were all dressed in an overcoat. The tailoring of these clothes was very loose, which was particularly pronounced after a few weeks of living in the camps when, because of the undernourishment of the internees, the clothes simply hung on them. Camp clothing was certainly the only clothing at that time that absolutely nobody wore voluntarily.

Evolucija fraka še ni popolnoma raziskana. Pojavil naj bi se je v 18. ali celo že 17. stoletju. Takrat so ljudi pri jahanju ovirale njihove dolge suknje, zato je najverjetneje nekdo, ki mu je bilo tega dovolj, prerezal spodnji hrbtni del oblačila. Mogoče ni bilo ravno tako, toda to sploh ni več pomembno.Pri nas so ga zagotovo nosili v drugi polovici 18. stoletja, v prvi polovici naslednjega stoletja je bila njegova nošnja že nekaj vsakdanjega.. Njegov vzpon med najbolj svečana moška oblačila se je začel v drugi polovici 19. stoletja. Najznačilnejši del fraka sta škrica, ki nista nič drugega kot podaljšan in visoko preklan zadnji del suknjiča. Danes so obvezna garderoba dirigentov opernih in simfoničnih orkestrov, diplomatov in visokih politikov na sprejemih ter udeležencev na prire-ditvah, kjer se zbira »smetana družbe«. Velja za značilno buržujsko oblačilo, toda zaradi protokola so ga ob določenih priložnostih nosili tudi visoki politiki in diplomati socialistične Jugoslavije. In še ena zanimivost, frak se praviloma lahko nosi samo po 18. uri

FRAK / TAILCOAT sukno, svila / cloth, silkinventarna številka 22430 / inventory number 22430Na protokolarnih dogodkih ga je nosil Sergej Kraigher. / Worn by Sergej Kraigher on ceremonial occasions.

The evolution of the tailcoat has not yet been thoroughly researched. It is thought to have appeared in the 18th or even already in the 17th century. At that time, people were hindered by their long overcoats when riding,

so perhaps someone who had had enough of this simply cut the lower part of the rear of the coat. It was probably not quite like that, but it is certainly no longer important. They were definitely worn here in the second half of the 18th century and it was already conside-red everyday wear by the first half of the 19th. Its rise to be among the most formal men's clothing began in the second half of the 19th century. The most characteristic parts of a tailcoat are the tails, which are no more than extended and highly split rear parts of a topcoat. Today, they are mandatory costume for conductors of operatic and symphony orchestras, diplomats and senior politicians at receptions and men attending events at which the »cream of society« is gathered. It is a typical bourgeois item of clothing but, because of protocol, they were also worn by senior politicians and diplomats of socialist Yugoslavia on certain occasions. One further item of interest: a tailcoat may normally only be worn after 6 o'clock in the evening.

Inscription on the wall cloth: »Our art tells you that you will be a good wife to me.«

Preden so kuhinje izgledale kot laboratoriji so gospodinje stene krasile s stenskimi prti, imenova-nimi tudi »kuharice«. Običajno so jih obešale nad štedilnike in mize. Izdelani so iz platna ali bom-baža, na njih so bili najpogosteje ročno izvezeni prizori iz kuhinjskega življenja in različni slogani. Sporočilnost nekaterih je bila daleč od današnjega pojmovanja vloge žensk v družbi. Eden najbolj nazornih se glasi takole:»Najlepša sreča je doma, kjer žena dobro kuhat zna.« Drugi so bili bolj splošno poučni, kot je na primer tale: »Veselo srce in pridne roke je večje bogastvo kot zlate gore.« Tudi ta se danes zdi nekoliko nenava-den. Slogan, ki ga lahko preberete je najmanj dvoumen. Kakšno umetnost so imele v mislih, je seveda stvar presoje posameznika.

STENSKI PRT / WALL CLOTHbombaž; dolžina 89 cm, širina 59cm / cotton; length 89 cm, width 59cminventarna številka 22426 / inventory number 22426

Before kitchens looked like laboratories, housewives decorated the walls with wall cloths, also called »kuharice«. They were normally hung betwe-en the kitchen range and the table. They were made from canvas or cot-ton, and scenes from kitchen life and various slogans were usually hand

embroidered on them. The message on some was far from today's idea of the role of women in society. One of the most blatant thus read: »The greatest happiness is a home where the wife knows how to cook well«. Others were more generally educational, such as, for example: »A joyful heart and diligent hands is greater richness than a mountain of gold«. Even this seems a little odd today. A slogan that can be read is least ambiguous. What kind of art they had in mind, of course, is a matter of individual judgement.

Izdal / Published by: Muzej novejše zgodovine Slovenije, zanj / represented by: mag. Monika Ko-kalj Kočevar; kustos razstave in avtor kataloga / exhibition curator and author of the publicati-on: Vanja Martinčič, Prevod / Translation: Martin Cregeen; Lektura / Proof reading: mag. Alenka Klemenc; Oblikovanje / Design: Mojca Turk; Fotografija / Photography: Sašo Kovačič; Tisk / Print: Medium Žirovnica; Naklada / Copies: 600, Ljubljana november 2010

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