Serbian clothing pattern in Sirinićka Župa,

 late 19th and first half of the 20th century

Among the most beautiful parts of the Sirinićka costume is the headscarf with a cap, especially those embroidered with old motifs without sequins and metallic threads. The headscarf hangs down from the head to the back, near the waist. The most common motif, which appears in various variations, is called 'bistri krst' (clear cross), similar to the embroidery on old priestly robes. In Sirinić, the front apron called bošča, black or dark red with a floral pattern woven along the edges and folded upper corners, was worn. A small, finely pleated back apron called aleno bošče is decorated with bright red and blue patterns arranged in a checkerboard pattern, a feature of this area. Other parts of the costume, including the shirt and vest, socks, and opanci (traditional shoes), were also adorned with embroidery at typical places, and strands of coins worn as necklaces were a necessary accessory.

Men's costumes in this area are more colorful and varied than elsewhere in Kosovo and Metohija, clearly indicating the primary occupation of the population - livestock breeding. Men wore a dark fur hat, a shirt decorated with embroidery on the chest, and tucked into čakšire (traditional trousers). The belt was a wide woolen band of solid red color, up to 25 cm wide. In winter, men would wear a long coat made of white, and later dark, coarse woolen fabric, open at the front and sleeveless. This was a type of long zubun (traditional coat) that was common. More frequently used was a wide gunj (traditional woolen coat) with wide elbow-length sleeves and a hood at the back for covering the head. This hood, when placed on the head and fastened with clasps at the temple and above the forehead, formed a classic kukulus, a small hood.

The study in Sirinićka Župa was conducted in two phases, from March to April and from June to October 2007. We were particularly pleased to find a complete costume in the attic of an old house in Gotovuša, in the maiden chest of the house's mistress Ratka. The costume was very damaged, but we managed to restore it. Thanks to the account of Veska Staletoić, we learned how to put the headscarf on the head, thus managing to rescue this custom from oblivion. Apart from her, many others in the area of Štrpce and neighboring villages, Gotovuša and Sevce, still live with old traditions.

Radmila Stanojević showed us her costume's garments, wishing that they are not forgotten, and she was particularly proud of the dress. The team in this area, besides the author, consisted of Milovan Zarković, Nebojša Milosavljević - Kušner, then Emin Muhammed - Kuja, Ljubiša Račićević, Goran and Mita Veljković, and their mother Nada and grandmother Leposava, who cheerfully sang and told us about the customs of this area. Mita Raković's account of his family's suffering at the hands of Albanian villains was particularly moving, but singing together was a remedy even in that situation. The music was revived for us by kaval (traditional flute) player Miladin Boškovčević.