Marketing research in the men's clothing market. Analysis of the menswear market in Russia

According to the State Statistics Committee of the Russian Federation for 2016, the retail turnover of clothing in the Russian Federation, excluding fur clothing, amounted to 1.58 trillion rubles or 23.6 billion dollars (at the weighted average dollar rate for 2016 according to the Central Bank of the Russian Federation). Thus, for the period of 2016, the share of retail clothing turnover in the total structure of the retail trade turnover of the Russian Federation amounted to 5.6% (for the corresponding period of 2015 - 6.2%).

Compared to 2015, the clothing turnover in the Russian Federation decreased by 7.1% in ruble terms. If we take into account the change in the dollar exchange rate, then in dollar terms, the retail turnover of clothing in the Russian Federation at the end of 2016 is 15.8% lower compared to the results of 2015.

The retail turnover of clothing in Moscow in 2016 amounted to 459.7 billion rubles or 6.87 billion dollars. Compared to the results of 2015, the clothing turnover in Moscow decreased by 27% in ruble terms, and if we take into account the change in the dollar exchange rate, then in dollar terms, the retail clothing turnover in Moscow in 2016 was 34% lower compared to 2015.

According to official statistics, the share of Moscow in the all-Russian clothing turnover in 2016 amounted to 29% (in 2015, the share of Moscow was 37%).

The retail turnover of clothing in St. Petersburg in 2016 amounted to 54.5 billion rubles, or 3.5% of the all-Russian retail turnover of clothing (in 2015 - 3.3%).

According to the State Statistics Committee of Russia, in 2016, clothes were produced in Russia (including dressing and dyeing of fur) in the amount of about 129 billion rubles. rubles, which is 2.3% higher in ruble terms compared to 2015.

In structure Russian production clothing in monetary terms for 2016, 45% is accounted for by the Central Federal District, 15% - by the Southern Federal District and 17% is produced in the Volga Federal District.

According to the Federal Customs Service, the official volume of clothing imports to the Russian Federation for the first half of 2016 amounted to about 2.3 billion dollars, which is 2.5% less compared to the 1st half of 2015.

According to the State Statistics Committee of the Russian Federation for January-September 2016, the retail turnover of clothing in the Russian Federation, excluding fur clothes, amounted to 1.1 trillion rubles or 16.84 billion dollars (at the weighted average dollar rate for January-September 2016 according to TSB RF). Thus, for the period January-September 2106, the share of retail clothing turnover in the total structure of the retail trade turnover of the Russian Federation amounted to 3.8% (for the corresponding period of 2015 - 6.1%).

Compared to the corresponding period of 2015, the turnover of clothing in the Russian Federation increased by 1.9% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms, the retail turnover of clothing in the Russian Federation in January-September 2016 is 9% lower compared to with the corresponding period of 2015.

The retail turnover of clothing in Moscow in January-September 2016 amounted to 328 billion rubles or 5.24 billion dollars. Compared to 9 months of 2015, the turnover of clothing in Moscow decreased by 10% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms, the retail turnover of clothing in Moscow in January-September 2016 is 20% lower compared to the corresponding period of 2015.

According to official statistics, the share of Moscow in the all-Russian clothing turnover in January-September 2016 amounted to 31.1% (for January-September 2015 - 35.3%).

The retail turnover of clothing in St. Petersburg in January-September 2016 amounted to 35.8 billion rubles, or 3.4% of the total Russian retail turnover of clothing (for January-September 2015 - 3.2%).

According to the State Statistics Committee of Russia, in January-September 2016, clothes (including dressing and dyeing of fur) were produced in Russia in the amount of about 92.3 billion rubles, which is 1% less in ruble terms compared to the same period in 2015.

In the structure of Russian clothing production in monetary terms for the period January-September 2016, 47% falls on the Central Federal District, 16% - on the Southern Federal District and 16% is produced in the Volga Federal District.

According to the State Statistics Committee of the Russian Federation for 2015, the retail turnover of clothing in the Russian Federation, excluding fur clothing, amounted to 1.7 trillion rubles or 27.72 billion dollars (at the weighted average dollar rate for 2015 according to the Central Bank of the Russian Federation). Thus, for the period of 2015, the share of clothing retail turnover in the total structure of retail trade turnover of the Russian Federation amounted to 6.1% (in 2014 - 6.5%).

Compared to 2014, the turnover of clothing in the Russian Federation decreased by 1.2% in ruble terms, but if we take into account the change in the dollar, then in dollar terms, the retail turnover of clothing in the Russian Federation in 2015 is 38% lower compared to 2014.

The retail turnover of clothing in Moscow in 2015 amounted to 629 billion rubles or 10.3 billion dollars. Compared to 2014, clothing turnover in Moscow decreased by 5.3% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms retail clothing turnover in Moscow in 2015 is 40% lower than in 2014.

According to official statistics, the share of Moscow in the all-Russian clothing turnover amounted to 37.2% in 2015 (38.8% in 2014).

The retail turnover of clothing in St. Petersburg in 2015 amounted to 50 billion rubles, or 3% of the nationwide retail turnover of clothing.

According to the State Statistics Committee of Russia in January-November 2015, products were shipped in Russia textile production in the amount of about 131.6 billion rubles, which is 27% more than in the same period in 2014. In the structure of Russian clothing production in monetary terms for the period January-November 2015, 55% falls on the Central Federal District, 11% - on the North-Western Federal District and 18% is produced in the Volga Federal District.

According to the State Statistics Committee of the Russian Federation for the period January-September 2015, the retail trade turnover in the Russian Federation amounted to 19,973,312.4 million rubles, which is 6.5% higher compared to the same period last year in ruble terms.

According to the State Statistics Committee of the Russian Federation for the period January - September 2015, the retail turnover of clothing in the Russian Federation, excluding fur clothing, amounted to 1,193 billion rubles or 20.13 billion dollars (at the weighted average dollar rate for January - September 2015, according to the Central Bank RF). Thus, for the period January-September 2015, the share of retail clothing turnover in the total structure of the retail trade turnover of the Russian Federation amounted to 6% (for the same period in 2014 - 6.2%).

Compared to the corresponding period last year, the turnover of clothing in the Russian Federation increased by 3% in ruble terms, but if we take into account the change in the dollar, then in dollar terms, the retail turnover of clothing in the Russian Federation for the period January-September 2015 is 38% lower compared to January -September 2014.

The retail turnover of clothing in Moscow for the period January-September 2015 amounted to 469 billion rubles or 7.91 billion dollars. Compared to the corresponding period last year, clothing turnover in Moscow increased by 1.2% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms retail clothing turnover in Moscow for 9 months of 2015 is 40% lower compared to the same period of 2014.

According to official statistics, the share of Moscow in the all-Russian clothing turnover amounted to 40% in the first 9 months of 2015, unchanged compared to the same period in 2014.

The retail turnover of clothes in St. Petersburg in January-September 2015 amounted to 36 billion rubles, or 3% of the nationwide retail turnover of clothes.

According to the State Statistics Committee of Russia, in January-September 2015, manufactured clothing was shipped in Russia in the amount of about 93 billion rubles, a decrease of 3% compared to the same period in 2014. In the structure of Russian clothing production in monetary terms for the period January-September 2015, 40% falls on the Central Federal District, 19% - on the North-Western Federal District and 18% is produced in the Volga Federal District.

According to the State Customs Service, for the period January-September 2015, clothes were imported to Russia in the amount of 4 billion dollars, which is 36% lower compared to the same period in 2014.

According to the State Statistics Committee, in the 1st half of 2015, clothes were produced in Russia (including dressing and dyeing of fur) for 55.6 trillion rubles, which is 1.7% less in current prices compared to the 1st half of 2014. In total, in the first half of 2015, Russian enterprises shipped 7.6 trillion pieces of clothing, which is 73% less than in the first half of 2014.

For the 1st half of 2015, clothes were imported to Russia in the amount of about 2.3 trillion dollars, which is 36% less compared to the 1st half of 2014.

According to the State Statistics Committee of the Russian Federation for the 1st quarter of 2015, the retail turnover of clothing in the Russian Federation, excluding fur clothes, amounted to 365 billion rubles or 5.8 billion dollars (at the weighted average dollar rate for the 1st quarter of 2015). Compared to the corresponding period last year, the clothing turnover in the Russian Federation increased by 3.5% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms, the retail clothing turnover in the Russian Federation for the 1st quarter of 2015 is 42% lower compared to 1 quarter of 2014.

The retail turnover of clothing in Moscow for the 1st quarter of 2015 amounted to 140.5 billion rubles or 2.26 billion dollars. Compared to the corresponding period last year, clothing turnover in Moscow increased by 6% in ruble terms, but if we take into account the change in the dollar exchange rate, then in dollar terms, clothing retail turnover in Moscow for the 1st quarter of 2015 is 40% lower compared to the 1st quarter of 2014 of the year.

According to official statistics, the share of Moscow in the overall Russian clothing turnover amounted to 38.5% in the 1st quarter of 2015, unchanged compared to the 1st quarter of 2014.

According to the results of the 1st quarter of 2015, the retail turnover of clothing in St. Petersburg amounted to 11 billion rubles, or 3% of the nationwide retail turnover of clothing.

According to the State Statistics Committee of the Russian Federation, for the period from January to September 2014, the retail turnover of clothing in the Russian Federation, excluding fur clothing, amounted to 31.3 billion dollars, which is 9.5% lower compared to the same period in 2013 (in the respective prices). The retail turnover of clothing in Moscow for the period from January to September 2014 amounted to 12.4 billion dollars, which is 9.5% lower compared to the same period in 2013 (in corresponding prices). Thus, according to official statistics, the share of Moscow in the all-Russian clothing turnover amounted to about 40% in the first three quarters of 2014 (for the same period in 2013, Moscow's share was 39%). At the same time, the retail turnover of clothes in St. Petersburg in the first three quarters of 2014 amounted to only about 944 million dollars (10% higher compared to the same period in 2013) or 3% of the nationwide retail turnover of clothes (for the same period 2013, the share of St. Petersburg was 2.5% of the total Russian trade turnover).

According to the State Statistics Committee of Russia, in January-November 2014 in Russia, manufactured clothing was shipped in the amount of about 3.3 billion dollars, which is 4.5% lower compared to the same period in 2013 (in corresponding prices). In the structure of Russian clothing production in monetary terms for the period January-November 2014, 32% falls on the Central Federal District and 30% is produced in the North-Western Federal District. According to the State Customs Service, for the period January-November 2014, clothes were imported to Russia in the amount of 7.24 trillion dollars, which is 4% lower compared to the same period in 2013.

According to the State Statistics Committee, in Russia for the period from January to November 2014, 182.5 million units of clothing (not including professional) were produced, which is 4.8% more compared to the same period in 2013. In the structure of clothing production for the period January-November 2014, 24% are suits, 24% - trousers and overalls, 13% - T-shirts.

What is the potential of the Russian clothing market and is there any way for it to move with the already existing volume of 2 trillion rubles, why you can’t sell European fashion in Russia and how the tastes of residents differ different countries, Artur Kontrabaev, CEO of the Modny Continent company, which owns the INCITY and DESEO brands, said in an interview with RIA Novosti.

- What are your expectations for 2015?

- Since the beginning of the year, equipment sellers in Russia say that sales in their sector have dipped by 20% this year, but what about the figures in the clothing sector?

Inflation hit all areas of consumption, including clothing and footwear, but in general, sales in our industry decreased by no more than 10-15%. By the end of 2015, a further decline in sales is predicted, but due to the redistribution of market shares among industry leaders against the backdrop of an outflow of buyers from the middle segment to the more economical one, we expect to maintain and even increase the number of our customers. In May, we recorded a positive trend in traffic to revive demand compared to February 2015.

- Have you changed your pricing policy due to changes in the exchange rate?

Competitive advantage of INCITY and DESEO compared to key competitors, including foreign players, is an affordable price offer. The company plans to maintain the price positioning of brands.

- And how much has the price of your products increased since the depreciation of the ruble?

In March of this year, the prices of competing companies increased by 30%. The increase in the price of our products is insignificant and amounted to no more than 10-15%. Despite the fact that a significant part of the goods is purchased for dollars, we try to keep prices at the level that our consumer is used to.

- You said that you make purchases of finished goods abroad. Is this the fundamental position of the company? Are you considering moving production to Russia?

In terms of production, we cooperate with those markets, the conditions of which are most beneficial for us. If we talk about the speed of production, then it is more profitable to deliver part of the collection from Europe, since in China the production cycle takes 4-6 months, and in Europe you can get a batch of goods to our warehouse in the Moscow region in a month. Therefore, at the moment we are considering options for cooperation with both Russian and European companies in order to shorten the production cycle. Savings in terms of delivery of goods and a high level of quality of services provided are the main advantages of developing this direction.

- What percentage of production are you ready to transfer to the Russian segment?

We are approaching the issue of partial transfer and are ready to consider no more than 5-10% of our total production in China. If a strong manufacturer appears in Russia, ready to provide us with the necessary volumes and high quality, then, of course, we will support him: logistics is cheaper, and developing our own market is always the right thing to do.

- Have you considered the development of your production?

We do not consider launching our own production, since huge investments in its development are needed. Of course, we are interested in cooperation if a company appears in Russia that is ready to start production and provide quality services at prices comparable to other markets.

- Is organizing such a production profitable for an investor?

The organization of such production is quite complicated for the manufacturer. This process immediately runs into cost due to the need for manual labor in some production processes. And the cost of manual labor in our market is not competitive in comparison with the same China.

- How do you assess the company's half-year results?

Retail indicators over the past two months indicate a positive trend. May and June showed high traffic - an increase of 2% and almost 10%, respectively, as well as a significant increase in revenue. We are working on pricing, making sure that the price is relevant to the expectations of our consumer. This is such manual labor in order to show the result in this volatile period.

- What is the potential of the Russian clothing market?

The Russian clothing market over the past five years has been one of the most dynamically developing industries. Despite the fact that the growth rate of the clothing market in Russia since 2014 has significantly decreased compared to previous years, they still remained at a high level. The future of fashion retail in Russia is associated primarily with regional development network players and the introduction of new retail formats.

- What is the size of the clothing market in Russia?

According to experts, in 2014 the clothing market amounted to about 2 trillion rubles.

- And at the same time, you say that the sales market still has room to grow?

It is worth going outside and looking at people, how much their attitude to everyday style and approach to choosing a wardrobe has changed. Among the basic needs of Russians, according to recent surveys, the need for food and clothing has been recognized, and clothing has become even more important. Of course, there is room to grow.

- How do you deal with customer acquisition?

We conduct market research on an ongoing basis and analyze the preferences of our customers, we are in constant contact with them through social media and our website. We are working to maximize customer satisfaction by increasing the attractiveness of the product offer and the full presentation of the brand concept in stores: women's, men's and children's collections. We have created a new concept of INCITY stores, which we presented at the beginning of 2015 in two flagship stores in Moscow: in the Rechnoy and Columbus shopping centers.

A lot of work has been done to increase the functionality of space zoning and the introduction of modern equipment. This is a completely different service approach, with which we want to create a unique atmosphere in our stores, where the consumer would like to return again and again.

- What has changed in the casual fashion industry in recent years?

The presence of democratic brands on the market has made fashion accessible to everyone. People have the opportunity to look stylish at minimal cost. Our main mission is to show people that fashion and style can and should be accessible.

- Is there a difference in the tastes of Russian and European buyers?

There is definitely a difference. The European consumer is characterized by a craving for complex color schemes and textures, free silhouettes and cuts. The Russian customer prefers feminine silhouettes, which is why INCITY dresses are so popular, and according to a survey of our consumers, the brand is associated with this particular category of clothing. We analyze our bestsellers on a regular basis, and we have our own understandable statistics. The task of our company is to predict the bestsellers of the upcoming season in order to always have them in stock.

- Maybe you can somehow gradually change the taste of Russian buyers?

We are currently developing the following strategy: we take European hits to work, involve our designers and create clothes at the intersection of the preferences and characteristics of the Russian market and world bestsellers, which will be hits both in the international sense and in local markets. We want to test this principle in the fall, and if it works, we will apply it.

- Is it possible to influence the taste of the consumer?

Our task as a representative of the fashion segment is to represent the key global trends in the Russian market and provide our consumers with the opportunity to look conventionally like on the streets of Paris and Milan, without spending huge money on clothes and overpaying for labels.

- How would you describe the quality of modern clothing?

Of course, products made from quality materials are more expensive. But at the same time, things that are more democratic in price often also do not lose their original appearance for a long time. Thus, it becomes unimportant how much you bought the item. Most likely, there is no direct correlation for how long you will wear it. As for our segment - the mass market, everyone knows that goods in the price range up to 10 thousand rubles (per item - ed.) Are sewn in the same places. Therefore, I would not say that there is a fundamental difference in quality between a T-shirt for 300 rubles and a T-shirt for 4 thousand rubles. We, in turn, place great demands on the quality of our goods and regularly test materials for wear resistance, constantly refine designs and monitor the quality of fit of products, taking into account the characteristics of various types of figures. We pay special attention to the quality of materials and introduce new technologies for sewing children's clothing.

- And in conclusion, I would like to ask you, do you plan to somehow change the company's development strategy during the crisis?

Article dated 07/31/2015 from the site http://www.retailer.ru/item/id/119642/

Familia network to the end2015 will complete restyling, hoping to increase traffic in stores by 10%. A year ago, in order to simply maintain a share in the fashion retail market, it was necessary to increase sales by 20%. Then Familia coped with this task, prudently increasing the number of stores by a quarter. Now the number of points in the network will grow by another 10-20%. And, since the rapid growth of the market is not to be expected, Familia makes a serious bid for increasing market share.

Fashion retailer Familia will complete the restyling of stores by the end of the year, which has affected all elements of corporate identity: logo, corporate identity, website design. 65 stores have already been updated, 30 more outlets are preparing to enter autumn season in new corporate colors. The company plans to complete this project by the end of 2015.

Global changes have affected the corporate identity of the brand. Purple and olive became the main colors of the retailer instead of green and blue; IN trading floor elements of the new Familia corporate identity have also appeared, for example, the letter "a" from the logo is used as the main element of communications. The new brand book for the retailer was developed by the British branding agency Campbellrigg.

Renovation of stores has become a natural step in the development of the company, Yulia Danilina, marketing director of the Familia retail chain, told Retailer.RU. "We are constantly studying the experience of world leaders in off-price retail and introducing interesting practices, at a certain moment it came to the understanding that the network had outgrown the existing visual identity system, which was outdated and began to work against us."

According to Yulia Danilina, the change in corporate identity caused an increase in traffic in the chain's stores by an average of 10%. At the same time, in retail outlets located in the Moscow region, the effect of changing the appearance is 2-3 times more noticeable in comparison with St. Petersburg and other regions, the company notes.

Simultaneously with the restyling, the company plans to significantly increase the network. Depending on how many quality sites can be found, Familia expects to open 10-20 new stores by the end of the year. A week ago, a new point in Samara (the third in a row) was launched, and by the end of August, the launch of the fourth chain store in Yekaterinburg is expected.

The last major growth of the network occurred in 2013, when the number of points increased from about 80 to 100. The expansion then had a good effect on the network's revenue - growth in 2014 amounted to about 20%. True, then this was only enough to keep its share in the segment.

The extent to which the increase in traffic will affect the growth of revenue, the company is not yet ready to discuss - revenue forecasts for 2015 will be made public only in the fall. At the same time, the non-food retail industry as a whole is in a deep crisis: in June 2015, the turnover of all players fell by 8.7% compared to June 2014. These are Rosstat data in comparable prices, excluding inflation (consumer prices for non-food products increased over the year by 14.2%).

The task of my course work is to analyze the activities of the store selling menswear and footwear, opened in 2008 in Sarov.

Many entrepreneurs are employed in this field of activity and the competition is quite strong, and our company needs to strengthen its position.

The purpose of the course work is to show the skills of practical implementation of certain types of marketing activities: analysis and interpretation of the results of marketing research, segmentation of the market space, positioning of products, formation of the most effective marketing policy.

The solution of these issues will allow the enterprise to most profitably allocate its resources, and thereby increase the profit from the sale of its product and its market share.

Department for the sale of men's clothing and footwear, opened in 2008 in the Moskovsky Passage shopping center, Sarov.

The department sells men's sportswear and shoes (trousers, windbreakers, T-shirts, sneakers), as well as jeans, shirts and classic style shoes.

The department has 3 salespeople who report directly to the owner of the department.

The main production assets are: department premises, showcases and other equipment.

The main part of the sales market is the new part of the city.

Currently, there are many entrepreneurs in the city engaged in similar activities. There are 4 more departments of men's clothing in the Moskovsky Passage shopping center, and there are departments of a similar assortment in the Plaza and Europe shopping centers.

The main objective of the company is high-quality customer service and timely updating of the assortment.

For a more visual representation of the portfolio of goods, let's turn to the BCG matrix. The usefulness of the matrix lies in the fact that it allows you to compare the positions of goods or services of the organization in the same portfolio. It can be used to establish the degree of balance between the components of the portfolio of goods located in the four quadrants of the matrix.

Market share of the organization

high low

tall
Market Growth Rate marketing and

organizations

Each circle in this matrix represents a product or service of the organization. The diameter of the circle is proportional to the volume of sales of this product. The location of the product in each of the four quadrants corresponds to its location on one of the four stages of the life cycle curve.

A problematic product is a product that is just being introduced by the organization to the market, it is at the first stage of the life cycle curve (implementation), where the costs of its promotion significantly exceed the profit from sales of the product. Such goods are seasonal clothing and footwear.

Star - if the problematic product is perceived by the market. Then it becomes a “star” – a market leader with high growth rates. By the summer season, breeches, shorts, light sneakers and sandals become such goods.

· Cash Cow - When the market growth rate slows down and the organization manages to win a large share in such a market, the product moves into the "cash cow" square, these products bring the organization the necessary stable profit. Such goods are sports pants, T-shirts, jeans, sweatshirts.

· Dogs are low market share products with low growth rates. For example, by the summer season windbreakers, jackets, sweaters become such goods.

2.2 3-level analysisorganizations

For a more detailed consideration of the activities of the department, we will conduct a three-level analysis, in which the essence of the product, the actual product, and the additional product are distinguished.

1. The essence of the goods. When creating or purchasing a new product, it is necessary to determine what needs this product satisfies.

Thanks to a wide range of products in our department, the buyer can purchase everything they need in one department, saving time.

2. The actual item. At this level, the actual performance of the product is analyzed.

All presented clothes and shoes are of good quality, which satisfies the need for comfort.

3. Additional item. At this level, analyze Additional features goods.

The department employs salespeople who can give advice on an issue of interest. You can try on clothes and shoes, and a 2-week guarantee is given for shoes.

2.3 Life cycleorganizations

This is a model that allows you to consider in more detail the life of an organization in a specific time interval. Since the department has been on the market for only a year, the organization is in the phase of introduction to the market.

ImplementationGrowth Saturation Decline 2008-2009 2014 Time

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Ministry of Education and Science of the Russian Federation

FSBEI HPE "Yelets State University

them. I. A. Bunina

Institute of History and Culture

Department of Design and Folk artistic culture

COURSE PROJECT

by discipline: Analysis of the state and trends in the development of folk costume

Group NKm-11

Tatarnikova E.R.

Checked by: Solomentseva S.B.

folk costume training

Introduction

1. Historical and analytical part

1.1 Aesthetic ideals of beauty

1.2 Semiotic features of folk costume

1.3 The color scheme of the costume

1.4 Design features of the folk costume

2. Execution of the development project guidelines on the introduction of folk costume material into the educational process

2.1 Fundamentals of teaching methodology

2.2 Development trend: innovative forms, methods, methods and features of control

2.3 Development of practical guidelines

Conclusion

List of used literature

INTRODUCTION

The relevance of the topic is determined primarily by the fact that in modern Russia there is an increase in the national identity of different peoples, an increase in interest in cultural traditions. The main task of teachers is teaching, purposeful and organizational ways of forming ideas about the history of costume as the greatest national and universal value that embodied timeless spiritual and moral ideals. Of particular importance is ethno-cultural education, in the process of which not only knowledge about the customs, traditions, culture of the peoples of Russia is disseminated, but a respectful attitude towards them is formed.

In the modern variable educational space of Russia, subjects are increasingly appearing that provide students with the study of the traditions of folk art culture, a network of education with an in-depth study of ethno-cultural disciplines is widely developing. The Decree of the Government of Moscow “On the introduction of a compulsory course of study with an ethno-cultural component into education” was also issued, which served as the most important incentive for the development and implementation of various disciplines of the ethno-cultural cycle. These trends are reflected in the "National Doctrine of Education". This document emphasizes the importance of introducing students to the cultural-historical and national-cultural traditions of Russia as the basis for the formation of spiritual and moral ideals and personal values. The tasks of national-cultural education arising from the doctrine are of particular importance not only in the context of modern Russian state educational and cultural policy, but also on a global scale. More than ten years ago, the UN General Conference on Education, Science and Culture adopted the "Recommendation on the Preservation of Folk Traditions", which has become the most important international normative act revealing the essence of folk traditions as an integral part of the common heritage of mankind, its social, economic, cultural and political significance in the modern world, as well as the decisive role in the rapprochement of various peoples and social groups, in asserting their cultural identity. The special significance of this document lies in the fact that it presents an integral system of specific measures to be taken by the UN member states. To better identify, store and disseminate traditional folk culture. It is emphasized that governments should play a decisive role in preserving folk traditions and act as quickly as possible, take legislative measures that may be required in accordance with the constitutional practice of each of them. The significance of this “Recommendation” is currently growing even more in connection with the complex socio-political and socio-economic changes taking place in Russia and other countries. This was also noted at the Regional Seminar for Eastern Europe and Asia held in Veliky Novgorod under the auspices of UNESCO. The most important outcome of this seminar was the recommendation on the need for a broad development of ethno-cultural education and its state support, as well as the decision to create an International expert council"Traditional Culture and Education". It is ethno-cultural education that can and should become in the modern world the main channel for the dissemination of traditional cultures, the translation into the modern world cultural and information space of the highest spiritual and moral values ​​and ideals embodied in them.

For Russia, this task is more relevant than ever. The study of the centuries-old cultural heritage of the Russian people of Russia is important today not only in itself, but also as a factor in overcoming the most acute problems of spiritual life. Russian society. Russian folk costume, ancient monuments of folk wooden architecture, products of masters of folk arts and crafts, oral folk art, folk music and dances carry the light of goodness, mercy, folk wisdom.

For many centuries, in the works of folk art, in folk costume, customs and rituals, people's love for their native land, nature and home was reflected, archetypal images - the ideals of mother, hero and beauty, as well as the most appropriate for survival, proven by the experience of many generations stereotypes of behavior in the natural environment and society. Since ancient times, these ethnic stereotypes ensured not only the survival of the people, but also the preservation of their spiritual and physical health, harmonized the interaction of man with nature and other people. It is also important for us that the national images of the world, the cultural and historical psychology of the Russian consciousness, were embodied in the works of folk art.

Today, more than ever, it is necessary to spread in society and affirm the significance of such primordial virtues as the priority of spiritual values ​​over material ones, mercy, kindness, honesty, diligence, friendliness and hospitality, respect for the traditions of different peoples living in Russia by means of traditional folk art culture. and other countries of the world.

These spiritual and moral foundations folk life constitute the core of the cultural heritage and living culture of the Russian people. To contribute to the restoration in modern Russia of the mechanism of transmission of traditions from generation to generation with the help of Russian folk costume - this is seen as the main perspective and purpose of the proposed course.

Enriching the content of general humanitarian education based on the national and cultural traditions of the peoples of Russia, Russian folk costume, folk art can become an important factor personality development.

Research objectives:

1. To study the Vologda folk costume and its features.

2. Develop educational and methodological guidelines for the introduction of the material of the Vologda costume into the educational process.

The subject, purpose, problems and hypothesis of the study led to the formulation of the following tasks:

1. To analyze the degree of knowledge of the topic in the main stages of the historical development of the Vologda folk costume.

2. To reveal the Vologda folk costume as an integrity that absorbed the historical experience of the Russian people, their worldview and reflected the Russian mentality and aesthetic attitudes;

3. Develop experimental educational and methodological documentation. The object of the study is the historical aspect of the Vologda folk costume.

The subject of the research is the development of practical guidelines.

1. HISTORICAL AND ANALYTICAL PART

1.1 Aesthetic ideals of beauty of the Vologda folk costume

The appearance, the beauty of the ancient Russians always evoked enthusiastic responses from both Europeans and Asians. Ancient travelers, people of different tastes and ideas about beauty, describing the Russians, necessarily noted their high growth, special stateliness, white skin with a bright blush, beautiful blond hair. Arab traveler of the 10th century. Ahmed Ibn Fodlan, describing the Russian merchants who came to the king of the Khazars, notes: "They are like palm trees, ruddy, red." The famous Venetian Marco Polo in the XIII century. in his Journey he writes about the inhabitants of northern Russia: “They are very beautiful people, white, tall; their women are also white and tall with blond and long hair”[1. c.34].

High criteria of beauty since ancient times determine the aesthetic folk ideal, which is described in epics and sung in songs. And among them, first of all, a tall stately figure, a majestic posture, a white face with a bright blush, sable dark eyebrows, women have a smooth swan gait.

“Walks smoothly - like a swan;

Looks sweet - like a dove;

He says a word - the nightingale sings;

Her cheeks are rosy,

Like the dawn in God's heaven;

Braids are blond, golden,

In bright braided ribbons,

Running over the shoulders, squirming,

They kiss with white breasts.

Art. Lermontov M.Yu.

This attractive stateliness, proud posture, coloring helped to recreate the old Russian costume with its silhouette, the shape of the details, the decorative solution, the fabrics and decorations used, and the color combination. To the most common features, characteristic of the costume of this historical period, include the following:

1) static, straight, extended downward silhouette of the product and sleeves;

2) the predominance of symmetrical compositions with the rhythm of lines in details, decoration, additions; even if there is asymmetry in the shape of the costume or the way it is worn (kosovorotka, feryaz), its composition is balanced, stable;

3) the use of decorative patterned fabrics, mainly in red and blue colors, with a complex ornament; trim with embroidery, lace, fur with a fabric of a different color; creating a dynamic form due to contrasting colors;

4) the great importance of the headdress in solving the composition of the costume.

1.2 Semioticallye features of the folk costume

The information-sign system of the suit is a way of transferring certain information from the wearer to the environment, and the suit itself is a way of establishing communication between the codes and the source of information, thanks to which a certain opinion is created about the wearer of the suit.

The costumes were sewn from homespun linen in a cage - motley, on Uftyug it was called "klitsetin". The bottom shirt consisted of a "collar" (upper part) and a "stand" (lower part). The “collar” was decorated with a round yoke made of dyed linen fabric and gathered at the neck into a small fold. The sleeves were decorated with an insert of weaving (in the Uftyug tradition it was called “makhilka”), braid and fringe of colored half-woolen threads. The hem was decorated with a geometric ornament consisting of rhombuses and oblique crosses. On Uftyug, such a shirt was called a "red stanka".

In the Russian North, the words "sarafan" and "shirt" were rarely used, more often they used more specific and accepted in each locality their names for these types of clothing. Archival sources, publications and materials of expeditions reveal various options for the names of sundresses. The origin of these names differs, firstly, in terms of design features, that is, depending on the style.

The most ancient of them: “kostych”, “shushun”, “klinnik”, “kosoklinnik” are ancient wedge-shaped sundresses; "Muscovite", "Muscovite" or "round" - a sundress that is straight in design, sewn from several straight strips of fabric and gathered at the top under the sheathing.

According to the material and manufacturing technique, “ponitok”, “fabric”, “stuffing”, “petsetnik”, “kumachnik”, “damask”, “setting set”, “gut bag”, “satin”, etc., are distinguished, according to color and method of coloring fabrics - “bruise”, “motley”, “krashennik”, here you can also include the “kumachnik”.

By age, one can single out, for example, a “kostych” sarafan, which in Pinezhye at the end of the 19th century was worn only by elderly women, and by appointment - a wedding sarafan “Lopotin” and “mowing” which was worn only on the agricultural holiday of the beginning of hay harvesting - - mowing.

Such outfits with red shirts were worn only on holidays. To flaunt a shirt woven with a swearing pattern, the hem of a sundress was often tucked into the belt.

The sundress was round, with a detachable back, with straps. As a rule, it was made from home-weaving linen fabric. The bottom of the sundress was decorated with a frill.

A linen apron was decorated with braid and a frill made of colored cotton fabric, and a wide border of scolding weaving.

The belt was made by hand from semi-woolen threads of yellow-orange and green tones using the crochet technique.

The costume was completed by a female headdress - a borushka. Each part of this attire had its own name: the frontal one - “wattle”, the upper one - “four”, and a special roller over the wattle fence to give shape - “roll”. Under the borushka, married women carefully removed their hair, so there was a belief about their special magical power.

A scarf was worn over the cap. The manners of wearing it were different, but he was always tied in such a way that the forehead part of the borushka, richly decorated with gold thread embroidery, was visible. On holidays, long ribbons were attached to the hat. The old women wore soft borushki - "caps".

Neck and chest ornaments of various shapes and designs, jewelry: earrings, rings, bracelets could serve as additions to the costume.

The special elegance and solemnity of the costume is hand-embroidered on the shirt, red on white using the counting stitch technique, and an apron embroidered with colored tambour embroidery, decorated with red calico stitching - this is on the neck, chest, arms and legs (parts of the body that were guarded especially carefully), there was an ornament (amulet). The hem of the women's shirt, despite the fact that it was hidden under a sundress, was also decorated with embroidery. With its brightness, an abundance of red, the festive peasant costume filled the soul with joy.

On the territory of the Vologda Oblast, the male costume did not have significant differences. The components of the traditional men's costume were a shirt, ports, a belt, and shoes.

On the borderland of Uftyuga and Kokshenga, there was a curious tradition - to decorate the boots of young married men with underwires - the ornamented ends of the towel that the bride gave to the man. The towel was torn into equal parts, wrapped around the legs like footcloths, and the elegant, richly embroidered ends were let out.

1.3 Costume color scheme

Nature has never recognized "colorlessness", and she laid this quality in the soul of the Russian people. For the creators of traditional clothes of the Vologda region, the color appearance of clothes was built on the principle of comparing bright, contrasting and saturated colors, forming a complete harmony with each other. The brightness of color, its contrast and saturation are determined by the originality of the surrounding nature with its bright and joyful "multicolor".

The most favorite color in Vologda art, especially in clothes, was red.

The words "red" and "beautiful" for the Russian people had the same meaning: the girl is red, the young people are red, the spring is red. The word “beautiful” meant not the external beauty of a person, but his spiritual world, his beautiful soul, and in this regard, at all times, preference was given to those people who had both a beautiful appearance and a beautiful soul were harmoniously merged, which corresponded to the concept of “beautiful human".

Bright crimson and pale pink colors symbolized sunsets and sunrises.

These colors were placed next to green or blue, ultramarine, or in their environment. Then these colors were said to "burn", reminiscent of sunsets and sunrises.

The green color symbolized the plant world: green crops in peasant fields and gardens, lush herbs of countless meadows, fragrant vegetation of the steppes, velvet greenery of gardens and dense forests, as well as abundance, joy, freedom, hope, tranquility. In clothing, this color was used somewhat less than red. Spots of green skillfully scattered over clothes evoke associations with meadows, forests, spring shoots in the fields, gardens and orchards that are just as beautifully scattered over the Vologda land.

Yellow was a symbol of short-term separation, ultramarine - water and sky, as well as chastity, fidelity, white - grief and death. Blue color was used rarely and in small quantities in the form of narrow stripes, squares and sewn on beads. It interspersed only to enhance the sound of the surrounding red color and meant bloodlessness, cold, bad weather, fear. Black color - earth and eternal rest.

Patterned weaving and ornamental embroidery of the Russian North are distinguished by features that are characteristic not only of applied Russian art, but also of the art of other peoples, for example, Turkic or Finno-Ugric. Their products combine similar motifs and compositional constructions. Images of deer and trees made of rectangular segments or crosses with ends turned to one side, denoting the sun, asymmetry of geometric patterns and ornaments in the form of two-headed birds. All these features are characteristic of areas with the Onega type of population.

A large place in the ornamental embroidery of the peoples of the Russian North is occupied by Finno-Ugric elements. The most common motif in textile ornaments are various variants of rhombuses (crossed, with extended sides). Most often, rhombic patterns were used in embroidery from the central regions.

Several large figures of strict outline alternated rhythmically on the fabric. Typically, such patterns were arranged in a checkerboard pattern or in a straight strip and were found in “swearing” weaving or in embroidery with colored interlacing. This special kind sewing technique, it was performed on a sparse fabric, from which the threads were first pulled out along the weft and along the warp. In the regions of the Far North and in the Pskov province, such an old Slavic embroidery was called “knitted business”. Interestingly, "vyazboi" was also called any embroidery in Bulgaria. This fact confirms the opinion that such a kind of applied art as embroidery appeared among the Slavs even before they were divided into eastern and southern groups.

The patterned embroidery of the Russian North differs from the embroidery of the Central Russian strip in much greater ornamentality and originality. The most peculiar ornaments can be found in the eastern regions of the North. Such patterns are an endless series of rhythmically repeating identical elements. The pattern consists of numerous double hooks and "combs", it either thickens or thins out, as if flickering. Marble items from the eastern regions are also distinguished by shimmering and small patterns that line up in large rhombic shapes. Similar ornaments can be found on the embroidery of the Karelians who lived in the Tver province. Usually such fluid, asymmetrical patterns, made in the form of repeating small hooks or horns, decorated the ends of the towels.

1.4 Konstructural features of the suit

The outerwear of our ancestors was diverse. On weekdays, they wore zipuns and ponytails sewn from home-made cloth, as well as light canvas shaburs. One of the types of outerwear for the cold season in the XIX century. in Russia there was a ponitok, or a bagman. The name is associated with the fabric from which it was made - ponitochin. This is a thick fabric made from linen and woolen threads or homemade cloth.

Also, hoodies, bekeshi (fitted zipuns) and sermyaks (made without a waist) were known among the inhabitants of Totma and Velsk. In Vologda - Siberians (similar to a vest) and caftans.

In the Vologda districts there were several varieties of fur-lined clothing. The winter women's festive costume usually included good-quality fur clothes. Fur coats made of sheepskin were the most widespread among the peasantry. The presence of a fur coat in the house was a sign of the wealth of the family, it was listed as a significant part of the girl's dowry.

In the North of Russia, along with a sundress, which has already been discussed, a shirt was always included in a women's outfit. Worn these two pieces of clothing together, in one set. Shirts were sewn from different materials, had a different design and a number of features indicating the geographical affiliation of a particular model.

From a technological point of view, shirts were either one-piece or composite.

In the first case, a single piece of fabric was used for sewing, the shirt was sewn immediately along the entire length. One-piece shirts were sewn from whole longitudinal, often four, panels of fabric.

They were called differently: a healer, a whole (Arkhangelsk province.), Passage (Vologda province.), Solid, single-walled (Kaluga, Oryol province.). In the 19th century, such shirts were found infrequently, mainly as ritual wedding or funeral ones.

In the second case, the clothes consisted of two halves: the upper one (“collar”, “collar” or “sleeve”) and the lower one (it was called “stand” or “stanovina”). A compound shirt was sewn from two parts. For the lower half (stand), canvas was most often used, but the top was made of lighter and thinner matter - from high-quality linen or hemp, and then from cotton or silk fabric. Most of the shirts of the XIX-XX centuries were composite. The cut of women's shirts is extremely diverse. In most cases, they were cut very economically, with almost no scraps left, since the cutting module was the width of the fabric.

The model, as a rule, provided for the presence of a collar (gathered in small assemblies) and wide, loose sleeves. Sometimes the sleeves could be straight, with a lace frill or even a ribbon around the brush. The lower part - "stan", was sewn from dense homespun canvas.

For the northern provinces, it is typical to wear shirts with sundresses or skirts, the cut of the shirts themselves - without poliks, with straight poliks or on a yoke, they could be from very short in length (the so-called shirt "sleeves", "collar") to long ( "sleeves" with a camp).

Shirts were common, consisting of only one upper part. They were called umbilical cords, i.e. clothes reaching to the navel, or collars, vestments, breasts, collars, sleeves, etc. Any peasant woman had a lot of such "tops", and as needed they could be easily changed. And instead of a bed, peasant women wore petticoats.

Shirts with yokes became common in the second half of the 19th and early 20th centuries. There were several varieties of such shirts. The first, and probably earlier, is found in a Pomeranian women's costume: a small yoke with a slit - perhaps a preserved fragment of a ritual tunic-shaped shirt that once existed here among the Old Believers. The second variety of this type of shirt, presumably, appeared under the influence of urban fashion. The coquettes of such women's shirts consist of several parts, there is a shoulder seam, the sleeves of such shirts are with an edge, they may not have a gusset.

Depending on local traditions, the sleeves could be both wide and narrow. The collar, hem, cuffs of the sleeves were decorated with skillful embroidery.

In the Veliky Ustyug districts, on girls' shirts, a strip of 2-3 cm wide red cloth was sewn to the collar, and a strip of patterned weaving with a red thread was sewn below the red cloth. This decoration gave the impression of a round coquette and was called "chubby".

The word "sarafan" is borrowed from the Persian language and meant "long and honorable clothes." A sundress in the North of Russia is an old women's clothing, characterized by a variety of models.

A sundress is a general, group name for a certain type of clothing. And each specific model was named in its own way.

“Klinnik”, “kosoklinnik” - a sundress was sewn from three panels of fabric - two front and one back, and a large number of wedges were sewn into the side seams, greatly expanding the hem of the sundress and giving it a semicircle shape when unfolded.

"Round" - several straight panels (usually 6 or 8) were sewn together with long sides, gathered over the chest under the trim and attached to the straps.

"Dolnik", "Dolovik") - a sundress in the form of a long skirt with narrow straps sewn to it. It was sewn from striped fabric (it could be chintz, cashmere or homespun fabric), and at the top it was laid in folds. The dolnik was fastened with a hook or button located under the left shoulder strap.

Sundresses were seasonal. "Pestryaki" and "chenille" were worn in the off-season, in the summer. Winter sundresses included heavy "dolniks", "sukmanniks", "anointed ones". “Young people wore new material. Old women always have an old, already worn sundress. "Old sundresses were worn for every day." The fabric for sundresses-dolniks was woven in narrow strips on a solid canvas base. If there were not enough warp threads or they were saved, then the fabric turned out to be loose. The warp was linen, the weft was wool. The width of the base and the sundress reached 1.5 m. The sundresses were heavy, "heavy", mostly straight, with folds. Instead of straps, braided, woven, less often made of fabric, belts were often used. Dolniks made of dyed wool were spun finely and smoothly. They did not shed for a long time and had bright colors. Stripes in sundresses alternated in width. As a rule, three narrow stripes were inserted between wide identical stripes, there was an alternation of dark and light colors. Particularly skilled craftswomen were able to insert a pattern into a strip. Often, lace or fabric was allowed along the bottom of the hem, and a pattern along the stripes. In round sundresses with straps intended for nursing mothers, the cutout on the chest was made larger. For young girls, they sewed a sundress with a detachable bodice. The bodice could be of a different fabric, sometimes decorated with lace. On the inside of the bodice, a gray canvas was usually hemmed. Dolniks could have wide straps and a wide bodice. The edge of the sundress was often trimmed with another fabric. The back of the sundress was cut in such a way that a wide fabric could be folded into folds. The folds were the decoration of the sundress, they emphasized the figure, the splendor of female forms. The folds on the back of the sundress - the dolnik and the chenille - could go from the coquette and from the waist, depending on the cut and type of the sundress. Their number reached up to 46, the depth of the folds was up to 1 centimeter.

The most common type of sarafan is the "motley". Pestryaki were made from a thin linen thread. The characteristic features of the motley are the alternation of light and dark cells, from small to large. The sundress could have longitudinal and transverse stripes. Pestryaks had their own territorial features: the shades were red, burgundy, green, less often they used blue and cyan colors. The edge of the bodice and the hem of the motley was edged with red or black matter. This was called "edging" or "ostyobka". Lace could go along the bodice (“on the sternum”). Almost all sundresses had a narrow bodice. Sundresses "striped", so affectionately called them Vologda women, were "with folds at the back." They were made according to the figure, the folds were swept away. Usually 3-4 strips of 37 cm each were used on the hem. The bodice was usually fastened with buttons from 1 to 3 or with homemade hooks. Towards the bottom, the sundress expanded due to the wide frill - "mushroom". In different areas of the Vologda province, "mushroom" is called differently: "pine forests", "morhi", "frills". Sundresses with wide frills were called "oboroshniks". The most common were sundresses with one frill, which was sewn to the edge of the sundress. There are sundresses, to which the “mushroom” is sewn to the hem, directly on the fabric, with an indent from the hem of the sundress from 10 to 15 cm. Usually, on these sundresses, the frills are cut obliquely, trimmed with edging and continue the pattern of the hem. The frills were sewn from the remnants of the fabric.

“Sundresses were sewn to whom, as they liked, they tried to stand out.” The length of the sundress is below the knee. As a rule, fabric ribbons were sewn onto the fabric of a sundress below the knee, one or two stripes, usually black or red, blue. It was believed, "the more stripes, the richer the bride." They tried to sew the apron so that the stripes were visible.

At the bottom of the hem of the sundress, on the inside, they sewed a “lining”, “lining” from a coarse canvas from 2.5 to 5 cm, they explained this as follows: “so that the hem does not get dirty, it was torn off, washed”; “so that the hem stands and looks more voluminous”; so that the sundress lasts longer, and the bottom of the sundress "does not fray."

On major holidays, a jacket with burs of the same color was put on top of a satin sundress. Young girls wore chintz sundresses with straps for the holiday, with beautiful shirts. Summer sundresses "chenille" were sewn from blue canvas with a heel.

Single-breasted single-breasted clothing with narrow or wide straps, which had several types of cut, was called "soul warmer" or "short". Dushegrei were made, for the most part, from expensive factory fabrics: velvet, plush, brocade, semi-brocade, silk - and decorated with braid stripes, fringe made of metal thread, and fur trim; velvet shower warmers were decorated with gold embroidery. In terms of cut, the dushegrei resembled a jacket; for warmth, they were quilted on cotton wool or tows. Some models outwardly resembled a wedge-shaped sundress. The shower warmer was fastened in front with a hook, loops or metal buttons. Cotton lining with fine pattern. This clothing was known as early as the 16th-17th centuries. in the boyar and merchant environment. But the peasants rarely wore it because of the high cost and inaccessibility of fabrics.

At the turn of the 19th-20th centuries, shower jackets remained only as an attribute of a wedding or wedding dress of a rich bride. Dushegreya ("shorty") on the straps was assembled at the back into assemblies - tubular folds (usually there were seventeen of them); the floors and edges of it were sheathed with a braid - “gas”. With such soulfulness, they put on a shirt with muslin ("grass") sleeves.

Among the breastplate women's clothing of the Russian North, there was also an "epanechka" ("feathers") - a very short sleeveless jacket with straps without sleeves. Epanechka usually had a smooth front, and was decorated with large folds at the back.

In the Arkhangelsk and Vologda provinces, clothing was known under the name "sleeves", "swaging", "kabatukha" or "kabatushka" - a short, straight cut, slightly covering the chest, a blouse with long straight sleeves, often with a slit in the middle or fastened on the left side. It was sewn from homespun cloth, motley, decorated with a red wool pattern, sometimes lined with cotton wool or linen tow and made on a lining. And they put on this type of chest clothing over a straight sundress.

With the sarafan complex, they also wore single-breasted open-fitting clothes with long sleeves, known in the urban environment as early as the 17th century, and called “shugay”. Shugai - old swinging women's clothing with a detachable back and one-piece front floors.

Shugai was sewn from silk, satin, damask and brocade, the lining was made on cotton wool or hare fur. Shugay is the only upper fitted women's clothing in pre-Petrine Russia. The length of the product was most often up to the hip, but sometimes reached the knees. Behind the lower part of the shugai (basque) from the waist was gathered into lush assemblies. Long tapering sleeves gathered from the wrist to the elbow in small folds. Shugay could have fur collar or fur trim. Festive shugai was embroidered along the edges of the hem and sleeves with a fringe or braid, and buttons were fastened over silk ribbon bows. Buttons or hooks were used as fasteners. It was worn in the back and in the sleeves. Often worn in only one left sleeve, thrown over the right shoulder and held with the right hand.

Bugai is a kind of sleeveless shugai. This type of clothing also existed in the north of Russia, but in the Vologda region it was more often called Siberian.

In the northern regions (in particular, in the Arkhangelsk and Vologda provinces), these items of women's clothing were decorated with painting, typesetting and a special double-sided seam. The patterns used both simple geometric motifs and complex plots, including animals, birds and people. The apron or apron had to cover the outfit in front (in whole or in part) and be sure to match the patterns on the sleeves.

"Zapon". It was distributed in Ustyuzhensky, Kirillovsky and Cherepovets counties. Such an apron was a linen cloth covering the shoulders and chest to the knees. A cutout was made in the cloth for a rectangular or oval head, as well as armholes. Sometimes sleeves were also sewn to it.

"Curtain" - this variety was noted in Kadnikovsky, Kargopolsky and Veliky Ustyug counties. Outwardly, the apron looks like a long piece of fabric with ties. With the help of ties, the “curtain” was fixed under the armpits, covering the chest area.

The “apron-apron”, which was fixed at the waist, appeared in the everyday life of women only at the end of the 19th century, it was worn everywhere.

Aprons not only protected clothes from dirt, but also served as decoration for the entire costume. Therefore, they were decorated with embroidery, colored stripes, lace or garus. Some lace aprons featured a horned frog. Horns are a symbol of fertility, confirmation that this girl can give birth. And the frog is a symbol of a woman in labor, in the state of which every self-respecting girl of that time strove to get.

In all variants of women's costumes of the northern complex, clothes were girded with belts. These were an everyday and festive girl's shirt, and a ceremonial mowing shirt (or mowing), worn on a feast of hay harvesting, and a sundress, and a married woman's andarak skirt, and outerwear.

At the beginning of the 20th century, as elsewhere in this region, the peasant costume acquires new features.

Under the influence of urban costume at the end of the 19th century, a new set appeared in peasant women's clothing, the basis of which consisted of a skirt and a sweater or a one-piece dress sewn from purchased factory fabric. A set of a skirt and a sweater, which was made of one material - silk, satin or cotton - was affectionately called a "couple" in the north.

Sweatshirts were sewn with a stand-up collar, a lace insert on the chest and puffed sleeves, a complex cut of the top of the suit, in the form of a peplum, frills, stitched small folds, a tulle lace ruffle emphasized the fitted silhouette. The lower part of the costume - the skirt at the hem - was decorated with ruffles and overhead decorative details. The festive complex of the costume was complemented by kerchiefs made of coupling lace and silk scarves.

The ensemble-couple - from a skirt and a sweater became the most common type of women's clothing among women in provincial northern cities in the late 19th - early 20th centuries.

Within the Vologda region, in the area of ​​widespread existence of the word of mouth complex in the middle of the 19th century. Separate pockets of this new complex wedged in - with a skirt: in the central regions of the region - Kadnikov, Totma (especially Kokshenga), Velsk. When comparing different areas in the Vologda lands, one can notice the coincidence of one of the centers of the complex - a skirt and a jacket - with an area found according to anthropological data, according to which the Upper Volga anthropological type was present in the population of Kokshenga. The correspondence of such areas to one another, revealed according to the testimony of various scientific disciplines, is another evidence of contacts and ties between the local population and the inhabitants of certain regions.

Earlier, skirts and sweaters appeared in places close to cities, and gradually began to exist in all northern counties. At first it was an accessory of a girl's costume: light pullover sweaters were worn with the skirts of a salt girl. This clothing was considered both everyday and festive (the latter is more elegant). Skirts were sewn from plain or colorful homespun fabric, but more often from plaid. The first skirts (hem - Cherepovets, Kirillovsky, Belozersky, Totemsky districts) were straight in cut, later they began to be sewn with oblique wedges sewn along the hem at an angle. Hems of skirts could be decorated with ribbons. From the end of the 19th century skirts were sewn from factory fabrics, their cut turned out to be similar to the cut of straight linen skirts, similar in cut and purpose to andarak. There were also woolen striped skirts-sukmanki, the origin of which in the North has not yet been finally clarified, but the opinion about their Western origin prevails. It was here in the Russian North that a complex with a skirt penetrated into the continuous zone of the sarafan clothing complex (Vologda, Kadnikovsky, Totemsky, Velsky counties).

These were homespun skirts, "on the skirts" that were worn over a shirt. And even earlier, among peasant women, it was customary to put on a shirt, top a skirt with lace, and then a sundress. Under good, festive skirts, they wore richly embroidered skirts, decorated with "lines" and knitted lace.

They were varied in color: "kletochny", smooth or one-color and with stripes. According to the cut, the skirts could be straight, flared, and with burs. As a rule, folds were laid at the front of the belt, and sometimes at the back. Skirts often had internal, often round or semicircular pockets. Skirts were decorated mainly along the bottom of the hem.

The idea of ​​folk costume would not be complete without the mention of headdresses. At that time, only small children were allowed to walk with their heads uncovered. Festive attire was decorated with gold threads, gems and pearls. They were not cheap, so women were careful about their clothes and tried to pass them on to their younger relatives in good condition.

By the headdress one could judge the family status of its owner. The girls were asked to cover their heads with a lined bandage. Such a bandage was made from beautiful, bright fabrics - silk, velvet or brocade. The width of the girl's headdress varied from 5 to 25 centimeters. The bandage was applied to the forehead or temechko and was fixed behind, under the scythe. In the North, girls decorated their headbands with gold, beads, pearls or glass beads. Often, the dress was supplemented with the so-called "lowers" (details hanging on the forehead) or a beautiful plait in the shape of a heart, a triangle or a bow.

An unmarried and unmarried girl had the right to braid only one braid. In general, the scythe was an important symbol for our ancestors, a kind of sign of girlish purity.

If the girl had a wedding just around the corner, then this was immediately reflected in her costume. The betrothed girls of some regions of the Vologda province wore a plain or patterned cap knitted on knitting needles or a special velvet-chintz cap decorated with gold embroidery (it was also called the “honest cap”).

A cap is a headdress of betrothed girls and young women, which was a cap with a soft headband tapering to the back of the head and a nape sewn to it on a solid, usually cardboard base. The cap was tightened on the back of the head with ribbons. The natemnik was made of red velvet and embroidered with gold thread. The most common embroidery ornament was a tree with birds sitting on its branches.

The neckline of the cap was made of chintz or calico. This headdress was worn by the bride after the wedding. She sat in it at the wedding feast. A bandage was thrown over the bride's cap - a small rectangular scarf, tied at the back of the head with ribbons and descending to the upper part of the face.

The set of clothes with a bandage, a sundress and a short one included three bright red silk scarves with which the girls covered their shoulders, threading their ends under the straps of the sundress and short ones. The threading technique was strictly defined: the first scarf was tied around the neck with a copper, silver or even gold ring, and its ends were straightened on the chest. There was another way: the ends of the scarf were laid on the chest in a “cross”: the left end was threaded under the right strap of the sundress (bypassing it from above, from the shoulder), and the right end under the left. The corners were neatly straightened on the chest so that there were no “wrinkles”. The second scarf was also thrown over the shoulders, and its ends, each on its own side, were threaded under the straps of the “short” and laid on the shoulders with “wings”. A third was thrown over the first two scarves, passing its ends (“feathers”) under the “short” straps from the shoulder and lowering them onto the chest. Such

In most of the territory of Russia in the 18th - early 20th centuries, the zipun existed only as outerwear. It was used as everyday and festive clothes for peasants in spring and autumn, and also as clothes worn over the main outerwear on the road or during bad weather. The purpose of the zipun affected its cut and material.

In the house, the men wore zipun - clothes resembling a short jacket. Underneath was a shirt. This dress was very tight fitting. For sewing zipuns, gray or white homemade cloth was used. A characteristic feature of this shoulder clothing was a short back, which is why women could also wear zipuns. Festive zipuns were made of black and blue factory cloth. As a rule, it was double-breasted clothes with long sleeves, without a collar or with a small standing collar, fastened from right to left with hooks or leather buttons and leather loops. Zipuns were usually sewn with a straight back and straight floors, the hem expanded due to wedges sewn between them.

Shabur - a caftan sewn from canvas, usually blue. The back of this shabur was cut off, and numerous gatherings went from the waist. The right half of the shabur was wrapped on the left side and fastened with two hooks. The collar was made turn-down, a shawl. They sewed a shabur on a white canvas lining.

Sermyak (armyak, azyam) - outerwear, mostly men's, worn over a caftan, fur coat, sheepskin coat, sheepskin coat at any time of the year in bad weather and on the road. Known in Russia since the 16th century. It was made from homespun fabric of natural color: white, yellow-brown, pea; from cloth or half-woolen fabric of home-made black, white, gray, brown colors; sometimes made of thick cloth dyed blue. At the end of XIX - beginning of XX century. Sermyaki began to be sewn also from dense factory cloth. Sermyak was a dressing gown, wide, long (up to the ankles), single-breasted, with a deep smell from right to left, with wide straight sleeves and a large collar. There are two types of cut of Sermyaks:

1) the back and floors are solid, expanding downwards;

2) the back is one-piece straight, wedges are inserted between the back and the floors, which often converge in a herringbone pattern.

The sermyak was girded with a wide sash or a cloth sash, the length of which sometimes reached 3 m, while the ends converged in front and were laid to the right and left behind the sash. Sermyak was also worn wide open or laid over the shoulders like a cloak. In the XVIII - early XX century. Sermyak was mainly peasant clothing, but was also used by coachmen, sometimes by city cabbies. Poor townspeople used it as outdoor clothing, making it from homespun fabric; boyars, wealthy merchants wore sermyaks only at home and sewed them from expensive, thin fabrics. Azyam also had a large collar, which in inclement weather was raised and tied with a scarf.

Hoodie - women's and men's outerwear. In the XVIII - early XIX century. was known in the northern and western provinces of European Russia, in some places in Siberia. It was made from row, cartilage, twill, and occasionally ponitochin. Hoodies were, most often, cut tunics: they were sewn from a fabric panel folded over the weft, cut in front, wedges were sewn between the back and the floors. The hoodie was wrapped from right to left and girdled in front with a sash, braid, rope in such a way that the ends did not hang down, but were plugged to the right and left of the sash. Mainly used as work clothes. In the summer it was worn over the main suit, in autumn and winter - over a caftan, short fur coat and other outerwear when performing various work and in bad weather.

Bekesha (Hungarian bekes) - outerwear for men, at the waist, with fees and a slit at the back, trimmed with cords in front. Sewn on fur or wadding with a fur or velvet collar. Named after the Hungarian commander of the 16th century. Kaspar Bekes, leader of the Hungarian infantry. Came into fashion in the 50s of the 19th century.

In the eastern districts of the Vologda province, there was such a type of outerwear as azyam. It was a straight-cut caftan with long, wide sleeves and ankle-length hem. Azyam also had a large collar, which in inclement weather was raised and tied with a scarf. In such clothes they went on a long journey.

A caftan was considered light clothing for the street. It could be worn in winter, additionally insulated with fur. The caftan reached the knees or ankles - the length was largely determined by the current fashion and the purpose of the clothing. There were both loose caftans and waist-hugging models. They tried to sew them from good, dense matter - canvas, cloth or silk. The caftan was wrapped in front (the left half was under the right).

There are two varieties of this men's clothing - Russian and camp. Both types were long and featured wide sleeves. But the Russian caftan had straight wedges, and for the sergeant they were cut obliquely. At the back, the skirts of the caftan were longer than at the front, which allowed a person to walk freely without the risk of getting tangled in the skirts of the suit. The caftan either did not have a collar at all, or it was small in size. The most common colors for kaftans were gray and blue. The caftan was girded with a sash of a different color.

Festive caftans had high special cuffs and stand-up collars, called trumps, which covered the back of the head. Often they were removable and were an indicator of status and wealth. They were made from the most expensive materials, decorated with gold and silver embroidery and precious stones. The chest of the caftan was decorated with buttons from 8 to 12. On the sides of the caftan there were cuts (“holes”), which were also trimmed with buttons. The long sleeve could reach to the wrist.

Instead of buttons, silver gilded gags or turned corals were sometimes used, which were fastened with loops of multi-colored braid. The back of the caftan was often deliberately made shorter than the front: to demonstrate a special pride in clothing - the backs of ornamented boots.

The camisole worn under the caftan is very similar in cut to the caftan, but it fits the body more tightly and is slightly shorter than the caftan, the sleeves are narrow to the wrist, without cuffs.

The caftan is worn unbuttoned, so that the entire front of the camisole is visible, therefore the camisole is made of expensive luxurious fabric or richly decorated along the front with lace, embroidery and other trimmings.

At the same time, the invisible parts of the camisole (sleeves, backs) can be made of a more modest material than the shelves.

Sleeves in a camisole can be sewn only in winter.

Since the caftan is worn in tandem with the camisole, they are often made as components of the same costume, complementing each other.

Kazakin - outerwear for women and men for spring, summer, autumn, in some villages - for winter. Cossacks were sewn from factory-made fabrics: cloth, moleskin, nanks, Chinese, casenet, usually lined, winter cossacks were sewn on wadding or fur. Kazakin was a double-breasted, knee-length, double-breasted garment sewn to the waist, with a slashed back and gathers on the back or around the entire waist, with or without a collar, with a collar around the neck. It was fastened to the waist with hooks or buttons-bows, sewn in one or two rows. Festive Cossacks, especially common in the Vologda province, were decorated with garus and silk braid, which was located on the collar, sides and pockets. In the 19th century Cossacks were common in villages, villages and county towns in almost all provinces of European Russia.

Men's fur coats and sheepskin coats were of the same cut as women's. They could differ in cut or lining material, but they were certainly made of fur. The first mention of a fur coat dates back to the 15th century. Then this outerwear had a turn-down collar from the chest. The man wrapped it in front and fastened it with buttons (instead of them there could be long laces). For convenience, holes were made on the side of the fur coat - and the decorations of the boots are visible, and it is comfortable to walk. The hem could reach the knees or hide the figure to the very heels. Sheepskin was often used to make warm clothes. By the way, sheepskin coats and fur coats were not in every house. If necessary, they were borrowed from more prosperous fellow villagers. To keep warm, outerwear on the belt was fixed with a belt or sash.

In those places of the Russian North, where crafts were common and where Russian fishing peasants were in contact with local peoples, there were borrowings from the clothes of these peoples. This mainly concerned work and trade clothing. These clothes include:

The word "shirt" comes from the old Russian word "rub", meaning "piece", "cut".

The most ancient part of the costume was a tunic shirt. It has undergone little structural change. Rough, made of hemp dye, the shirt was comfortable and durable. The tunic-shaped cut of a man's shirt is the most ancient cut known to us and at the same time the most common cut. There are two types of tunic-shaped shirt: "with barrels" and "without barrels". A shirt "with barrels" is formed from a cloth panel folded along the weft (a collar is cut through at the fold); straight panels are sewn to the central (middle) panel, forming "barrels" and a straight-cut sleeve.

If the cut fabric was not enough for the entire width of the sleeve, then additional wedges were used, sewn mainly up to the elbow. The sides were also made if the width of the product was to be greater than the original canvas. Moreover, the side inserts could be both straight and in the form of trapezoids.

The sleeves were made quite long (up to the first phalanx of the thumb - on men's shirts) and narrow. In order for the sleeves to move freely, a gusset (swallow, swallow) was sewn into the armpit - a piece of rectangular fabric, usually red or blue.

The upper part of the shirt was additionally reinforced with a lining. It could be one-piece or consist of several pieces sewn together. Background - canvas or sickle (coarse linen or hemp fabric) lining on the chest and back of a men's shirt. The underlay serves for strength: from hard work, the fabric on the shoulders rots with sweat. "The shirt is tinder: the tinder on the shoulders burned out," the people said jokingly.

The clasp on the bar was often made on the left side. It was called a kosovorotka, because it had a section of the collar going vertically downwards on the left side. The collar (low stand) was fastened or tied with buttons or ribbons. Along with the kosovorotka, there were shirts with a slit collar in the middle. White shirts were most often with a straight neckline, but variegated items could be sewn with a slanting or stand-up collar.

Shirts-kosovorotki straight or tunic cut in the Vologda region were considered everyday. They also often wore everyday shirts without a collar, which were called "shabur" or "goloneck". The traditional men's shirt has always been made from natural linen or hemp, which was woven by hand. Its width varied from 35 to 45 cm. Everyday shirts, in most cases, were made of homespun checkered or striped small motley, dyed (heeled) blue and red or bleached canvas and almost did not decorate.

For festive shirts, the material was taken better: thin linen or rather expensive factory-made purchased fabrics - satin, chintz, satin and calico. The shirt in the eyes of our ancestors had magical powers: it protected the most vulnerable parts of the body - the neck, legs, arms. Therefore, festive men's shirts were covered with an ornament-amulet of the neck, the bottom of the sleeves, the hem of the shirt. They are the places of the traditional location of the ornament. The gusset could also be a colored decorative detail. Along with patterned weaving and embroidery, braid, sequins, lace, buttons, beads, and a strip of red calico were widely used as decor. In terms of the richness of decorations, the men's festive shirt sometimes was not inferior to the women's.

...

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The menswear market in Russia is currently one of the most promising, rapidly developing and well-studied markets. In Western markets, experts note a crisis of overproduction, which results in a decrease in customer loyalty to brands. domestic market becomes more and more competitive. Today it presents almost all the most famous world brands. Companies that previously worked in Russia through partners are beginning to take the initiative into their own hands and come to the country on their own. Domestic manufacturers, despite the increase in their activity to promote their products, still own only a fifth of the market.

According to market experts, from 2010 to 2015, sales of men's clothing in Russia increased by 15.5%, reaching 1,032,700 items. Imports of menswear to Russia have grown by 25% over the years. In the coming years, the growth trend in menswear sales will continue. And according to analysts, in 2017 sales volumes will grow to 1,290,600,00 units. China ranks first among clothing importers. The shares of other countries range from 3% (in physical terms) to 7% of total imports (in monetary terms) .

The share of Russian manufacturers in the total menswear market is about 13%. The production of clothing and other textile products in China is 20-30% cheaper than in Russia. The reason for this is low labor costs. This explains the high demand for cheap Chinese goods in Russia. Russian-made clothing is almost completely sold on the domestic market. There is practically no export of clothes due to the fact that our products are much more expensive than foreign analogues.

Today, out of the 30 largest Russian brands (with a turnover of 150-180 billion rubles), only 2 are produced in Russia. Everything else comes from China. The price of clothes made in Russia is at least 25% higher than those brought from China. In addition, according to the expert, this is even if it is sewn from cheap, “left” fabric. In the case of legitimate production, the difference is hundreds of percent.

According to experts, the Russian buyer sometimes does not even look at the clothes of their manufacturers. They themselves are to blame for this. Russian companies still pay insufficient attention to the assortment, they are not able to develop several areas at once, they try to occupy one fairly narrow segment. It would be more promising to enter the market with a wide assortment and interesting collections. Just as often, manufacturers are left behind fashion trends and trends. And as a result, the collections turn out to be morally obsolete, because many consumers are interested in fashionable items, and not from the last season. It should be noted that foreign clothing brands, the main consumers of which are Muscovites and St. Petersburg residents, have begun to penetrate the Russian regions. The main strategy of Western manufacturers is a sharp advance into the outback of our country.

According to marketing research, the women's clothing segment occupies about 55% of the total market in terms of money. The menswear segment accounts for 30% of the market, while childrenswear accounts for 15% of the market structure (for consumer purposes).

According to experts, in 2017 the Russian Federation will take 8th place in the ranking of the most important international markets in the clothing business. At the same time, the market volume will amount to 58 billion euros. Today, in the ranking of international markets, Russia ranks 9th after Canada. According to forecasts, chains selling fashionable, high-quality, inexpensive clothes have the greatest chances to gain a foothold in the Russian market.

Since the Wild Cat men's branded clothing store is a young enterprise, it is necessary to develop a list of recommendations for the efficient and productive operation of the store. And also develop recommendations to increase sales and attract customers.

In the Wild Cat store, two of its tools are mainly used as a promotion complex - advertising and sales promotion.

Let's start with advertising. When choosing advertising media, the store uses advertising in magazines, on the radio, leaflets, booklets, outdoor signs, branded packages - which show the company name, as well as the address and phone number of the store, business cards. Permanently raffled off gift certificates with a face value. The Wild Cat store uses the following types of advertising, presented in Table 7.

Sales promotion uses loyalty programs for customers: discounts from 5 to 15%, depending on the amount of goods purchased. Deferred payment up to 5 days for organizational buyers, guarantees, encouragement of regular customers (discounts).

Activities aimed at the personnel of the enterprise:

Training paid by the organization;

cash prizes;

Organization corporate events;

moral encouragement employees (singling out the best employee).

In the activities of the Wild Cat store, one can note both strong and weak sides. Strengths - an established client base, the presence of regular and reliable customers, a wide range of products offered, qualified personnel, etc. The weak side is the lack of a promotion system.

Thus, for a more successful and efficient operation of the Wild Cat store, it is necessary to develop measures that will help promote the store in the Orsk market.

Having considered the events held in the Wild Cat store, we saw that the store does not use all promotional opportunities, not all tools are used. The methods of promotion used by the store cannot fully inform customers about the company. The Wild Cat store mainly uses advertising. For more effective promotion, a set of measures should be used. We propose to introduce a new position of an advertising manager who will deal with the store promotion system.

2. Implementation of management, planning and coordination of work on carrying out advertising campaigns.

7. Organization of regular direct mailing of promotional materials to potential consumers, the operation of the site and its promotion.

8. Studying the sales market and consumer demand in order to determine the best time and place for advertising, the scope and timing of advertising campaigns, the circle of persons to whom advertising should be directed, focusing it on target groups by profession, age, purchasing power, sex.

9. Exercising control over the development of competition rules.

10. Organization of accounting for the flow of feedback from consumers, including the study of the opinions of buyers and their proposals for improving the quality of goods and related services, analysis of complaints and their impact on the brand image.

10. Management of subordinate employees.

We propose to introduce the following measures:

1. Creation of a website. To date, very important point is to create your own website on the Internet. Creating your own website will help increase the level of awareness of potential consumers about our store, and will also contribute to the formation of a favorable image of the store. In addition, a similar way of applying for yourself

covers a wide audience of potential customers.

The purpose of the site was to promote the store in the men's clothing market in Orsk.

Website development tasks:

1. Increasing store knowledge;

2. Improving the image of the store among the target audience of consumers of goods;

3. Implementation information support clients and partners.

The target audience: men and women aged 25-60, with medium and high incomes. Terms of execution: 1 month.

The site will include the following sections:

1. About the store

2. Product catalog

3. Contacts

5. Driving directions

6. Feedback

Thus, for the successful functioning and development of the store, it is necessary to carry out a promotion complex. Properly organized promotion is effective and allows you to constantly increase sales volumes. Store promotion is individual process, since for each store, its own combination of types of promotion will be effective, determined by its features and competitive advantages.

Conclusion

As a result of the study, the main consumer preferences in the men's clothing market were identified.

The market has developed a favorable environment for the production of men's clothing. After all, the demand for men's clothing is growing year by year, the turnover is increasing, as well as production. Meanwhile, fashion does not stand still, because not only women, but also men want to dress beautifully, fashionably and stylishly, regardless of their age.

Every day, consumers make many decisions about what to buy. Most large companies research the buying decision process to find out what, where, how and why consumers buy. The main figure in business is the consumer. Understanding who the consumer is, and who the consumer is to the enterprise, is an important issue for developing an entire marketing program.

In this paper, the types of purchasing behavior were investigated, as well as the main models of purchasing behavior were identified. The stages of the consumer's decision to buy in the Wild Cat store were studied in detail. Also, a questionnaire and a mini-survey of customers of the Wild Cat men's branded clothing store were conducted to determine the satisfaction of visitors to our store. The results of the survey showed positive responses from buyers, based on which we can conclude that the effective and promising work shop. And also the demand and interest of customers is visible.

For successful work store, activities were developed to promote the store, in the form of advertising, creating a website, introducing a new position.

Thus, the main goals and objectives of this study were achieved.

As for the development and prospects of the menswear market in Russia, at the moment it is one of the most promising, rapidly developing and sufficiently studied markets.

In the structure of the Russian clothing market, about 63% of the clothing market is occupied by 11 cities with a population of more than 1 million people, including Moscow. Moscow accounts for 21% of the entire Russian clothing market, St. Petersburg - 14%. It should be noted that the share of the Moscow market in the volume of the Russian clothing market is declining (in 2006, according to the calculations of MarketMasters, the share of the Moscow clothing market was about 25.6% in the structure of the Russian clothing market, and in 2004 - 40%) .

In 2009, clothing retail turnover in Moscow decreased by 20% compared to 2008. During the four years 2004 to 2006. the increase in retail trade turnover in Moscow was 13.9% - 16.8% per year, since 2007 the growth rate of clothing turnover in Moscow began to decline and amounted to 15% in 2007 and 10% in 2008. Kavtaev S.T. Standardization. M.: INFRA-M, 2004.

Clothing market experts believe that in the next year the Moscow market will continue to decline - about 15-20% per year (in comparable prices). Experts point out that the Moscow clothing market will reach a state of stagnation not earlier than the beginning of 2011, and then, perhaps, it will begin to grow slowly.

According to a study conducted by MarketMasters in December 2009, more than half of Kazan citizens (54%), when choosing a place to buy clothes, first of all pay attention to the price level of this outlet. At the same time, when choosing clothes inside a retail outlet, men put the price factor in fourth place.

In 2009, compared to 2006, among Kazan men, the proportion of those who, when choosing a retail outlet for buying clothes, is guided by the price factor increased. And at the same time, the proportion of men who focus on the price has decreased, choosing clothes already inside the outlet.

When choosing stores when buying clothes, the dominant share of Muscovites (89%) prefers to buy clothes in multi-brand clothing stores. The share of those who prefer to buy clothes in single-brand clothing stores is highest among men aged 36 to 45

Light industry enterprises do not claim large-scale state support. It is enough for them to establish equal conditions for all market players.

Today, light industry products fill almost a quarter of retail market Russia of all groups of non-food products. This is a very solid share, for comparison - it is larger, for example, than the auto market. At the same time, according to the official data of the Ministry of Industry and Trade, only 21% of the volume of sales of light industry goods in the Russian market falls on the share of domestic producers. Official imports account for 38%, the remaining 41% are goods of shadow production or illegally imported into Russia, mainly of Chinese and Turkish production.

Crooked Stitches of Competition Naturally, a legally functioning enterprise that regularly pays taxes and is responsible to its own employees is in no way able to compete for a buyer with illegal suppliers or Chinese dumping, and even in a crisis.

Prior to the crisis, growth was more confident and dynamic. Now purchasing power has dropped significantly, and the only thing that helps us to maintain sales volumes is the influx of middle-income buyers who previously bought clothes from European brands that have left the market. They are slowly moving towards us. Thus, due to this new consumer, it is possible to survive today.”

A few years ago, industry representatives cited the lack of quality raw materials as one of the main problems. Today there is a choice. If not due to the fact that domestic producers took up the mind and began to produce high-quality products, then again - due to the influx of imports.

However, what and how to sew is a purely personal matter for each manufacturer. . Ogvozdin, V.Yu. Quality management: Fundamentals of theory and practice. tutorial. - M.: Publishing house "Case and Service", 2002.

“There is no problem with raw materials today, the quality directly depends on the price: you can take cheap, it will be of lower quality, you can be of an average level and more expensive - the choice is wide. This is the European market, and Turkish, and Chinese, - says Viktor Rodionov. - In China, everything is cheaper, they copy fabrics, designs of European manufacturers, they manage to do it cheaper, and sometimes the quality is not worse. We work only with foreign suppliers. All raw materials are foreign, starting with the lining, we buy only domestic threads and some accessories.

Of course, producers of the mid-price segment look at domestic raw materials with apprehension. “All our suppliers are European. We have textile industry there is no one left in the country, there is no one to choose from,” Tatyana Chukhlomina believes. - We have been working with European manufacturers for a long time - with India, China (if China is of good quality). But mostly it is Poland, Czech Republic, Italy, Turkey. We work through intermediaries. These materials are denominated in euros, and the price for them is constantly creeping up. But we have not raised prices for our products for two years now. For now, we take all the additional expenses on ourselves to stay afloat.”

The director of the sewing factory Severyanka is even harsher in his assessments of the prospects for domestic producers of raw materials: “I can say with confidence that there are no suppliers in Russia. There is not a single factory - neither silk nor worsted-cloth, whose services we could use. They simply don't exist. There are suppliers from abroad - Chinese, Moscow and Novosibirsk intermediaries, there are Turkish ones. Everything is sold in euros and dollars and is converted at the exchange rate at the time of purchase. Of course, the main share of deliveries is China. And the hardware is all Chinese. There is, of course, a small sector, I call it underpants and buttons, - these products may be of domestic production. There is no news here." . Basovsky L.E., Protasiev V.B. Quality control. M.: INFRA-M, 2001.

Everything suggests that competition in the market has become tougher during the crisis. Those of the Russian players who work in the low-cost segment, and those who had to move into this segment, found that manufacturers from China dominate here. And it is extremely difficult to compete with them in prices. Therefore, calls are increasingly being made to completely block the illegal supply of goods from China.

The problem of unequal competition among manufacturers in our market is recognized at the very top. According to Mikhail Klinov, Director of the Department of Forestry and Light Industry of the Ministry of Industry and Trade, today Russian market goods and light industry products is non-transparent and does not represent equal conditions for all participants. “Illegally produced and imported products dictate the terms of trade, prices and sales procedures for the entire market. There is no secret - goods in Russia are more expensive than in Europe,” he notes.

Realizing the problem, the federal center, as is typical of it, took fairly tough measures. Under the distribution fell Moscow Cherkizovsky market liquidated last summer. Called by officials nothing less than a "hotbed of counterfeit and contraband", his disappearance stimulated the growth of production in the Russian light industry. This, in particular, was stated by Vladimir Putin, head of the Government of the Russian Federation.

Many now say that in these conditions the Russian light industry will be saved only by a new, differentiated system customs duties. Currently, import duties on technological equipment are zero percent. For finished products: 20% for garments and 10-15% for shoes. Raw materials - from 5 to 15%. According to Mikhail Klinov, the position of the Ministry of Industry and Trade on this issue is as follows: raw materials, dyes, textile auxiliaries, technological equipment not produced in Russia should be imported with zero duty, but finished products- to be subject to a fairly high duty.

“I don't believe in protective measures and I don't think it will happen, it will be put on the brakes here,” Igor Tikhonov is sure. - Moreover, the customs union of three states - Russia, Belarus and Kazakhstan - has now begun its work. It seems to me that this will only contribute to the influx of illegal imports. I do not know how it will be possible to put a barrier to the goods that will rush from there to our market. I think we should follow the path of all developed countries- this is support at the state level: loans, credits. In the same China, from which we want to protect ourselves, at first the entire infrastructure is being built at the industrial sites at the expense of the state, so that private business develops production without unnecessary investments. This is how you can develop. In Russia, in order to compete with China, you need to do something similar, and protective duties will not help.”

Experience shows that it is the growth of duties that can provoke a revival of illegal imports, and here the state will need both tough measures to curb it and additional measures of real support for domestic light industry enterprises.

It should be noted that now in Russia there are tools state support light industry enterprises. The main ones are the abolition of duties on technological equipment imported into the territory Russian Federation; cancellation of VAT on this equipment; subsidizing interest rates of the Central Bank of Russia during technical re-equipment. In the budget of the Russian Federation for subsidizing the technical re-equipment of light industry in 2010, 200 million rubles are planned at 2/3 of the refinancing rate. In addition, the Ministry of Industry and Trade has prepared rules for granting subsidies in 2011-2013 from federal budget organizations that implement pilot projects under the Light Industry Development Strategy for the period up to 2020, adopted at the end of last year.

The goal of the strategy is to intensify innovative development and technological breakthrough in the textile and light industry of Russia. The developed mechanism of state subsidies will stimulate the renewal of the technological park of equipment, the release of a competitive range of new resource-saving technologies, the ministry says. At the first stage of its implementation great attention will be given to the protection of the domestic market, as well as the continuation of the adopted legal acts and economic measures and the flexible application of the customs tariff policy. In the period from 2012 to 2015, the transition of the industry to a new technological base based on the development of low-waste and non-waste technological processes. The final stage will bring the industry to the specified dynamics of investment and innovative activity. . Ogvozdin, V.Yu. Quality management: Fundamentals of theory and practice. tutorial. - M.: Publishing house "Case and Service", 2002.

The strategy assumes that in a decade more than half of the clothing, knitwear and footwear on the domestic market will be produced by Russian industrialists. Today, Russia's needs for light industry products are met in different segments by only 17-36%. Until 2020, a million new jobs will be created at the enterprises of the industry. The share of industry products in the total volume industrial production by 2020 should increase to 2.5% (now less than a percent). The share of Russian manufacturers in the structure of trade turnover by 2020 should be 50.5% (1 trillion 431 billion rubles against today's 402 billion rubles), the share of innovative products in 2020 will be 46% against 9% in 2008, exports of products for the forecast period will increase four times, revenues to the budgets of all levels - by 3.1 times and will amount to 100.5 billion and 71.1 billion rubles in 2020, respectively.-- The market is saying that sales in comparable stores have fallen from 5% to 10%. We have grown by 4% in 10 months. The market for food and women's clothing is the most persistent. In a crisis, a woman will not buy a mink coat, but she will always buy some kind of blouse or accessory. Those who bought in the expensive segment came to us.

The crisis hit those who worked in franchising. In January-February, small franchisees could not get a loan. Even now it is impossible to take it, but at least this is understandable, and in a crisis, the worst thing is uncertainty. Kavtaev S.T. Standardization. M.: INFRA-M, 2004.

The shortage of clothes and shoes in Russia is not an illusion, it really exists. According to the Association of Fashion Industry Enterprises (APRIM), the supply of these goods has decreased by 15-30% depending on the segments. For the most part, the trade deficit concerns European imports, which fill the middle and high price niches. The supply here has been reduced by almost a quarter. The reason is the crisis. New collections are formed ten months before the start of the season. At the beginning of this year, importers simply did not have money, as demand had collapsed the previous winter. Therefore, for the autumn-winter 2009/10 season, they ordered collections in a reduced volume. In addition, many importers simply played it safe, apparently remembering the default of 1998, when some companies went bankrupt as a result of exchange rate fluctuations.

Another reason for the shortage of goods in the clothing and footwear markets is the colossal balances with which most players approached the crisis. For some, these remnants almost doubled the range. The fact is that many companies have been doing business inefficiently in recent years, but at the same time they overestimated their growth rates in order to attract investment and developers to get good places in shopping centers. It is obvious that, having such stocks, in the falling market, importers could only act extremely cautiously: order small volumes and only those models that are in constant demand in Russia (by the way, the same glamor).

Yet the main reason for the current shortage is that importers misjudged the market. “At the beginning of the year, demand for fashion goods fell by 15-20 percent, and companies expected that this fall would increase by the end of the year. In addition, the volume of orders from European clothing and footwear manufacturers dropped sharply, and our importers began to focus on European buyers, also reducing the volume of orders,” said Maria Smorchkova, Chairman of APRIM. However, by autumn it turned out that the Russian market had shrunk much less than the volume of orders from European clothing and footwear factories. Importers were clearly not ready for such a demand.

Additional order of fashion and comfort Things are a little better with Russian manufacturers of clothing and footwear. First of all, they work in the middle and lower segments of the market, where demand has fallen less. But the main thing is not this. Our manufacturing companies, as well as importers, also reduced the production of collections at the beginning of the year due to lack of working capital and also underestimated demand in the fall. But today, thanks to their own production, they have the opportunity to quickly respond to demand, replenish the range with the necessary models.