Since the early 20th century, Lithuanian national costumes have been exhibited publicly. They were displayed at the exhibitions in Paris (1900) and Moscow (1911), as well as in art exhibitions in Vilnius. Systematic collection and research began in the 1930s when the Palace of Agriculture decided to gather all available information and authentic ancient costumes. In 1939, descriptions of national costumes were included in the 7th and 8th volumes of “Sodžiaus Menas” (“Rustic Art”), which focused on 18th – 19th century women’s national costumes. In 1940, the originals of these costumes were handed over to the Vytautas Magnus Museum of Culture in Kaunas.

Anastazija and Antanas Tamošaičiai were the leading researchers of national costumes at that time. They designed the costumes worn by the ensemble members in 1941.

Here is how A. and A. Tamošaičiai described Lithuanian national costumes:

“The costumes of Aukštaitian women display the most archaic forms, weaving styles, patterns, and rather light colors. Until the not so distant past, women still wore headdresses. The costumes of Zanavykian women are among the most ornate in terms of patterns, colors, and design. Kapsian national costumes merge elements of Zanavykian and Dzūkija attire. Dzūkian costumes are especially colorful, employing a variety of striped and checkered patterns. The attire of Vilnius residents resembles that of Lithuanian nobility. Costumes of residents of Lithuania Minor display the most archaic elements and use darkish colors. Aukštaitian men dress in light colors with checkered or striped patterns. Samogitian men wear dark colors. Costumes of Zanavykian men are luxurious and ornate. Kapsian men dress in vivid and light colors; their attire is often striped. Dzūkian men dress in motley but quite simple fabrics.” By and large, this description is still relevant today.

Unfortunately, the first set of the ensemble’s costumes and instruments perished in a fire in Vilnius during WWII. During a Moscow tour in 1946, the dancers were dressed in new costumes designed by Vytautas Palaima. Once again, new costumes for the entire ensemble were made for a significant appearance in Moscow in 1949. The ensemble upgraded its wardrobe in 1954 (V. Palaima). These were traditional general national costumes.

Ten years later, artist Dalia Mataitienė (b. 1936) designed costumes for the ensemble’s new program “Winds of Ages.” As the program featured ancient songs and dances as well as works by contemporary composers and choreographers, the costumes were designed accordingly. For example, the designer used metal elements in “ancient” attire and headdresses. Although this type of ornamentation was not common in the national costume of that time, its use was validated by historical and ethnographic data.

After thoroughly examining examples of folk art, archaeological data, and substantial historical information, the artist designed costumes emphasizing the main components of the costume, enlarging forms and ornamentation, and ensuring that the ornamentation and colors highlighted the character of the dance. For example, she chose red color and bright ornamental patterns for polka, checkered fabric for the humorous “Oželis” (“Goatling”), and soft hues of blue and yellow for lyrical dances. The artist aimed for the prints and arrangement of colors to “sing out” the melodic lines of Lithuanian folk songs and dances.

Regina Songailaitė (b. 1922) and Juozas Balčikonis (b. 1924) designed or altered previously created costumes for six programs, including “Festive Evenings” (1968). This program showcased songs, dances, and customs of four ethnographic regions of Lithuania: Lent – Christmas in Dzūkija, Mardi Gras in Žemaitija (Samogitia), Joninės (St. John’s Celebration) in Aukštaitija, and the end of the work season in Suvalkija. National costumes in this program displayed characteristic features of each region. Thus, for the first time in the ensemble’s history, regional differences were revealed not only in songs and dances but also in costumes, as previously the performers wore general national costumes. “Festive Evenings” earned the highest state awards (regrettably, the costume designers were not included in the awardees list).

For the program “We Sing for a Man,” designers R. and J. Balčikonis explored the depth of Lithuanian folklore but also did not shy away from innovations. The costumes were adorned with spangles, fur, and openwork. According to the designers, they were guided by one principle: to creatively recreate folk costumes without forfeiting their stylistic exactness, i.e., not combining elements of different ethnographic regions in one costume. Men’s shaggy hats and women’s fur-ornamented coats astounded the audiences. But the designers asserted that in the past, Lithuanians used fur for making clothes. Fur vests and coats were usual components of peasant wardrobes. After all, 19th-century engravings portraying the residents of Lithuania Minor abound with fur clothing. The designers felt that an unvarying costume – skirt, apron, vest, and shirt – becomes monotonous.

For the first half of the program “Rye’s Chant” (1985), the designers were asked to create as authentic national costumes of the 15th – 16th centuries as possible (the second half took the viewers to the 20th century). After surveying museums and archives and examining ethnographic and archaeological data, the designers fashioned historical costumes glimmering with medieval bronze. Ushering the viewers into the epoch of Vytautas the Great, the performers vindicated their new attire. The designers admitted that they saw the program’s first half as a Lithuanian version of K. Orff’s “Carmina Burana.” The then government harshly criticized “Rye’s Chant” for “glorification of the past”; the program was forbidden in Vilnius, as were its press reviews.