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Kelderars (Kotlyars) are Romanian Gypsies. They made caldrons and baking trays on mobile anvils or mended leaking dishes. Initially they traveled through Danube principalities, but after 1856 headed to neighbor countries. Soon Kotlyar tabors arrived in Poland, Russia, France, Spain and England.
In ХХ century some of those restless Gypsies got to both Americas and even to Africa. Everywhere their exotic appearance evoked great interest. It was Kelderars who became creators of Gypsy national costume. Naturally women looked more outstanding with their necklaces made of gold coins and bright skirts. But men’s costume was not less perfect. It was both beautiful and comfortable — details which had to show their owner’s wealth didn’t ruin the whole impression of complete harmony.
An attentive observer can see the sequence of borrowings. Ornaments of laces on the clothes are a result of Hungarian influence. Natives sometimes overdecorated their attire but Gypsies didn’t: patterns on their sleeves and quilted trousers looked trim but not gaudy.
One more way to show prosperity was decoration of jacket and waistcoat. Big silver buttons, “flower buds”, symbolized wealth — sometimes they were acorn-sized, sometimes as big as an egg. “Flower buds” were empty of course, but their shine in the sun fascinated and commanded people’s respect. They were also used as security. As stated above Kelderars were tinkers. Some people didn’t trust tabor craftsmen, who were as free as the air. To comfort a client Kotlyars simply tore a silver “acorn” off and thus guaranteed safety of clients’ property. Kotlyars’ felt hats could be of different styles — they were also borrowed from peasants of Eastern Europe. But as tabor tinkers went far from their motherland French or Russian people took their hats for a special Gypsy piece of clothes.
Kotlyars had enough taste not to overuse details. Nothing could ruin the first impression of their silhouette. Their clothes emphasized power, strength, men’s liability. Long staffs with silver knobs were extremely fashionable. ut the most important is that if a family were poor and didn’t have expensive accessories it didn’t leap in the eye. Kotlyar clothes were so stylish, that they could do without gold. Neither fretted cloth no holes in women’s skirts spoilt the impression and even added special charm to Gypsies’ appearance. It’s like with ripped jeans — comfortable cowboy piece of clothes which conquered the world forty years ago and became a symbol of freedom for generation of sixties.
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I am a folk artist creating and living what I call “atmospheric, time travel art”, a folk art living history revival in which I put into the action the words of Thoreau when he beautifully proclaimed ….
““We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn, which does not forsake us even in our soundest sleep. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavour. It is something to be able to paint a particular picture, or to carve a statue, and so to make a few objects beautiful; but it is far more glorious to carve and paint the very atmosphere and medium through which we look, which morally we can do. To affect the quality of the day, that is the highest of arts.”
― Henry David Thoreau
I swear, Isnt that incredible? I shook when I first read it, and then smiled realizing exactly what living art would look like. For me I want my art to be something that isnt turned off or on; put simply just on a canvas or stitched into a shirt- No I want to live my art. When I walk down the street, or grocery shop, tailor, communicate with fellows, everything, all aspects of my life… From my 19th century everyday influenced dressing style, to my dirty wild hair, to my rustic Cracker Barrel aesthetic house, to my individual art projects and yet even more importantly from my everyday interactions with people, my choices, my handshakes, my sense of morality, and overall and most signficantly my intentionality.
Moreover I want to live well.
My faith as a Transcendentalist and artist has unfurled a whole new world before my eyes, in which I am invited and inspired and cant help but live outloud, engaged, wildly, boldly, intentionally and very colorfully.
Nicknamed the “Cowboy Prince” , my childhood was spent in coonskin caps and cowboy boots, getting into all sorts of adventures climbing trees and hiding in bushes, baking cookies, and making costumes out of my sisters clothing. I always wanted to live in a different time period, and dappled with a ten year addiction to Civil War reenacting, excessive book reading, tap dancing and yet still cannot shake my passion for all things past. I figured I might as well embrace it fully.
The greatest thing that happened to me as I got older was learning how to sew, and with that initial introduction to art, it later led to other gateway mediums such as painting, quilting and sculpture. I am now embarking on a most glorious journey in search of my own El Dorado. I am currently an apprentice costume designer, pattern maker, and tailor and am working hard to become a designer for films and eventually open my own tailor shop “Custer’s Last Waistband”.
This online periodical I have set up is an attempt at categorizing and most importantly sharing the nostalgic yearnings of my heart with a larger audience. These grainy images and artifacts are what truly turn me on. It is a way for me as an adult to maintain my sense of childhood wonder- which I feel is truly important for successful contentment- and furthermore cultivate it into the very atmosphere in which I dwell.
Well welcome y’all, set yourself down and rest a while- Lord knows! I got biscuits in the oven, while we remember and re-envision our world.
Welcome to the Cowboy Prince Castille
Ride Boldly Ride,
-Charlie C. Umhau
*for my own work, check out:
www.charliecumhau.com
