A skirt for a Kraków-style costume sewn from six green woollen fabric gores with pink-crimson-white motifs of single roses and yellow-claret ribbons. By means of delicate green stems, the roses are bunched together with blue flowers – rosettes with five petals separated from each other with small yellow circles.
A woollen skirt machine-sewn from six gores of fabric, creased in its upper part. A small black tape sewn over the creasing changes into fastening strips at some point. The bottom part of the skirt is lined with a strip of patterned cotton fabric; the edge is finished with a blue trimmed tape.
Skirt of silk taffeta brocaded with a silk thread – an element of a woman's festive dress from the Podhale region. The skirt comes from Zakopane or its vicinity. Its fabric dates back to the second half of the 18th century. The time when the skirt was made and the period of its use are unknown.
The skirt, known as a farbanica or farbonica, is an element of the historical Podhale outfit. It was sewn from linen fabric, woven in a home weaving workshop, and printed manually with the batik technique and dyed indigo in the village dye-works in Chochołów, which was owned by Ferdynand König, Jan Krzeptowski Sabała’s son-in-law. In Podhale women wore such skirts in the second half of the 19th century.
A woman’s skirt made of red fabric decorated with green and white check, lined with cotton with small red flowers printed. A summer ankle-length skirt made on a sewing machine from a thin red material with green and cream check. The upper part of the skirt is richly folded and has a belt with straps of the same material used to tie it.
The presented object is a wide skirt of navy-blue cretonne covered with a white print of plant pattern (contour clover leaves), referring to the so-called 19th century, factory-made tłoczeliny. It has a traditional cut.
SA Lemko skirt, or kabat, was made of modrotrotnik – thin printed factory fabric with a pattern of small yellow flowers and small green stars. It was hand-sewn at the turn of the 19th and 20th centuries. Such fabrics were made in the towns of the southern part of the Carpathians, in Bardiov, as well as in Krynica and Muszyna.
Today’s female folk costume of the Szczawnica highlanders consists of a corset made of black velvet with large floral patterns embroidered with silk threads on the back and the front, which is put on a white shirt, a skirt from green tybet fabric printed in large red flowers, an embroidered tulle apron and kierpce (hard-soled leather moccasins) put on white socks. In the past married women covered their heads with coifs and later with scarves. In the winter they wore cloth slippers and long sheepskin coats with sleeves.
Her work, Wyliczanki (Counting-out Games), consists of three objects – costumes. Each consists of a skirt and a braid. Wide, embroidered skirts, with a circular pattern, inspired by Polish folklore, refer to the character and colours of festive folk costumes. They are made of combined, contrasting materials, with sewn-on patterns of contemporary silhouettes, which the artist juxtaposed with embroidered texts known from children’s plays or songs, such as: Moja Ulijanko, klęknij na kolanko [Little Ula, take a knee], Mam chusteczkę haftowaną [I’ve got an embroidered hankie], Chodzi lisek koło drogi [There’s a little fox strolling along the road side]. The colourful braids, made of old clothes, are long and thick, and therefore also heavy and uncomfortable to wear. The artist called them “cultural braids”, thus suggesting that they function as something artificial, attached.