MA Sebastian Nowak Institute of Archaeology, Nicolaus Copernicus University i Toruń What is czech a ? Brief gar e t s characteristics Creating separate Polish national costume, being a determinant of Sarmatian culture and good court taste is related with the turn of 15th c (Bartkiewicz 1979, s. 63; Turnau 1991, s. 11; Grupa 2005, s. 82). Searching for genesis of male national costume we must turn eastwards, towards Asian – Persian, Turkish influences (Grupa 2005, s. 83–85), although Hungarian and Transylvanian impacts, popularized in royal court by king Stefan Batory, who brought the fashion from his motherland, cannot be denied, either (Szyller 1967, s. 131; Gutkowska-Rychlewska 1968, s. 400; Turnau 1991, s. 11). Variety of gown patterns, textiles and local fashion trends changed styles and garments themselves. Mikołaj Rej remarked that neighboring nations can be easily portrayed in current fashion clothes, while a Polish noble should be painted naked, with scissors in his hands and a bolt of cloth on the ground, because he is going to make his own clothes by himself. He also claimed that tailors’ customers had frequently problems with defining what exactly they wished to order. Instead, they ordered garments ‘as today are worn’ or ‘to prepare ten patterns for every week’ (Turnau 1991, s. 12). In the space of centuries numerous leading or transitive forms of man national costume was shaped, with distinguishing underwear, including a shirt, wide loose trousers: shalwar, żupans, delia coats, kontushes, headwears, including calpacks, kontush sashs, footwear – boots with high bootlegs made of thin leather and a sabre in a scabbard with a belt (fig. 1). Czechman, less known, but important element of Polish national costume is a kind of garment between ‘żupan’ and ‘kontush’, combining comfort and elegance, worn by gentry at home and during formal visits, being yearlong attire. (Nowak 2017, s. 18-20). Fig. 1 Pattern distinctive features:  Coat divided into two parts at the front, one at the back (fig. 2, 3);  Back part made of one textile piece, so called ‘a column’, reaching from a collar to the bottom edge (fig. 3 and 4);  Front buttoning covered with a fold (fig. 5);  Using haberdashery buttons or metal hooks fastening front and cuffs (fig. 5, 7, 8, 10);  Coat underlined with cheaper textiles, e.g. thick linen, wool (fig. 6);  Standing collar – high and stiffened, usually done with 3 textile coated buttons or hooks (fig. 2, 7, 10) or 1 cm fold with a textile button  Cuffs regulated with buttons or hooks (fig. 8);  Economic use of all small silk pieces – joining them, using broadening gores (fig. 9);  Asymmetrical neck fastening, rectangular gore fastening tight czechman under a chin (fig. 10);  Czechmans were usually made of plain textiles. Fig. 2 Fig. 5 Fig. 7 Fig. 3 Fig. 4 Fig. 6 Fig. 8 Fig. 9 Bibliography: Bartkiewicz M., Polski ubiór do 1864 roku, 1979, Wrocław–Warszawa–Kraków–Gdańsk; Grupa M., Ubiór mieszczan i szlachty z XVI–XVIII wieku z kościoła p.w. Wniebowzięcia Najświętszej Marii Panny w Toruniu, 2005, Toruń; Gutkowska – Rychlewska M. Historia ubiorów, 1968, Wrocław–Warszawa–Kraków; Nowak S., Czechman – zapomniany element XVIII-wiecznego polskiego ubioru narodowego w świetle źródeł archeologicznych i historycznych, 2017, Toruń (maszynopis pracy magisterskiej); Szyller E., Historia ubiorów, 1967, Warszawa; Turnau I., Ubiór narodowy w dawnej Rzeczypospolitej, 1991, Warszawa. Fig. 10