Section 3
The third section undertakes an analysis of the changes of clothing in the aristocratic and merchant classes, the interesting and manifold cultural influences between Italy and Muscovy, as result of the commercial and diplomatic relations set up in the 14th to 17th centuries.
The "exotic" clothing of Central Europe and the Middle East attracted the European upper classes, that readapted certain styles for their private use. One of these outstanding garments is the "simar", adapted from Turkish models. The richness and opulence of this cloth is illustrated in many early 16th century paintings, such as Titian's Portrait of a Young Woman. Also of eastern origin is the large scale introduction of furs into the European wardrobe.
In Russia the costume remained unaltered and highly traditional until the 17th century, to symbolize the eternal and immutable power of the Tsar. The influence of Italian taste therefore operated on the plane of luxury goods (especially worked silks), as a further expression of the power and absolute authority of the Tsar. Foreign travellers describe fabrics enriched with quantities of gold and silver quite unusual in European manufacture, strongly suggesting that there was a kind of production specifically designed for the Russian market.
Towards the end of the 17th century the accession of Peter I saw the Muscovite court begin to open out to European taste. This transformation is testified by Peter's own wardrobe, now preserved in the Hermitage. Throughout his reign Peter maintained friendly relations with the Grand Duchy in Florence, as shown by the exchange of documents and gifts with Cosimo III.
During the 18th century the final swing over to European style coincided with the affirmation of French style, which the Muscovite court adopted as a model not only in art but in dress and in textile production.
