Faces before future students, hands – guardians of the craft, people – inspirers. A column that introduces you to the future teachers of the crafts school, part of Sharena Fabrika.
She exudes the presence of someone who holds precious secrets and vast knowledge. For many years, she taught geography and briefly history, but she admits that history remains her passion. With great respect and reverence, she cherishes distant memories of the Traditional Evenings in her village, recalling how it was there that she began to cultivate her interest and appreciation for traditional costumes and textiles.
Later, driven by her boundless curiosity, she developed deep knowledge and expertise in traditional embroidery and the making of folk costumes. She speaks of this passion with respect and a desire to preserve and inspire future generations, not only by teaching them the craft but also by helping them to maintain tradition.
Buryana has been part of the Sharena Zadruga team from the very beginning, and we are happy that one day in Sharena Fabrika, a person with her energy and knowledge will join us.
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You are a history and geography teacher with extensive knowledge of textiles, traditional embroidery, and folk costumes. What are some interesting historical facts about the role of traditional clothing in our history?
Fabrics, and later embroidery, have been an important part of the daily life and clothing of our ancestors. In every region, they are different, and in fact, they served as a kind of calling card for people. You could recognize them by their patterns!
Regarding the connection with history, archaeologists and historians often make conclusions about the development of societies in a particular region based on fabrics, costumes, and jewelry. In the Balkans, where I’m from, people were not very wealthy, and the costumes here are more modest. Of course, they still have their beautiful elements.
What are the specific features of these costumes?
There are several types of costumes in my village. The oldest one is the seretnik, from the early 19th century. It was decorated with only one row of gaitani (braided cord). In the mid-19th century, people became wealthier and created a more elaborate version called suknenik. It also features a very interesting headscarf called the "one-horned" style, which isn’t found in nearby villages. The suknenik is included in the album by Veleva and Lepavtsova, "Bulgarian Folk Costumes," Volume 3, page 47. By the early 20th century, people were already wearing sukman in the winter and vǎlnenik or pishtimal in the summer (a type of two-apron costume).
The shirts have beautiful embroidery in characteristic colors – red, yellow, green, and blue.
What are the messages and symbols conveyed by Bulgarian embroidery?
Bulgarian costumes, especially the embroidery, gather the beauty and diversity of our nature. They are an endless, fairy-tale world. In the embroidery, you can recognize stylized figures of the Mother Goddess, flowers, birds, and geometric shapes. These were embroidered along the edges of the shirts to protect against illness and evil eyes.
When and how did you develop this interest in textiles and embroidery?
My interest in folk costumes began in my childhood. In our village, there is an annual event that brings together young and old – the Bitova Vecher (Traditional Evening). It has been held since 1942, for almost 82 years now, with hardly any interruptions.
The mayor at the time, Godzenko, ordered that one day in the spring, everyone should wear traditional folk costumes. Naturally, today we gather on a Saturday evening in January, dressed in costumes typical of our village, and we celebrate. This Bitova Vecher is an event I eagerly look forward to. Many young people, who live in different cities across the country or even abroad, return home especially for this celebration.
I would like to mention my grandmother Radka, whom my sister and I affectionately called "Lekitsa." She was very skilled—she embroidered (in our village, that's what we call embroidery), crocheted beautiful lace, and had golden hands. It was from her that I received my first lessons in embroidery. My desire to have a beautiful traditional costume made me interested in how it's created, and over the years, it gradually became my main focus. And yes—I succeeded in making my own suknenik (traditional garment).
You have a master's certificate in embroidery—how long does it take for someone to gain the skills of a master?
With dedication, patience, and nimble fingers, everything is possible. As for the master’s certificate, it is issued by the National Chamber of Crafts. Anyone who believes they have mastered a craft can take an exam before a committee and demonstrate their skills.
You’ve been a teacher for many years. What was important for you to leave in the minds of students about our history?
Unfortunately, I only taught history for one school year at the beginning of my career, but history remained my passion.
Our country is incredibly beautiful, with a long and fascinating history, and we should be more active in showcasing it to the world. The phrase "little Bulgaria" is often used—why? Out of 49 countries in Europe, ours ranks 16th—is it really small? From our founding to today, we have carried the same name and are one of the oldest nations on the continent. We should be proud to be the descendants of a strong and proud people.
How did you feel when you received the invitation to become a teacher at the future International School for Gastronomy & Heritage Crafts “Sharena Fabrika”?
I accepted the invitation with great excitement to be part of the creation of the School for Crafts. I am delighted that I will be able to share the beauty of the folk costumes from Zhelyaznitsa and that there will be people to whom I can pass on what I’ve learned. I am eagerly looking forward to the first meeting with the young people who will fill the corridors of our Craft School.
Once again, you’ll be passing on knowledge, but this time related to a craft. How do you envision the embroidery lessons?
In the beginning, of course, we will talk about the role of embroidery in the past and the different symbols. I’ll also dedicate time to the use of embroidery elements in modern clothing. However, I believe the main part of the class should focus on developing practical skills. It’s important that children learn the various stitches and where they are used, as well as the distinct features of embroidery from different regions of our country.
What are the messages and symbols that you will convey to your students?
I imagine the classes as open conversations about the people who lived before us, about the faith that sustained them through hard times, about traditions and customs, and why they decorated their clothes in such specific ways. My wish is to have students who are curious, inquisitive, and eager to learn even more!