Monday, 1 February 2016

Deciphering Historical Clothes: 1830s silk wrap day dress

I've decided to try and do a Deciphering post for each month this year, to go with the Historical Sew Monthly challenges. Now, these are not going to be the same thing, not even remotely, as Leimomi's inspiration posts. For one thing, with each garment of the month, I doubt the beginning of the month is enough time for anyone interested to gather all materials and make the garment in time - and that's assuming I manage to post it in the beginning of the month every time or that my deciphering is enough to get you started. The challenges simply provide me with a good starting point in looking for decipherable garments.

I'll also try to focus on garments in Czech collections, although we'll see how that goes...

The Czech Regency stays from Příbram seem like a very good "entry" for January's theme of Procrastination - it took me about four years to make mine!

For February's "Pleats & Tucks" challenge, I turn to a garment I've posted about on this blog before - the wrap day dress that I saw in an exhibition in Dačice, which I posted about here


Photography was allowed at that exhibition (not usually a given in the Czech Republic!) and thanks to the setup, I even managed to snatch a back view of the bodice (not always a given, either!). The description said that it came from the collections of Prácheňské muzeum in Písek, but since then, I've come across a photo in Centrální evidence sbírek that shows a dress so suspiciously similar I'm 99,99 % sure it's the same one, and places it in Třebíč, so... probably a misattribution at the Dačice exhibition? (There were other garments from Třebíč there, too.) I'll come back to that photo from CES, because it shows more of the construction! It also says it's made from silk taffetta, which is a fairly safe guess anyway with this period and this look, but it's good to know.

It was one of my favourite garments in that exhibition - a rather boring yellowish brown shade, but exquisite construction with an eye for detail, so I was inspired to take detailed photos even at the time. For which I am grateful now, because there is so much going on with the construction that I can draw inspiration from, even if I never make this particular dress!

Going by the shape of the sleeves, with the puff lower in the sleeve, I would guess it's from later in the decade; you can even come across such puffs in fashion plates from early 1840s. In this particular exhibition, or the photo on CES, the puffs are not very pronounced, but I've come across a photo from another exhibition in Znojmo where there's yet again a garment so suspiciously similar to this one I think it might be the same one... where they'd gone for an arrangement of the sleeves that makes them puffier. I guess it depends on how long the arms of the wearer actually were (and therefore suspect it is supposed to be puffier).
Other than the basic shape, the above overall photo (especially if blown up to full size) shows rather well that there are two darts in the bodice on each side, sitting more to the sides than they would on later garments.

So how would this amazingly detailed thing go together? That's where the opportunity to take more detailed photos (or look at more detailed photos on a museum site, if available) comes in handy.

 

Just this half-photo gives you more details: it shows the lie of the pleats on the sleeves (knife pleats towards the back in the upper section and, if I'm not mistaken, towards the front in the lower section) and in the skirt (flat / box pleat in the front and then knife pleats towards the back) - in fact, it shows you that the sleeves are pleated rather than some other form of gathering. And that the edges of the collar are piped. Twice, in fact. It also hints that the sleeves close on the inside seam in the bottom section - you can see the edge overlapping. It also shows the fabric loop on the belt that the belt end goes through.
I can see more in this photo itself, actually, but let's keep it simple for now, because I have more detailed photos coming...



Here's the lower sleeves with more details. It proves my theory that the lower sleeve pleats are facing towards the front. It also shows the bands that hold them down: they consist of two rows of piping / cording. Now, this is a conjecture, but I would suggest they were made in a manner similar to this tutorial by Kelly of Tea in a Teacup.
It also shows the closure: fabric covered buttons and fabric loops (most of the buttons seem to be lost, but you can see one closed button and one orphaned loop in the upper photo.)
There is also very fine piping along the cuff and the slit in the sleeve. It is seen more clearly in the second photo. This sort of treatment would definitely require a finely woven fabric and really good skills in handling it!
The fabric and my photos don't alow me to see the grainlines quite as clearly as I would wish to, but when I look at the upper part of the sleeve on the photos and at the behaviour of the pleats on the bottom, I am fairly sure the sleeve is cut in such a manner that the bottom at the very least lies on the bias - see how the pleats look a bit "twisted", or seem to have creases running diagonally across the way they are sitting? Pleats done on the straight of grain don't do that. :-)
Cutting sleeves on the bias was a common practice at the time, as demonstrated by the pattern diagrams in The Workwoman's Guide (p. 346). (In fact, I would suggest perusing that publication as an excellent primary source if you ever wanted to re-make this dress.)

Friday, 1 January 2016

Deciphering historical clothes: Czech supportive (under)garments - Now edited with more info!

I've found it!

What did I find, you ask?

Why, Czech Regency/Romantic era soft/corded stays!

It's a big thing, really. Every single Czech book on historical clothing I've ever read just repeated that no corsets were worn in the Empire/Regency era, in a manner that suggests "no supportive undergarments were worn because all women suddenly went carefree and racy", which, after just a little careful examination of the portraits of the era, is obviously incorrect. But I'm not quite so surprised any more, because scouring esbirky.cz yielded very little by way of corsets and stays as such, and even what I've seen of the Central Records of Collections so far shows little (Centrální evidence sbírek, ces.mkcr.cz - a wonderful source, but built so that it's difficult to search for pictures and pretty impossible to link back to individual pages).

But I've found a local example at last! And a very pretty, embroidered example at that, though the quality of the photo leaves a lot to be desired.

Tellingly, the museum calls it a "bodice" - they have no idea what it really is (EDIT: They did not when it was labelled - sorry about the wording, see comments). I wonder if there are more misattributed Regency stays floating around in Czech museums after all? It's like Czech collective memory forgot these were supportive undergarments somewhere along the way, and when historians finally started collecting old garments, they didn't really know what they had on their hands.



"bodice, white, embroidered, with straps, plain weave" in the collections of Hornické muzeum Příbram, ID: H/Et708

Things to note: It says the fabric is "plátno", i.e. plain weave. Quite wide straps, not adjustable, but apparently sewn in only after the top edge was bound (or maybe attached in the process of binding? How I wish I could see more of it.) They also seem to be somewhat slanted, suggesting a later date with a more sloping shoulder neckline? And no busk - instead, there are four narrow bones in the front, most of which seem to have broken out or have been removed at a later date. There's a stitching line next to the boning that might be cording, and I think there's cording in the wavy stalk in the bottom embroidery, but otherwise it seems a very soft construction. The hip gussets are sewn in in what seems a thorough, sturdy manner, with two lines of stitching - it might even be flat-felled seams. And the tips of the bust gussests are strengthened with stitching, probably a buttonhole stitch. There are rows of stitching next to the bust gussets, which I think might be bones (sharp ends, so most likely not cording)? And I think there is, or used to be, a drawstring in the top edge - there seems to be some gathering there.

EDIT: The curator has more details:
"- outer fabric is twill (may be cotton) and lining plain weave (linen)
- straps are re-sewn in the front so it is hard to tell how they work originaly (whether they were adjustable) but in the back they were sewn to body and then bound
- all bones (reeds) are missing, except few fragments
- there is no cording, beside front bones or in the embroidery (it is interesting, the embroidery was done after lining was in place)
- bust gussets do have buttonhole stitch points
- in channels beside bust gussets are white baleens
- there is no drawstring nor channell on the top
About terminology: (sorry, but I was considering it for a while). I think there is nothing wrong about using label "bodice" or "živůtek". Databases should be easily searchable so we are encouraged not to use many labels. Živůtek according to Národopisná encyklopedie Čech a Moravy is "part of woman's dress worn over shift on upper half of body" so all items you listed fall into this category. English "bodice" has mostly the same meaning - period dictionaries describe stay as "kind of bodice" etc.
"



(Some of this refers to what I wrote below - I'm leaving that text as is for reference.)

Thank you very, very much!

Here's a colour-coded version of my original estimate (I'll replace it with an updated version later):


Gussets
Boning seams
Cording seams
I can't make out the rest of the embroidery properly for outlining - a safer bet would be just to look at the photo and draw out something similar.

The overall style of it points towards a later date, I think - who knows, it might be as late as 1840s, although I'm inclined to think 1820s or thereabouts (no waist shaping yet).

The single, relatively narrow bust gussets suggest to me that this was worn by a lady with a smaller cup size - the shape puts me in mind of my mom, who's the only A- or B-cup in this family, although otherwise sporting a curvy womanly figure with wide hips. I rather like the thought that this was worn by a woman of a similar figure as a Czech woman I know nowadays. :-)

I've never worked with Laughing Moon's Regency Corset pattern myself, but from what I've seen of it online, it seems it could be a really good starting point for recreating this garment, if you were so inclined.

* * *

There is a number of other bodices and stays and corselets in the Příbram collections, and one thing that looks like a swiss waist. There's a lot of bodices that are very clearly folk costume bodices, i.e. meant to be worn on the outside (with embroidery and golden trim and stuff) -  they resemble 1790s stays, as Central Bohemian bodices do, but the fabrics and trim used set them apart. Another tell is the decorative, non-functional "lacing" in the back of many of them.

In the translated descriptions below, I use "corset bodice" for the Czech term "šněrovačka", which, loosely translated, means "laced bodice", but can be used for a whole range of garments from a full-blown waist-reducing corset, through stuff that would probably be called "girdle" in English, to a folk costume bodice. It's my preferred term for Regency stays in Czech, too, by virtue of being fairly all-encompassing and traditional. By virtue of being all-encompassing, the museum descriptions apply it to nearly everything. Except the above. Something tells me that whoever labelled the collection lived under the impression that a "šněrovačka" or corset had to lace in the front, and if it didn't, it had to be a bodice: see also my comment at the end of this post.


"corset bodice, red, silver embroidery, appliqéd trim, with straps, plain weave, leather, metal trim, boning (baleen?), velvet" in the collections of Hornické muzeum Příbram, ID: H/Et706

There are two other garments that throw my knowledge into confusion, and hopefully ultimately forward by that: two garments with the overall approximate shape of 1790s/early 1800s stays, with bust gussets, but they are black-coloured, and one has a silk outer and the other the non-functional lacing in the back. And - this is notable - what appears to be metal grommets (although it's a bit hard to tell with the quality of the photos). They both, however, have the eyelets spaced for spiral-lacing. Are they actual 1790s stays that were later re-used as folk costume bodices, and had their eyelets strengthened with the addition of grommets? Are they 1790s-style stays worn much later than 1790s? Were they folk-costume bodices right from the start, but employing a style not normally found in them (= bust gussets)?


"corset bodice, black, white lining, with straps, cotton, silk, boning" in the collections of Hornické muzeum Příbram, ID: H/Et662


"corset bodice, black, with straps, zig-zag (mock lacing?) in the back, cotton, boning" in the collections of Hornické muzeum Příbram, ID: H/Et709

(The whole collection is awesome. There's also a cap - an actual soft "fashionable" cap with frills and stuff, not a folk costume bonnet, also not something I see often in Czech collections. And what appears to be a "miser's purse" - another Czech first for me! And many other things. Annoyingly, none of it has any dates ascribed. And whoever labeled those things really had no clue about corsetry - there's a corset with a metal busk closure, and it says it goes in the back! It's photographed with the busk in front, as if whoever photographed it had a much better idea than whoever labelled it.)

Friday, 4 December 2015

HSM #10: Sewing Secrets - My sister's corset

I still only have this one picture of the finished thing; including accidental tea stains than happened after finishing. But my sister's been wearing it and reports it's fine, except next time please scoop down the underarms a bit more.



Much earlier than this challenge, my sister asked me to make her a corset, to wear as a supportive undergarment. It was the first time I've ever made such a garment, so there was much work involved - starting, upon arriving home with the materials (all from Sartor - oh the joy of a dedicated historical sewing shop in my own country!), with figuring out how to set the grommets. Because they didn't come with an implement, and it turns out all such tools start around 500 CZK. So there was a lot of experimenting and gradually more and more successful try-outs all through summer; now I have a home-made udělátko that still isn't quite perfect, but works well enough.

I needed to start with that, because I decided I needed lacing strips for mock-ups. It held me up terribly, but I think in the long run, it was the right decision, because a) now I have lacing strips for mockups that I've already used again for another garment, b) it was also a mock-up for the setting of gromments, so I was a bit more confident on the final garment.

After that, it was to the mock-up. And the pattern. I originally contemplated making the corded corset from the Chisholm Trail Museum, the pattern for which Marna Davis shared through the Historical Sew Fortnightly Facebook group, and other freely available patterns like that; but in the end, I decided all the resizing involved was too much of an uncertain work for something I was doing for the first time ever, and used the drafting tutorial on Foundations Revealed.

I still had to make considerable alterations to it. In part, I think, because I miscalculated some of the measurements (I tried to follow The Dreamstress' guidelines for negative ease, but I mixed it up somewhere along trying to follow the tutorial as well). In part, my sister suspected, because she may have lost some weight between the drafting and the trying on. In part because we were not quite sure just how high and low she wanted it to go until we tried it on. And in part, I think, because I needed to take it in a bit under the bust for it to really give the support needed - larger cup sizes are accounted for in the directions, but maybe not quite enough? The underbust doesn't enter the calculations, which I think might be a mistake for larger cup sizes.


This photo is from when I played around with the final cutting layout, I think, so the pattern pieces are mixed up. But it seems to be after the alterations. In the end, I made all the pattern pieces twice, so that I could be sure about the layout.




(The mock-up was made from my father's old discarded jeans. He wears exclusively Levi Strauss, so he commented that it's a very expensive mock-up. It's okay; I think I'm going to reuse it for a mock-up for myself.)

After we settled on a shape, and on lacing in the front instead of the busk because my sister struggled with it, I cut it out of coutil and sewed it up. Press all seams. Then I added a waist stay out of twill tape, caught with stitching on all the seams.



Sunday, 4 October 2015

Deciphering Historical Clothes: Cca 1790 jacket from the Liberec museum

I bring you another instalment of Deciphering Historical Clothes, once again utilising the treasures to be found on esbirky.cz; namely this very lovely cca 1790 jacket from Severočeské muzeum v Liberci (Museum of Northern Bohemia in Liberec), inventory number T05316:


The description given goes: "Classicist ladies' jacket sewn in hand from a light blue silk fabric with a woven pattern of vertical stripes and brocaded stylised colourful bouquets. The jacket with a deep round neckline and large collar closes in the front with six hooks covered with a placket (I assume). The collar and bottom hem are trimmed with pleated ruffles. Long narrow sleeves close with one fabric covered button. The jacket is boned with baleen and lined in linen, the collar, peplum and placket are lined in waxed cloth."


It also says it's 50 cm long; I wonder if that includes the sleeves. It does seem to fit pretty much at the natural waist, with the points in the front and the back (and the peplum) running a bit lower. I cannot tell for sure from the pictures where the boning is, but I think it's at least at centre back.

There are several reasons why I chose to go with this jacket for my next instalment. One, I just love it (such gorgeous fabric! and such neat pattern placement). Two, there's both a back and front view and the very nice detailed description that gives us details we can't see in the pictures. Three, once again, the pattern allows me to see the grainlines. Four, I think I can provide you with starting points if you wanted to recreate it!
(Why yes, it's entered my long list of things to make one day if I find the right fabric; I think it is, so far, the most saccharine item to be awarded that distinction. Now I'm imagining a fluffy pink petticoat and wondering what's happened to me.)

Let's start with the colour-coding:


I went a bit overboard with the grainlines; mostly to help you visualise the curves in the pattern pieces. I believe, as marked in blue, that there are seams at the shoulders in the collar - or at least on the right shoulder: if you look closely, you'll see that the bouquets go in opposite directions and the stripes don't align perfectly in the front and in the back there. Having a seam at the shoulder would serve the purpose piecing often did: you would not have to lay a large oddly-shaped pattern piece on your fabric in one piece. I have not noticed any obvious piecing in the jacket and I think the number of pattern pieces as is definitely helps with that.
I am not sure if there are side seams under the arms or not: I can't wrap my mind around the grainlines/pattern there... It seems to me it doesn't align, going up into a chevron pattern rather than wrapping around - meaning a seam; but I am not sure.
There's a smudge in the centre front on the front piece; I am assuming that's where the left side of the jacket ends underneath, possibly strengthened with a bone. The right side flaps over.


As you can see at the shoulders, I'm not sure how the seamlines would continue under the collar and I am proposing two options.
The sleeves don't have a seam running down all the length in the back; I link below to a blog post with a sleve pattern I believe to be very similar to what's going on here. Note: The grainline in the top of the left sleeve is mistaken; it should run more vertically. There are sleeve openings, closing with a single covered button as noted in the description (marked red). The opening is likely there because the sleeves are very narrow. They appear to be about 3/4 - 7/8 length.
It's nearly impossible to tell the grainlines in the pleated peplum, but I seem to see grainlines running on the bias to the pleats. It would probably allow the peplum to sit more smoothly around the curves of the jacket and body if that's the case. The jacket would have been worn with a bumpad of something like that underneath, which would likely make the pleats at the centre back stick out and look less crushed.

The ruffles appear to be strips of fabric with scallopped edges, pleated: a single pleated strip on the bottom hem; scallopped edges on the collar with a pleated strip like that sewn a bit further from the edge, most likely (on the bottom row of scallops, the stripes from the pattern continue from the body of the collar, if you look closely).

Now here's about the making: Katherine-Koshka has made a similar jacket, here. She says she's going to make a tutorial, but she has not published it yet. However, she has made a tutorial for the other jacket in that post, which includes a sleeve shape I believe to be very similar to the sleeve here. She has also made a redingote with a similarly lying collar, which she writes about here, including pictures of the collar pieces laid flat. The collar of the Liberec jacket would have a seam at the centre back at the least, would not have a notch and would taper towards the centre front more smoothly; but the method of construction would be similar. And she owns an antique 1790s jacket that's shaped differently at the waist, but probably features very similar construction methods: notice the overlap in the front, the use of different linings, the seaming in the sleeves. I wouldn't be surprised if the hooks and eyes in the Liberec jacket were a later addition and if it had originally also pinned shut.

I think you could Frankenstein it from any reasonably similar 18th century fitted bodice pattern. Like Nehelenia Patterns' 1790s jacket or 1790s Redingote (or maybe other patterns as well), Sense & Sensibility's 1780s Ladies' Portrait Dress pattern (which would require raising the neckline in the back), or the bodice of this Danish Robe Piemontaise (where you'd have to separate the front from the side back pieces, but otherwise the basic lines seem very similar). Being the natural-born pattern Frankensteiner that I am, I am in the process of designing a 1790s-style jacket pattern from the 1848 jacket pattern: some slashing and re-taping in the back to change the number of pattern pieces, cut off material from the shoulders, ignore the darts and add material to the centre front, round out the neckline, and you've got something very similar to this. (Of course, I'm going to need a different sleeve pattern.) For the collar, you can follow the principles of Peter Pan collar drafting and just change the shape.

Sunday, 9 August 2015

Some old beauty for Sunday

Well. The snow helps; we've been having hot and dry weather for way longer than is natural.

But the main reason I'm sharing this song (this instrumental arrangement) is because it's an old, old favourite. We've had an LP of this Polish band all my life, we used to love it as children, I still love it, even in its faded scratched LP-into-computer state; and now this clearer version... yeah. It's perfect.

Monday, 3 August 2015

Heritage sneak peak

The original idea was a Moravian Wallachian folk costume shirt that could double as a Regency shirt and would involve this so far rather wonky embroidery...



... but seeing how long that's no doubt going to take and that I have other priorities than to spend the month of August embroidering, it got relegated to slow progress and the Silver Screen challenge (I do have a way to make it fit that, honestly).

The green stitches are me finally trying out the various stitches in the book on folk costume embroidery I bought years ago. The diagrams are rather confusing, but I think I've finally figured most of them out.
One of the things learned: Detached buttonhole stitch is called "stínek" in Czech; it's also the name for this, as it's used to connect two pieces of fabric. Based on that and a picture in the book, I'm assuming the name applies to the stitch because it was also used to connect two pieces of fabric.

* * *

What I turned to for this month is, instead, a Moravian Wallachian folk costume bodice.
Which will carry on to the later Sewing Secrets challenge with the addition of detachable sleeves to be turned into an approx. 1790s jacket/spencer (exact method of attachment to be determined). No, I don't think it's entirely accurate, but it's close enough and it works for me! If I'll be attending more of the Regency events, I'll need a spencer sooner or later, so why not kill two birds with one stone?


The pattern was derived from the kacabajka pattern, because I really do like killing two birds with one stone and using what I already have.

The fabric used to be a thrifted coat. It's only 80% wool, but how often would I find quite a lot of historically passable red wool fabric only for 50 CZK? I squeezed the whole of the body from the raglan sleeves. The new, curved sleeves will have to be cut from the body of the coat. Ah, the paradoxes of repurposing!

Monday, 27 July 2015

Latvian folk costumes in Prague

We interrupt our completely unscheduled usual talk of sewing and Czech landscape to bring you more Latvian folk costumes!
(It actually ties nicely into the upcoming HSM challenge of "Heirlooms & Heritage", except that the heritage isn't by any means mine...)

You see, there was a festival of amateur folklore ensembles in Prague last week, the Prague Folklore Days, and because my sister speaks Latvian, she was asked months ago to act as a guide and interpreter for Katlakalns, a Latvian ensemble from, you wouldn't guess this, Katlakalns*. :-)

So when they heard I was interested in folk costumes, the ladies gave me a quick fashion show after their performance and I have photos to share.



This first one is probably the most interesting in its "story" - it is the folk costume of Abrene, nowadays in Russia with a different name (which may still have Latvian roots).
Other than that, it's the style found in Latgale, the eastern part of Latvia, and allegedly (according to that Wikipedia article), in being all white it is the oldest type of Latvian folk costumes. I have a thing for Latgalian folk costumes, as my last post on my old Czech blog attests.
This one was apparently a little adjusted for the necessities of performance (there was a zipper at the side), but you can still see the typical features - the off-white colour, the red accents, the upturned bottom corners of the bodice, the red embroidered "crown" (worn by unmarried girls throughout Latvia), and the white shirt kept closed with a (more-or-less) circular brooch at the neckline, which is something all Latvian costumes seem to have in common.



These are from Ķekava, i.e. the region/municipality the ensemble comes from. Notice the richly patterned pleated skirt - they make for a lovely sight in movement. :-)
It's also a little bit more typical than the Latgalian one, as you'll see on the following photos. It seems to lie on the border between Zemgale and Vidzeme, so some of the sources I glanced into put it in the one and others in the other (presumably depending on whether you treat the Daugava as the border or not).



This one's from around Rīga; my sister pointed out the metal buttons to me as a feature marking it as a costume from a richer background.
(It's quite fascinating how subtle the differences can be, especially compared to Czech and Moravian folk costumes, where there could be silk brocades and tons of starched petticoats involved... It's another reason I enjoy the Baltic folk costumes - they never cross the line into impractical show-off material.)



Vidzeme (the northern part of Latvia). The pleated, striped skirts and simple bodices continue.



Krustpils. Apparently the border between Vidzeme and Latgale. A plaid twist on the pleated, striped skirts.



This is their fun-loving soloist, in a costume from Lielvārde. The town is, among other things, renowned for its richly patterned jostas (= the woven belts somewhat typical for Baltic folk costumes). Also, I've visited there, so I'm a little partial. :-)


This costume is from Rucava, a Curonian town relatively near the border with Lithuania. Me and my sister have agreed that it shows in the costume: the green colour is not so typical, the bodice is longer which is more typical for Lithuanian folk costumes than Latvian ones, just like the long ribbons are.
Also, notice the skirt is cartridge-pleated rather than box pleated: that's another distinction I noticed between costumes with patterned skirts and costumes with plain-coloured ones.


To contrast, a costume from Katlakalns itself: richly striped skirt, box-pleated.


Two costumes from Alsunga. Also Kurzeme / Courland. Cartridge-pleated skirts, decorative trim in the front of the bodice running below waist, metal (brass?) crowns.


Nīca. Kurzeme, typical "jewelled" crown and woven bright red skirt with an irregular pattern (cartridge-pleated).


Bārta. Kurzeme - the same crown, black cartridge-pleated skirt with a patterned bottom and a silver-trimmed red bodice.
(Apparently, normally the shirts of the above two, at the very least, would also be embroidered, which again seems to have been dropped for performance interchangeability.)


And one from Kuldīga, also Kurzeme. Similar to the ones from Alsunga; clearly, there are regional similarities and the costumes are not uniform even in one town or village.

I really liked that this ensemble went with that variety, especially because they happened to be the only Latvian ensemble present, and it went really nicely against the tendency of many other ensembles to be completely uniform in their costumes. Which may make sense from a performance point of view, or because obviously they have their costumes made on order, but it makes it rather limiting if you're looking at them as a representation of their country's culture at an international festival!
Not that I can really hold it against the others, because it was a festival of amateur ensembles, many of whom probably don't get to represent their country abroad that often.

* * *

Alas, I cannot show you videos of their performance, because my camera tends to switch itself off very quickly when I take videos. So I didn't try that, and there are no videos of their performance on YouTube (yet?).

I do have photos from their performance, not really representative because dance is difficult to photograph. I also have pictures of other ensembles. That's a topic for another post.



* Google has an annoying tendency to assume that the Latvian -s ending is a typo of -a, and forces all the genitive cases on me.