Markgräfler costume

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Markgräfler costume from Opfingen around 1905

The Markgräfler Tracht is the traditional costume in the Markgräflerland , a region in Baden-Württemberg in southwest Germany , on the border with France and Switzerland . The most distinctive feature of the women's costume is the headgear in the form of a wing hood , the so-called horn cap .

Use of the costume

Two women in traditional Markgräfler costume at Baden Castle in Badenweiler , postcard, around 1900

Today this tradition is still cultivated in traditional costume clubs, but until around 1930 the traditional costume was generally worn by the rural population on Sundays and public holidays, as well as on festive occasions.

Distribution area

The area of ​​distribution of the costume lies between Basel and Freiburg and basically corresponds to the former domain of the Margraves of Hachberg-Sausenberg , the Markgräflerland. With small changes, however, it was also worn in the area of ​​the Margraviate of Hachberg in the Emmendingen area and in the evangelical places around the Kaiserstuhl . Variants of the costume were later also worn in some mixed-denominational villages of the former condominiums of the margraviate of Baden-Baden , the rulers of Mahlberg and Lahr .

The evolution of the costume

The increasingly clear expression of the costume after 1820 leads to the conclusion that contrary to the efforts of the young state of the Grand Duchy of Baden to create a common identity for the many sub-areas with different histories and traditions that were united in it, there was a regional need to preserve one's own identity and stand out from the neighboring areas.

The horns grow

From a guild order of the hat makers in the dominions of Rötteln and Sausenberg from 1651 it can be deduced that before the headgear of the women was a hat and at this time the transition to the cap took place. The oldest known representations of the Markgräfler costume can be found under David Herrliberger's Baßlerische Ausruff-Bilder from 1749. The Basel publisher Christian von Mechel published in 1783 in the costume series “Costumes Suisses” the colored copper engraving, attributed to Samuel Gränicher , of a Margravian woman with a “Dotsch” cap and straw hat ("Schihuet", ie sun hat). The engraving served as a model for numerous re-engravings well into the 19th century. The Parisian draftsman Claude-Louis Desrais made a mistake in the details of the “Dotsch” cap in 1784, which continued in all the following illustrations and the later implementation of the reconstructed costume. Several gouaches and drawings of the Vreneli costume have also been preserved by Markus Dinkel , for example in the Kupferstichkabinett of the Kunstmuseum in Basel. This so-called “Dotsch” cap was still part of traditional costume around 1800 and is found somewhat more refined on the illustration of J. P. Hebels with the “Vreneli”, which is why the costume from this period is also called “Vreneli” costume.

The Dotsch cap developed further into a wing cap, whereby the loops (wings) were initially still small. The bows grew and got short fringes at the ends . Around 1850, the older women still have the small bows without fringes, while the younger women have the somewhat larger bows with fringes.

Around 1890 the Markgräfler horn cap was fully developed with very large bows and long fringes. What we today sometimes misunderstand as a centuries-old tradition is the development of the folk costume between around 1890 and 1930.

  • David Herrliberger: Markgräfler farmer on the Basel market, 1749

  • David Herrliberger: Markgräfler milkmaid on the Basel market, 1749

  • David Herrliberger: Markgräflerin precariously situated on the Basel market, 1749

  • "Vreneli" -, traditional costume. Colored outline etching by Gränicher , 1783

  • “Vreneli” costume, Claude-Louis Desrais after Gränicher, 1784

  • “Vreneli” costume, Claude-Louis Desrais after Gränicher, 1789

  • "Vreneli" costume, LF Labrousse after Gränicher 1795

  • “Vreneli” costume, Georges-Jacques Gatine around 1810 to Labrousse

  • "Vreneli" costume, Mary Anne Venning after Labrousse 1817

  • Anna B. Krafft from Auggen , 1853

  • Elisabeth Marget von Hügelheim , 1856

  • Margraviate of Malsburg , 1900

From the gusset skirt to the dress with sleeves

While a gusset skirt was worn before 1764, a pleated skirt had to be worn afterwards according to police regulations. Later there was more and more adaptation to bourgeois fashion and dresses with sleeves were worn - at times with so-called club sleeves and a hoop skirt (crinoline).

The influence of politics

The Police Ordinance of 1764

The costume has undergone some changes over time. In addition to fashion influences, politics was also an influencing factor. So ban in 1764 of Baden-durlachische Governor of Rötteln, Gustav Magnus von Wallbrunn , until then associated with the costume gore skirt, because it was composed of narrow, wedge-shaped strips of fabric so that the fabric of a discarded skirt barely had to use. From Wallbrunn's point of view, this was a waste. Its prohibition is one of other measures for popular education that were taken under the regiment of Margrave Karl Friedrich .

The French revolution

In the 18th century, the Markgräfler men's costume also included knee breeches . In pre-revolutionary France , the sans-culottes were the workers and petty bourgeoisie who, in contrast to the nobility , wore long trousers instead of knee breeches. The long trousers also became a political signal and increasingly replaced the knee breeches from the traditional costume.

The costume as an economic factor

After the German Customs Union was founded in 1834, industrialists from Basel increasingly established factories in neighboring Baden in order to open up the Customs Union's market. For his part, Baden was happy to be able to drive industrialization forward. The ribbon weaving mills were able to sell most of their production to the Markgräfler Landvolk as early as 1836, as they needed a large amount of silk ribbon for their traditional costumes.

The Markgräfler costume in literature

Johann Peter Hebel - Dotsch

The stamp shows Johann Peter Hebel together with Elisabeth Baustlicher from Langendenzlingen in the Markgräfler costume based on the watercolor “Hebel und Vreneli” by Carl Joseph Aloys Agricola (1779–1852) from 1814.

In literary terms, Johann Peter Hebel made the Markgräfler costume known in his poem “The Meadow”, describing it as “Lutheran” clothing, as the costume was almost only worn in Protestant towns. The collection of poems was published in 1803, i. H. Lever describes the costume as it was worn around 1800, the so-called “Vreneli costume”. At that time the "horn cap" did not yet exist and Hebel called the tight-fitting cap "Dotsch".

Victor Hugo - the black butterfly

The French writer Victor Hugo took a trip up the Rhine in 1839. His travelogue also contains a letter dated September 4th from Freiburg. Here Hugo describes the horn cap of the Markgräfler costume as “Le grand papillon noir”.

literature

  • Fred Wehrle: Johann Peter Hebel and the Markgräfler costume. In: Das Markgräflerland, Volume 1/2010, pp. 144–150
  • Fred Wehrle: The Markgräfler costume - a popular Baden folk costume. In: Badische Heimat, June 2/2009, pp. 269–282
  • Paula Röttele: Altmarkgräfler costume (1750-1810) found in Auggen. In: Das Markgräflerland, Volume 1/2004, pp. 35/36 digitized version of the Freiburg University Library
  • Hermann Jacob (editor): People, dresses, traditional costumes - a documentation on the history of the Markgräfler traditional costumes , brochure for the exhibition of the history and museum association Vorderes Kandertal 2003
  • Ursula Huggle: On the development of traditional costumes in the Markgräflerland. In: Das Markgräflerland 2/1994, pp. 312–334 digitized version of the Freiburg University Library
  • Fred Wehrle: The Markgräfler costume. In: Das Markgräflerland, Volume 2/1987, pp. 153–160 digitized version of the Freiburg University Library
  • Ida Preusch-Müller: The Markgräfler costume through the ages. In: Die Margrafschaft, issue 6/1950, pp. 7–9
  • Maria Riffel: The development of the costume hood in the southern part of the Upper Rhine region , Heidelberg 1940
  • Marie Bechtel-Währer: The Markgräfler costume. In: Markgräfler Jahrbuch 1939 , pp. 98–99 digitized version of the Freiburg University Library
  • August Richard Maier: The Markgräfler folk costume. In: Badische Heimat 10 (1923) pp. 99-106 online at landeskunde-online.de
  • O. Lauffer: The women's costume in the Markgräflerlande. In: My Homeland, Volume 5 (1922)
  • Victor Hugo : En voyage. Le Rhin , Paris around 1880, p. 215 Digitized at gallica

Web links

Commons : Markgräfler Tracht  - Collection of images, videos and audio files

Traditional costume clubs

In the “Trachtenjahrbuch 2017” published by the Bund “Heimat und Volksleben” eV , the following 8 member associations are listed, which maintain the Markgräfler costume:

Individual evidence

  1. ↑ s. Fred Wehrle in the publication by Hermann Jacob; P. 19
  2. ↑ s. Huggle p. 330
  3. ↑ s. Hugo - "black butterfly"
  4. ↑ s. Jacob p. 15
  5. ↑ Landvogt of the Oberamt Rötteln 1748–1772
  6. ↑ s. Huggle p. 316
  7. ↑
    Wikisource: JP Hebels complete works; Volume 1: The meadow  - sources and full texts
  8. ↑ In the Markgräflerland - as in the entire margraviate of Baden-Durlach - the Reformation was introduced in 1556, which is why the associated communities were Protestant
  9. ^ En voyage. Le Rhin
  10. ↑ the big black butterfly
  11. ↑ Trachtenjahrbuch 2017, pdf