1.
Scottish highland dance
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Highland dancing is often performed to the accompaniment of Highland bagpipe music. It is now seen at nearly every modern-day Highland games event, Highland dancers wear specialized shoes called ghillies. Highland dance has been subject to influences from outside the Highlands. For example, it has heavily influenced by the aesthetics of the patrons of Scotland since the nineteenth century. Highland dance should not be confused with Scottish country dance, Highland dance is its own sport, with millions of dancers competing across the planet. Highland dancing is a competitive and technical dance form requiring technique, stamina, and strength, Highland dancing should not be confused with Scottish country dancing which is both a social dance like ballroom dancing, and a formation dance like square dancing. Some Highland dances do derive from traditional dances, however. Even so, in competitions, the Highland Reel dancers are judged individually, most Highland dances are danced solo. It seems that forms of dancing were performed by warriors in many parts of Europe in the prehistoric period. Forms of sword dancing are also attested in the late Medieval period, ritualistic and combative dances that imitated epic deeds and martial skills were a familiar feature in Scottish tradition and folklore. The earliest reference to these dances in Scotland is mentioned in the Scotichronicon which was compiled in Scotland by Walter Bower in the 1440s, the passage regards Alexander III and his second marriage to the French noblewoman Yolande de Dreux at Jedburgh on 14 October 1285. Bringing up the rear was a figure regarding whom it was difficult to decide whether it was a man or an apparition and it seemed to glide like a ghost rather than walk on feet. When it looked as if he was disappearing from sight, the whole frenzied procession halted, the song died away, the music faded. In 1573 Scottish mercenaries are said to have performed a Scottish sword dance before the Swedish King, John III, at a banquet held in Stockholm Castle. The dance, a feature of the festivities, was used as part of a plot to assassinate the King. Fortunately for the King, at the moment the agreed signal was never given. Which was acted and done without hurt or skaith to any, the Act was repealed in 1782 and in the early 19th century, there was something of a romanticisation of Highland culture. This revival, later boosted greatly by Queen Victorias enthusiasm for it, the nature of these displays and competitions also affected the style of the dancing itself
2.
Scottish sword dances
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Performance of sword dances in the folklore of Scotland is recorded from as early as the 15th century. Related customs are found in the Welsh and English Morris dance, in Austria, Germany, Flanders, France, Italy, Spain, Portugal and Romania. In Gillie Callum or Scottish sword dance the dancer crosses two swords on the ground in an X shape, dances around and within the 4 quarters of it, the Dirk dance involves either one or two dancers, each holding a single Dirk. As a part of the traditional Scottish intangible heritage, the performance of the Sword Dance has been recorded as early as the 15th century and it is normally recognised as the war dance with some ceremonial sense in the Scottish Royal court during that period. The earliest reference also mentioned that the dance is accompanied with the music of bagpipes. The basic rule requires the dancer to cross two swords on the ground in an X shape and to dance around and within the 4 quarters of it. The earliest reference to these dances in Scotland is mentioned in the Scotichronicon, the passage regards Alexander III and his second marriage to the French lady Yolande de Dreux at Jedburgh in Roxburghshire on 14 October 1285. Bringing up the rear was a figure regarding whom it was difficult to decide whether it was a man or an apparition and it seemed to glide like a ghost rather than walk on feet. When it looked as if he would disappear from sight, the whole frenzied procession halted, the song died away, the music faded. In 1573 Scottish mercenaries are said to have performed a Scottish Sword dance before the Swedish King, John III, at a banquet held in Stockholm Castle. The dance, a feature of the festivities, was used as part of a plot to assassinate the King. Fortunately for the King, at the moment the agreed signal was never given. Which was acted and done without hurt or skaith to any, many of the Highland dances now lost were once performed with traditional weapons that included the Lochaber axe, the broadsword, a combination of targe and dirk, and the flail. McIntyre North describes a clockwise-moving Sword Dance in his 1880 Book of the Club of True Highlanders, the first step beats the rhythm in time with the tune Gillie Calliun. A combative sword dance called the Highland Dirk Dance still exists and is linked to the sword dance or dances called Macinorsair. These dances are mentioned in a number of sources, and may have performed in a variety of different forms. This tradition was kept in the Highlander Regiments with some changing rules. To prepare for the Sword Dance, a soldier should lay two swords on the ground in the form of an X and he would then proceed to dance a complex series of steps and movements between and around the swords to the sound of the bagpipes
3.
Bodice
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A bodice is an article of clothing for women, covering the body from the neck to the waist. The term comes from pair of bodies, in dressmaking, the term waist was also used. During wear, the parts might be connected by hooks and eyes, one-piece construction became more common after 1900 due to the trend for looser, more simply-constructed clothing with narrower skirts. To achieve a shape and support the bust, the bodice was frequently stiffened with bents. The bodice was different from the corset of the time because it was intended to be worn over the other garments, in earlier periods, bodices and corsets were laced in spiral fashion, with one continuous lace. In later periods, both were laced like the tennis shoe, with eyelets facing one another. This was more convenient for women who had to dress themselves, one mid-19th-century style included the Agnes Sorel bodice, named after 15th-century royal mistress Agnes Sorel. This style was a day wear bodice, with a square cut neckline that had a front and back. Bodice continues in use to refer to the portion of a one- or two-piece dress. The bodice of a dress was called the corsage in the 19th century, bodices survive into modern times in the traditional or revived folk dress of many European countries. They are also seen today at Society for Creative Anachronism events or a Renaissance Fair. Dirndl Arnold, Janet, Patterns of Fashion, the cut and construction of clothes for men and women 1560-1620, steele, Valerie, The Corset, A Cultural History Yale University Press,2001
4.
Waistcoat
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A waistcoat is a sleeveless upper-body garment. It is usually worn over a shirt and necktie and below a coat as a part of most mens formal wear. It is also sported as the piece in the traditional three-piece male business suit. A waistcoat has a vertical opening in the front, which fastens with buttons or snaps. Both single-breasted and double-breasted waistcoats exist, regardless of the formality of dress, in a three piece suit, the cloth used matches the jacket and trousers. Waistcoats can also have lapels or revers depending on the style, before wristwatches became popular, gentlemen kept their pocket watches in the front waistcoat pocket, with the watch on a watch chain threaded through a buttonhole. Sometimes an extra hole was made in line with the buttonholes for this use, a bar on the end of the chain held it in place to catch the chain if it were dropped or pulled. Waistcoats are now worn less, so the pocket watch may more likely be stored in a trouser pocket, wearing a belt with a waistcoat, and indeed any suit, is not traditional. To give a more comfortable hang to the trousers, the waistcoat instead covers a pair of braces underneath it, a custom still sometimes practised is to leave the bottom button undone. This is said to have started by King Edward VII. Variations on this include that he forgot to fasten the lower button when dressing and it has also been suggested that the practice originated to prevent the waistcoat riding up when on horseback. This convention only applies to single-breasted day waistcoats and not double breasted, evening, waistcoats worn with lounge suits normally match the suit in cloth, and have four to six buttons. Double breasted waistcoats are rare compared to single, as formalwear, it used to be common to wear a contrastingly coloured waistcoat, such as in buff or dove linen. This is still seen in morning dress, which requires a waistcoat, the waistcoats worn with white- and black- tie are different from standard daytime single-breasted waistcoats, being much lower in cut. The variant of the clergy cassock may be cut as a vest and it differs in style from other waistcoats in that the garment buttons to the neck and has an opening that displays the clerical collar. In the Church of England, a particular High Church clerical vest introduced in the 1830s was nicknamed the M. B, waistcoat with M. B. standing for the Mark of the Beast. In the Girl Scouts of the USA, vests are used as an alternative to the sash for the display of badges, in many stock exchanges, traders who engage in open outcry may wear colored sleeveless waistcoats, or trading jackets, with insignia on the back. The waistcoat is one of the few articles of clothing whose origin historians can date precisely, King Charles II of England, Scotland and Ireland introduced the waistcoat as a part of correct dress after the Restoration of the British monarchy in 1660
5.
Blouse
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A blouse is a loose-fitting upper garment that was formerly worn by workmen, peasants, artists, women, and children. It is typically gathered at the waist or hips so that it hangs loosely over the wearers body, today, the word most commonly refers to a girls or womans dress shirt but can also refer to a mans shirt if it is a loose-fitting style. Traditionally, the term has been used to refer to a shirt which blouses out or has a feminine appearance. The term is used for some mens military uniform jackets. Blouse is a loanword to English from French, blouse means dust coat and it possibly was brought back from their travels by French Crusaders. They moved on their armor a so-called plusisian shirt, a blue-colored gowns to the dust, the derivation may also be from wool, blouso short wool and blos, blouse deprived, naked taken off. It is first officially noted in 1828, from French blouse, blouses are historically a cask style, mostly mail-like garment, that were rarely part of the fashionable womans wardrobe until the 1890s. Before that time, they were popular for informal wear in styles that echoed peasant or traditional clothing. Blouses usually consist of light such as silk or thin cotton fabrics. Sometimes they are decorated with frills, embroidery or loops, the classic of the ladies blouses is the white shirt blouse. Here the combination possibilities are particularly diverse, the open spade or reverse collar is another common type of classic ladies blouse. At the end of the 19th century the sailor blouses derived from sailor suits were popular for girls to the pleated skirt. In the time of National Socialism this piece of clothing was rejected as a bourgeois-decadent, in the 1950s, the sailors look then entered the leisure mode for adults. The high collar in blouses was pushed out during time by the halsferne variant. Specialist shops also offered ladies cloaks, the KdW in Berlin applied in his illustrated main catalog,1913 among other things a backfisch-confection, with eight blouses between 2.75 and 9.50 Marks. The simplest model was a blouse, navy, white spotted. A simple blouse with a plain skirt was the dress for the newly expanded female workforce of the 1890s. In the 1900s and 1910s, elaborate blouses, such as the lingerie blouse, since then, blouses have remained a wardrobe staple, so by now blouses have not ceased to be fixed in the popular cloakroom style
6.
Skirt
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A skirt is the lower part of a dress or gown, covering the person from the waist downwards, or a separate outer garment serving this purpose. Most skirts are self-standing garments, but some skirt-looking panels may be part of another garment such as leggings, shorts, some fashion designers, such as Jean Paul Gaultier, have shown mens skirts. Modern skirts are made of light to mid-weight fabrics, such as denim, jersey, worsted. Skirts of thin or clingy fabrics are often worn with slips to make the material of the skirt drape better, a straw-woven skirt dating to 3900 BC was discovered in Armenia at the Areni-1 cave complex. Skirts have been worn by men and women from many cultures, such as the lungi, lehnga, kanga and sarong worn in South Asia and Southeast Asia, and the kilt worn in Scotland and Ireland. The earliest known culture to have females wear clothing resembling miniskirts were the Duan Qun Miao and this was in reference to the short miniskirts that barely cover the buttocks worn by women of the tribe, and which were probably shocking to observers in medieval and early modern times. In the Middle Ages, some upper-class women wore skirts over three metres in diameter at the bottom, at the other extreme, the miniskirts of the 1960s were minimal garments that may have barely covered the underwear when seated. Costume historians typically use the word petticoat to describe skirt-like garments of the 18th century or earlier, during the 19th century, the cut of womens dresses in western culture varied more widely than in any other century. Waistlines started just below the bust and gradually sank to the natural waist, skirts started fairly narrow and increased dramatically to the hoopskirt and crinoline-supported styles of the 1860s, then fullness was draped and drawn to the back by means of bustles. In the 1890s the rainy daisy skirt was introduced for walking or sportswear and it had a significantly shorter hemline measuring as much as six inches off the ground and would eventually influence the wider introduction of shorter hemlines in the early 20th century. Beginning around 1915, hemlines for daytime dresses left the floor for good, broomstick skirt, a light-weight ankle-length skirt with many crumpled pleats formed by compressing and twisting the garment while wet, such as around a broomstick. Bubble dress/skirt, a voluminous skirt whose hem is tucked back under to create a “bubble effect” at the bottom, Cargo skirt, a plain utilitarian skirt with belt loops and numerous large pockets, based on the military style of Cargo pants and popularised in the 1990s. Crinoline, a full skirt supported by hoops or multiple petticoats. Hobble skirt, a long and tight skirt with a hem narrow enough to impede the wearers stride Kilt-skirt. Though traditionally designed as womens wear, it is fashioned to mimic the appearance of a mans kilt. Leather skirt, a made of leather Lehenga, a long, pleated skirt, often embroidered, worn mostly as the bottom part of the Gagra choli in North India. Mini-crini, a version of the crinoline, designed by Vivienne Westwood in the mid 1980s. Poodle skirt, a circle or near-circle skirt with an appliqued poodle or other decoration Puffball skirt, popular in the mid-late 1980s when it was inspired by Westwoods mini-crini
7.
Petticoat
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A petticoat or underskirt is an article of clothing, specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist, in historical contexts, petticoat refers to any separate skirt worn with a gown, bedgown, bodice or jacket, these petticoats are not, strictly speaking, underwear as they were made to be seen. In both historical and modern contexts, petticoat refers to skirt-like undergarments worn for warmth or to give the skirt or dress the desired fashionable shape, in this context a petticoat may be called a waist slip or underskirt or half slip, with petticoat restricted to extremely full garments. Petticoat can also refer to a slip in the UK. Petticoat is the name in English for any underskirt worn as part of non-Western clothing such as the lehenga with the sari. The practice of wearing petticoats as undergarments was well established by 1585, Petticoats were worn throughout history by women who wanted to have the currently fashionable shape created by their clothing. The petticoats, if sufficiently full or stiff, would hold the overskirt out in a domed shape. It would also complement the large bust. Elaborately decorated petticoats were worn under open-fronted gowns and looped overskirts from the mid-16th century and these ankle-length petticoats remained a rural fashion, especially in the UK, into the 19th century and are a part of the traditional Welsh costume. In the 18th century, among the upper class women of Europe and America, in the early 19th century, dresses became narrower and simpler with much less lingerie. Then, as the waltz became popular in the 1820s, full-skirted gowns with petticoats were revived in Europe, by the mid 19th century, petticoats were worn over hoops, which were placed over other underwear like a corset cover, a corset, and drawers. The popular novel Gone with the Wind provides considerable, detailed descriptions of these fashions, in the 1939 film adaptation, the character played by Vivien Leigh gives a good idea of the layers of petticoats and underwear that were worn in the 1860s. The sheer weight of the clothing, along with the tightness of the corsets, the use of multiple petticoats continued to be popular until the 1870s, when the bustle was introduced, resulting in a return of narrower skirts. Some full-skirted gowns with petticoats were revived in the 1890s into the early 20th century, the Gibson Girl look with white blouses and long, narrow skirts was very popular during the late 19th and early 20th century. For the first two decades of the 20th century, multiple petticoats fell out of fashion, narrow, sometimes tight, then, in the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, world War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted New Look of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950s, most of the petticoats were netlike crinoline, sometimes made of horsehair. Increasingly, nylon chiffon, taffeta, and organdy were used in petticoats, many department stores carried an extensive variety of styles and colors of petticoats until the early 1960s
8.
Apron
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An apron is a functional accessory that layers over ones outfit to protect ones clothes and skin from incidental stains and marks. As a top layer that covers the front body, the apron is worn as a uniform, adornment. Apron styles adapt to the tastes of the times to suite the values, the practical, fashionable sentimental nature of the apron has made it a cherished accessory for centuries. Because aprons provide comfort, protection and a sense of preparedness—the apron will always be a garment for people who work, clean, entertain. Because the apron is a top layer, the apron will continue to be worn as a fashion accessory both inside—and outside—the home, aprons were used by both the Native Indians and the pilgrims when America was first colonized—and have been well worn in America ever since. The apron fell out of favor in the 1960s after its rise to celebrity in the 50’s when it became the symbol for family. As women started looking outside the home for satisfaction and work, people started doing their work without an apron entirely or they choose to wear a bib apron. The bib apron remains the dominate apron on the market and is offered in a multitude of variations, colors, detailing, simple, functional aprons were already a staple by the time the Pilgrims docked on the shore of Plymouth Rock. American Indians wore aprons for both practical and ceremonial purposes, early female settlers wore plain, long white aprons. Later, Quaker women wore long and colorful silk aprons, as cities in New England grew, more elaborate options began to appear. The “Hooverette” or “Hoover apron” emerged in the 1910s, named after the man in charge of the U. S. Food Administration at the time and this wraparound apron was popular into the 1920s when fancy half-aprons became fashionable. Stores began selling patterns and kits to make and adorn aprons, aprons of this period followed the silhouette of dapper fashions—long, with no waist line. Women working outside the home wore whatever protective garments their jobs required, including coveralls, smocks, at home, they worked in full-length aprons with hefty pockets and a cinched waistline that were often decorated with buttons, pockets and contrasting colors. Aprons became plain during the Great Depression, since fabric was scarce, women would make aprons out of Flour Sacks and feed sacks to protect their clothing. Pinafore aprons, or “pinnies” as they were called, began to gain popularity. Dorothy famously wore a blue and white gingham pinafore in The Wizard of Oz, post-war family values made the apron the symbol of home, family, mother and wife. As Sewing machines and cloth became available, aprons—both commercial and homemade—became the uniform of the professional housewife, magazines from the 1940s and 50s feature apron-adorned women in nearly every advertisement that is related to housework or cooking. Aprons were a feature for irons, kitchen appliances, food products
9.
Tartan
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Tartan is a pattern consisting of criss-crossed horizontal and vertical bands in multiple colours. Tartans originated in woven wool, but now they are made in other materials. Tartan is particularly associated with Scotland, Scottish kilts almost always have tartan patterns. Tartan is often called plaid in North America, but in Scotland, Tartan is made with alternating bands of coloured threads woven as both warp and weft at right angles to each other. The weft is woven in a simple twill, two over—two under the warp, advancing one thread at each pass and this forms visible diagonal lines where different colours cross, which give the appearance of new colours blended from the original ones. The resulting blocks of colour repeat vertically and horizontally in a pattern of squares and lines known as a sett. The Dress Act of 1746 attempted to bring the clans under government control by banning the tartan. When the law was repealed in 1782, it was no longer ordinary Highland dress, until the middle of the nineteenth century, the highland tartans were only associated with either regions or districts, rather than any specific Scottish clan. Today tartan is no longer limited to textiles, but is used on non-woven mediums, such as paper, plastics, packaging, the English word tartan is most likely derived from the French tartarin meaning Tartar cloth. It has also suggested that tartan may be derived from modern Scottish Gaelic tarsainn. Today tartan usually refers to coloured patterns, though originally a tartan did not have to be made up of any pattern at all, as late as the 1830s tartan was sometimes described as plain coloured. Patterned cloth from the Gaelic-speaking Scottish Highlands was called breacan, meaning many colours, over time the meanings of tartan and breacan were combined to describe certain type of pattern on a certain type of cloth. The pattern of a tartan is called a sett, the sett is made up of a series of woven threads which cross at right angles. Today tartan is used to describe the pattern, not limited to textiles. In North America the term plaid is commonly used to describe tartan, the word plaid, derived from the Scottish Gaelic plaide, meaning blanket, was first used of any rectangular garment, sometimes made up of tartan, particularly that which preceded the modern kilt. In time, plaid was used to describe blankets themselves, each thread in the warp crosses each thread in the weft at right angles. Thus, a set of two base colours produces three different colours including one mixture and this means that the more stripes and colours used, the more blurred and subdued the tartans pattern becomes. The sequence of threads, known as the sett, starts at an edge, in diagram A, the sett reverses at the first pivot, then repeats, then reverses at the next pivot, and will carry on in this manner horizontally
10.
Scotland
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Scotland is a country that is part of the United Kingdom and covers the northern third of the island of Great Britain. It shares a border with England to the south, and is surrounded by the Atlantic Ocean, with the North Sea to the east. In addition to the mainland, the country is made up of more than 790 islands, including the Northern Isles, the Kingdom of Scotland emerged as an independent sovereign state in the Early Middle Ages and continued to exist until 1707. By inheritance in 1603, James VI, King of Scots, became King of England and King of Ireland, Scotland subsequently entered into a political union with the Kingdom of England on 1 May 1707 to create the new Kingdom of Great Britain. The union also created a new Parliament of Great Britain, which succeeded both the Parliament of Scotland and the Parliament of England. Within Scotland, the monarchy of the United Kingdom has continued to use a variety of styles, titles, the legal system within Scotland has also remained separate from those of England and Wales and Northern Ireland, Scotland constitutes a distinct jurisdiction in both public and private law. Glasgow, Scotlands largest city, was one of the worlds leading industrial cities. Other major urban areas are Aberdeen and Dundee, Scottish waters consist of a large sector of the North Atlantic and the North Sea, containing the largest oil reserves in the European Union. This has given Aberdeen, the third-largest city in Scotland, the title of Europes oil capital, following a referendum in 1997, a Scottish Parliament was re-established, in the form of a devolved unicameral legislature comprising 129 members, having authority over many areas of domestic policy. Scotland is represented in the UK Parliament by 59 MPs and in the European Parliament by 6 MEPs, Scotland is also a member nation of the British–Irish Council, and the British–Irish Parliamentary Assembly. Scotland comes from Scoti, the Latin name for the Gaels, the Late Latin word Scotia was initially used to refer to Ireland. By the 11th century at the latest, Scotia was being used to refer to Scotland north of the River Forth, alongside Albania or Albany, the use of the words Scots and Scotland to encompass all of what is now Scotland became common in the Late Middle Ages. Repeated glaciations, which covered the land mass of modern Scotland. It is believed the first post-glacial groups of hunter-gatherers arrived in Scotland around 12,800 years ago, the groups of settlers began building the first known permanent houses on Scottish soil around 9,500 years ago, and the first villages around 6,000 years ago. The well-preserved village of Skara Brae on the mainland of Orkney dates from this period and it contains the remains of an early Bronze Age ruler laid out on white quartz pebbles and birch bark. It was also discovered for the first time that early Bronze Age people placed flowers in their graves, in the winter of 1850, a severe storm hit Scotland, causing widespread damage and over 200 deaths. In the Bay of Skaill, the storm stripped the earth from a large irregular knoll, when the storm cleared, local villagers found the outline of a village, consisting of a number of small houses without roofs. William Watt of Skaill, the laird, began an amateur excavation of the site, but after uncovering four houses
11.
Kilt
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A kilt is a knee-length non-bifurcated skirt-type garment with pleats at the rear, originating in the traditional dress of men and boys in the Scottish Highlands of the 16th century. Since the 19th century, it has associated with the wider culture of Scotland. It is most often made of cloth in a tartan pattern. Particularly in North America kilts are now made for wear in a variety of materials. Alternative fastenings may be used and pockets inserted to avoid the need for a sporran, kilts have been adopted as female wear for some sports. The kilt first appeared as the kilt, the breacan or belted plaid, during the 16th century. The filleadh mòr or great kilt was a full-length garment whose upper half could be worn as a cloak draped over the shoulder, or brought up over the head. A version of the filleadh beag, or small kilt, similar to the kilt was invented by an English Quaker from Lancashire named Thomas Rawlinson some time in the 1720s. He felt that the belted plaid was cumbrous and unwieldy, and his solution was to separate the skirt and convert it into a garment with pleats already sewn. From there its use spread in the shortest space amongst the Highlanders and it has been suggested there is evidence that the philibeg with unsewn pleats was worn from the 1690s. Organisations that sanction and grade the competitions in Highland dancing and piping all have rules governing acceptable attire for the competitors and these rules specify that kilts are to be worn. The Scottish kilt displays uniqueness of design, construction, and convention which differentiate it from other garments fitting the general description. It is a garment that is wrapped around the wearers body at the natural waist starting from one side, around the front and back. A kilt covers the body from the waist down to the centre of the knees, the overlapping layers in front are called aprons and are flat, the single layer of fabric around the sides and back is pleated. A kilt pin is fastened to the front apron on the free corner, underwear may or may not be worn, as the wearer prefers, although tradition has it that a true Scotsman should wear nothing under his kilt. The Scottish Tartans Authority, however, warns that in some circumstances the practice could be childish and unhygienic, the typical kilt as seen at modern Highland games events is made of twill woven worsted wool. The twill weave used for kilts is a 2–2 type, meaning that each weft thread passes over and under two warp threads at a time, the result is a distinctive diagonal-weave pattern in the fabric which is called the twill line. This kind of twill, when according to a given sett or written colour pattern is called tartan
12.
Tam o' shanter (cap)
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A tam o shanter is a name given to the traditional Scottish bonnet worn by men. The name derives from Tam o Shanter, the hero of the 1790 Robert Burns poem. The tam o shanter is a flat bonnet, originally made of wool hand-knitted in one piece, stretched on a disc to give the distinctive flat shape. The earliest forms of caps, known as a blue bonnet from their typical colour, were made by bonnet-makers in Scotland. By the year 1599 five bonnet-makers guilds had formed in cities around the country, Edinburgh, Aberdeen, Perth, Stirling and Glasgow. At the end of century, it was said that the Scottish caps were the normal fashion of men and servants. The term came to denote a hat, usually associated with Scottish military regiments, derived from the old bonnet, along with the Glengarry, the Balmoral was sometimes simply described as synonomous with the tam o shanter. Before the introduction of chemical dyes in the mid-19th century. Since that time the tam o shanter has been produced in a range of fabrics, such as serge, as single colours. Women have also adopted a form of hat, known as a “tammy” or “tam”. In the First World War, a khaki Balmoral bonnet was introduced in 1915 for wear in the trenches by Scottish infantry serving on the Western Front and this came to be known as the bonnet, tam o shanter, later abbreviated among military personnel to ToS. It replaced the Glengarry – which was the regulation bonnet worn by Scottish troops with khaki field dress at the start of the war, originally knitted, the military tam o shanter subsequently came to be constructed from separate pieces of khaki serge cloth. Today, the Royal Regiment of Scotland and some regiments of the Canadian Forces continue to wear the ToS as undress, the various battalions of the Royal Regiment of Scotland identify themselves by wearing distinctive coloured hackles on their bonnets. The Black Watch, 3rd Battalion, Royal Regiment of Scotland wear a red hackle in their ToS, most regiments, however, wear a khaki toorie, matching the bonnet. In many Canadian regiments it is traditional for soldiers to wear a ToS, the tam oshanter is generally in rough khaki wool, while the balmoral is in finer quality doe-skin of a pale tan or grey shade. The tam o shanter was traditionally worn by regiments of the Australian Army which have a Scottish connection. B Company 5th/6th Battalion, Royal Victoria Regiment wore both a khaki and blue bonnet at various stages and it appears this has now been superseded by the Glengarry. Hong Kong Police Band bagpipes section wears a black and red version, the velvet academic tam worn with a tassel is part of the ceremonial dress used at many universities to distinguish those holding a doctoral degree from those holding other academic degrees
13.
Sporran
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The sporran, a traditional part of male Scottish Highland dress, is a pouch that performs the same function as pockets on the pocketless kilt. Made of leather or fur, the ornamentation of the sporran is chosen to complement the formality of dress worn with it, the sporran is worn on a leather strap or chain, conventionally positioned in front of the groin of the wearer. Since the traditional kilt does not have pockets, the sporran serves as a wallet, the sporran hangs below the belt buckle, and much effort is made to match their style and design. The kilt belt buckle can be very ornate, and contain similar motifs to the sporran cantle, early sporrans would have been worn suspended from the belt on one or other of the hips, rather than hung from a separate strap in front of the wearer. Day sporrans are usually brown leather shovel pouches with simple adornment and this style is often made entirely of leather, with a leather flap, front, and three tassels or more. They are often embossed or hand-tooled with gorgeous Celtic, thistle, or other designs on the flap and body, Dress sporrans can be larger than the day variety, and are often highly ornate. Victorian examples were usually quite ostentatious, and much more elaborate than the leather pouch of the 17th or 18th centuries. They can have sterling or silver-plated cantles trimming the top of the pouch, the cantle may contain intricate filigree or etchings of Celtic knots. The top of the cantle may have a set stone, jewel, or emblems such as Saint Andrew and this style is regarded as the most formal type of sporran. It is an attachment for those who wear kilts in special ceremonies. Prince Charlie often wore this style of sporran to formal occasions and it normally contains fur fronts, a fur gusset, 3-6 decorative fur tassels with regular or cross chains, and a metal cantle at the top. The cantle arcs along the top of the pouch and conceals a clasp and it might be decorated with Celtic symbols such as the lion rampant, thistle, stag, or Saltire. Some elaborate cantles may include gemstones, such as garnets and this style commonly fastens at the rear with a stud on a small flap that connects the front and rear of the sporran. It allows the wearer to carry a range of items due to the size of this sporran. Semi-dress sporrans combine the shape and design as the day-wear sporran. They are often worn for semi-formal occasions with Argyll outfits, designs may decorate the leather flap of this style, or a silver clan symbol or other insignia may adorn on the flap. The body fur of this style is normally a hair hide rather than a loftier material reserved for full dress sporrans. The basic figure is included with a fur front, leather gusset
14.
Aboyne
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Aboyne is a village on the edge of the Highlands in Aberdeenshire, Scotland, on the River Dee, approximately 26 miles west of Aberdeen. It has a pool at Aboyne Academy, all-weather tennis courts. Aboyne Castle and the Loch of Aboyne are nearby, Aboyne has many businesses, including a supermarket, two banks, several hairdressers, a butcher, a newsagent, an Indian restaurant and a post office. Originally, there was a station in the village. The station now contains shops and the tunnel running under the village is now home to a firearms club. The market-day in Aboyne was known as Fèill Mhìcheil, the locale was inhabited since very early times with the west wing of Aboyne Castle dated to 1671 AD. The siting of the castle itself is related to the number of the crossings of the Mounth of the Grampian Mountains to the south. The uprising began three days later in Braemar, Aboyne has a Temperate climate similar to all of the United Kingdom. The Highland Games on the Village Green features in August and the population of the village doubles, few Scottish towns have such an asset. The British Royal Family are residents in nearby Balmoral Castle during the Summer, there are many outdoor pursuits available including golf, walking, cycling, and gliding from the airfield just outside the village. Aboyne has become popular with gliding enthusiasts from Britain and Europe due to its suitable air currents, the airfield has a webcam and small weather-monitoring centre on its premises. It is the only gliding airfield in Scotland to have a tarmac runway, the close-by pass of Ballater is a rock-climbing area. The village of Dinnet is a few miles west and is the first being located inside the Cairngorms National Park, walkers and cyclists can ascend Mount Keen by cycling as far as they can from Glen Tanar forest before walking to the summit. There are leisurely activities, such as sitting at local cafes, Aboyne is a place for younger children, as there is a large green which includes facilities for rugby and football and a play park. There are two schools, Aboyne Academy and a primary school, the academy has around 650 pupils, about a third from Aboyne itself, with the remaining two thirds from surrounding villages. The school has access to a swimming pool and gym run by the adjacent Deeside Community Centre. Aboyne Academy Website Aboyne Rugby Football Club Aboyne-Dinnet Church Deeside Gliding Club grid reference NO525985 The Aboyne and Deeside festival
15.
Folk costume
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A folk costume expresses an identity through costume, which is usually associated with a geographic area or a period of time in history. It can also indicate social, marital and/or religious status, such costumes often come in two forms, one for everyday occasions, the other for festivals and formal wear. Following the outbreak of nationalism, the peasantry of Europe came to serve as models for all that appeared genuine. Their dress crystallised into so-called typical forms, and enthusiasts adopted that attire as part of their symbolism, in areas where Western dress codes have become usual, traditional garments are often worn at special events or celebrations, particularly those connected with cultural traditions, heritage or pride. International events may cater for non-Western attendees with a dress code such as business suit or national dress. In modern times, there are instances where traditional garments are required by sumptuary laws, in Bhutan, the traditional Tibetan-style clothing of gho and kera for men, kira and toego for women, must be worn by all citizens, including those not of Tibetan heritage. In Saudi Arabia, women are required to wear the abaya in public. Tibet – Chuba Inner Mongolia – Deel Japan – Kimono, Junihitoe, Sokutai Korea – Hanbok Mongolia – Deel Taiwan – Hanfu, Every ethnic group in the country has their national costume. Kebayas, sarongs and the Beskap jacket of the Javanese and the Kain batik, vietnam – Áo giao lĩnh, Áo dài, Áo tứ thân, Áo bà ba. Abkhazia – Chokha Armenia – Each region has its own style of folk costume, kuwait – Thawb Oman – Dishdasha Ossetia – Chokha Qatar – Kandura Palestine – Keffiyeh, Taqiyah, Palestinian costumes. Saudi Arabia – Thawb, Ghutrah, Agal, Bisht, Abaya, Jilbab, Niqab Syria – Dishdasha Turkey – Fez, Kaftan, Shalvar. United Arab Emirates – Kandura Yemen – Similar to Saudi Arabia, scotland – Highland dress, Kilt or trews, tam oshanter or Balmoral bonnet, doublet, Aboyne dress, and brogues or ghillies. Greek fishermans caps in many villages by the Aegean sea. Italy – Italian folk dance costumes, Roman clothing, Toga, Stola South Tyrol – Tracht, slovenia – Gorenjska noša Spain – Every autonomous region has its own national costume. For example, Bavarias well-known Tracht, Lederhosen and Dirndl, liechtenstein – Tracht, Dirndl Netherlands – Dutch cap, Klompen, poffer Switzerland – Every canton has its own specific design of a national costume. A good example is seen in the attire of Paul Bunyan. Deep South and other parts of the American South – Traditional Southern US wear includes white seersucker suits and string ties for men and these short pants remained commonplace among young urban American boys until the mid 20th century. Nantucket – Summer residents of Nantucket will often wear Nantucket Reds, amish, the Pennsylvania Dutch and some sects of Mormon fundamentalism preserve traditional 19th century clothing styles
16.
Clothing in Africa
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African clothing is the traditional clothing worn by the people of Africa. In some instances these traditional garments have been replaced by western clothing introduced by European colonialists, the Northwest Africans are less influenced by foreign elements and have remained more in antiquity. The Djellaba shares similar properties with the Grand boubou, the Dashiki, in Nigeria, women were head ties. In Sahelian Africa, the dashiki, Senegalese kaftan, and the grand boubou are worn more prominently, the dashiki is highly stylized and is rendered with an ornate V-shaped collar. In East Africa, the kanzu is the dress worn by Swahili speaking men. Women wear the kanga and the gomesi, in Southern Africa distinctive shirts are worn, like the long dresses they wear. For instance, South Africa is known for the Madiba shirt, whereas, in the Horn of Africa, the attire varies by country. In Ethiopia, men wear the Ethiopian suit and women wear the habesha kemis, in Somalia, men wear the khamis with a small cap called a koofiyad. There exist non-profit organizations in all societies that sell used clothes to for-profit companies in Africa. These white mans clothes are common in some parts of the continent. This used clothing is called Mitumba in some areas and is surrounded by some controversy, critics point to it as a threat to local clothing manufacturers and complain that it exploits consumers. Others argue that this used clothing provides useful competition for often expensive, African textiles National costume Zuria, a dress worn in Eritrea. 1970s in African fashion 1980s in African fashion 1990s in African fashion 2000s in African fashion 2010s in African fashion
17.
Balgha
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Balgha, also spelled balga, belgha, or belga, are heelless slippers made from leather. They are part of dress in the Maghreb. Balgha are worn by men and women of all social classes, penguin Books, ed. DK Eyewitness Travel Guide, Tunisia, Tunisia
18.
Agbada
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The grand boubou/bubu is one of the names for a flowing wide sleeved robe worn by men in much of West Africa, and to a lesser extent in North Africa, related to the dashiki suit. The name boubou derives from the Wolof word mbubb and it is known by various names, depending on the ethnic group wearing them, agbada, babban riga, mbubb, ksa or gandora, darraa Maghrebi Arabic, grand boubou and the English term of gown. The Senegalese boubou, a variation on the grand boubou described below, is known as the Senegalese kaftan. The female version worn in some communities is also known as a mboubou or kaftan and its origin lies with the clothing worn by the Islamic Tukulor, Mandé and Songhai peoples of the 8th-century Takrur and Ghana Empires, and 13th-century Mali and Songhai Empires. The use of the grand boubou as clothing became widespread throughout the West African region with the migration of semi-nomadic groups such as the Fulani, and traders such as the Dyula and Hausa. Comparing the grand boubou to the styles of Arabic Thawb suggests the grand boubou follows an archaic template to the contemporary male clothing of the Middle East. It has become the formal attire of many countries in West Africa, older robes have become family heirlooms passed on from father to son and are worn as status symbols. The boubou has female versions in Mali, Senegal, Gambia, Guinea, Mauritania, there is also the alternative female formal version of the boubou called the wrapper. There is a set etiquette to wearing the grand boubou, primarily in place to keep the over-gown above the ankles at any one time, thus, it is rare to see the grand boubous square shaped gown completely unwrapped. Through this, the grand boubou was historically worn by Chiefs of the Yoruba of Nigeria, Dagomba of Ghana, the Mandinka of the Gambia, the Susu of Guinea and the Temnes of Sierra Leone. Although usually a form of clothing, womens traditional clothing in much of Sahelian West Africa is of similar construction. In some places these are called the mboubou, in other regions of West Africa, the female formal clothing has been a boubou variant, called a kaftan, and in other places it is the wrapper and headscarf. Le Boubou—Cest Chic, Les boubous du Mali et dautres pays de lAfrique de lOuest - Book Review, new York, Facts on File,1994
19.
Dashiki
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The dashiki is a colorful garment for men widely worn in West Africa and also worn in other parts of Africa. It covers the top half of the body and it has formal and informal versions and varies from simple draped clothing to fully tailored suits. A common form is a loose-fitting pullover garment, with an ornate V-shaped collar and it is frequently worn with a brimless Kufi cap, which is worn in Islamic communities in Africa and the African diaspora, and a pair of pants. The dashiki originated in various West African countries bearing different cultural necessities, the name dashiki is derived from the Hausa word ʼdan ciki, which means shirt. The informal version of the dashiki is a print or embroidered dashiki. The first type consists of a dashiki, sokoto, and a matching kufi and this style is called a dashiki suit or dashiki trouser set and it is the attire worn by most grooms during wedding ceremonies. The second version consists of a shirt, matching kufi. The third type consists of a dashiki and matching trousers, a flowing gown is worn over these. This type is called a grand boubou or an agbada, there are several different styles of dashiki suits available from clothing stores. The type of shirt included in the set determines the name, the traditional dashiki suit includes a thigh-length shirt. The short sleeve, traditional style is preferred by purists, a long dashiki suit includes a shirt that is knee-length or longer. However, if the shirt reaches the ankles, it is a Senegalese kaftan, finally, the lace dashiki suit includes a shirt made of lace. A hybrid of the dashiki and caftan worn by females is a traditional male dashiki with a western skirt, grey is the traditional color for West African weddings. Most grooms wear white dashiki suits during wedding ceremonies, the most common non-traditional colors are purple and blue. Purple and lavender, the color of African royalty, blue, blue is the color of love, peace, and harmony. Black and red are the colors of mourning. The dashiki found a market in America during the Civil Rights Movement, the term dashiki began appearing in print at least as early as 1967. Reporting on the 1967 Newark riots in the Amsterdam News on July 22,1967, an article by Faith Berry in the New York Times Magazine includes it on July 7,1968
20.
Djellaba
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Djellaba /dʒᵻˈlɑːbə/ is a berber, long loose-fitting unisex outer robe with full sleeves, worn in the Maghreb region of North Africa. Traditionally, djellabas are made of wool in different shapes and colours, traditionally, djellabas reached down to the ground but lightweight djellabas are somewhat slimmer and shorter. Men often wear a light-coloured djellaba sometimes along with a traditional arab red fez hat and soft yellow babouche slippers for religious celebrations, almost all djellabas of both styles include a baggy hood called a qob that comes to a point at the back. The hood is important for both sexes, as it protects the wearer from the sun, and in earlier times was used as a defence against sand being blown into the face by strong desert winds. In colder climes, as in the mountains of Morocco and Algeria, it serves the same function as a winter hat, preventing heat loss through the head and protecting the face from snow. It is not uncommon for the hood to be used as a pocket during times of warm weather. Traditional djellabas are made of two types of material, cotton for summer wear and coarse wool for the winter. The wool is obtained from sheep living in the surrounding mountains. Abaya Bekishe Dashiki Jellabiya Jilbāb Kaftan Takchita Tallit Thawb Moroccan Clothing
21.
Head tie
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A head tie is a womens cloth head scarf that is commonly worn in many parts of Southern Africa and Western Africa. In South Africa and Namibia, the Afrikaans word doek is used for the head covering used among most elderly local women in rural areas. In other parts of the continent, terms like duku, dhuku, tukwi, the head scarf is used as an ornamental head covering or fashion accessory, or for functionality in different settings. Its uses or meaning can vary depending on the country and/or religion of those who wear it, in Ghana, opportunity to wear a duku usually falls on a religious day of Friday, Saturday or Sunday. This depends on whether the wearers are Muslim, Seventh-Day Adventists or Sunday church-going Christians, in Nigeria, the head-ties are known as gele, and can be rather large and elaborate. Although the gele can be worn for activities, the elaborate ceremonial ones are worn to weddings, special events. It is usually made of a material that is firmer than regular cloth, when worn, especially for more elaborate events, the gele typically covers a womans entire hair as well as her ears. The only part exposed is her face and earrings on the part of her earlobes. The gele is accompanied by traditional local attire that may or may not have the pattern as the headtie itself. Malawian head-ties are usually small and conservative compared to the Nigerian style, in addition, they are worn during sleep to protect the hair. In South African church services women may wear white dukus to cover their heads, at the International Pentecostal churches in South Africa, married women wear white dukus. The Shangaan women in Zimbabwe and South Africa wear dukus as accessories, at other social gatherings in Zimbabwe women may wear a dhuku. However,2016 saw resurgence of wearing doeks through the movement among students around South Africa. Headscarf Hijab Africastyles. com Anyiams. com Afrricastyles. com Bbc. co. uk Bbc. co. uk Africastyles. com
22.
Jellabiya
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The jellabiya is a traditional Sudanese and Egyptian garment native to the Nile Valley. It differs from the Arabian thawb in that it has a cut, no collar. In case of farmers, these sleeves can be very wide and they are then used to store small items such as tobacco or money. Jellabiya colours are white in the summer. During winter, thicker fabric in other such as grey, dark green, olive, blue, tan or striped fabrics are used. The garment is worn with an ammama. Bekishe Djellaba Hijab Jilbāb Thawb Qamis What is Gallabia
23.
Kente cloth
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Kente, known as nwentom in Akan, is a type of silk and cotton fabric made of interwoven cloth strips and is native to the Akan ethnic group of South Ghana. Kente is made in Akan lands such as Ashanti Kingdom, and it is also worn by many other groups who have been influenced by Akans. It is the best known of all African textiles, Kente comes from the word kenten, which means basket in Akan dialect Asante. Akans refer to kente as nwentoma, meaning woven cloth and it is an Akan royal and sacred cloth worn only in times of extreme importance and was the cloth of kings. Over time, the use of kente became more widespread, however, its importance has remained and it is held in high esteem with Akans. The Ewe people especially those from Agortime-Kpetoe of Ghana also claim that, according to their history weaving was the skill they came with when they migrated from Egypt through Nigeria to their present location in Ghana. Per the oral history of the people, during the Ashante wars they captured some of their men who were skilled in the weaving of Agbamevor. For that reason, the Ewes believe that the name Kete originates from the used to weave such cloths which is also the same name that has been corrupted into kente. The icon of African cultural heritage around the world, Akan kente is identified by its dazzling, multicolored patterns of colors, geometric shapes. Kente characterized by weft designs woven into every available block of plain weave is called adweneasa, the Akan people choose kente cloths as much for their names as their colors and patterns. Although the cloths are identified primarily by the found in the lengthwise threads. Names are derived from sources, including proverbs, historical events, important chiefs, queen mothers. West Africa has had a weaving culture for centuries via the stripweave method. Kente cloth has its origin in the Ashanti kingdom, and was adopted by people in Ivory Coast, the origin of kente is in the Akan empire of Bonoman. Most Akans migrated out of the area that was Bonoman to create various states, the Ewe people think that weaving of Kente originates with them although they are not claiming they for most invent the art of weaving. In addition, the Ewes suggest that the name Kente is derived from Kete which relates to the two alternating rhythmic actions associated with the weaving of the loom. The Pangi cloth made by the Maroons is a fabric with multi-colored vertical and horizontal stripes. With the female essence of life, a mild, gentle aspect of red purple—assoc, with feminine aspects of life, usually worn by women red—political and spiritual moods, bloodshed, sacrificial rites and death
24.
Kufi
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A kufi or kufi cap is a brimless, short, and rounded cap worn by men in many populations in North Africa, East Africa, Western Africa and Asia. It is also worn by men throughout the African diaspora and it is also commonly called a topi or tupi among the Indian subcontinent. In West Africa, a cap is the traditional hat for men. It is worn by Muslims, African Christians and African Jews, many grandfathers and other older men wear a kufi every day to symbolize their status as wise elders, religious people, or family patriarchs. Within the United States, it has become identified primarily with persons of West African heritage, who wear it to show pride in their culture, history, often made of kente cloth, mudcloth, or knitted or crocheted in a variety of yarns. Crown style kufis are the hat worn with formal West African attire. A formal dashiki suit will always include a crown style kufi, in the United States today, many African-Americans wear the kufi during weddings, funerals, graduations and Kwanzaa celebrations. Furthermore, people of mainly West African heritage of all faiths wear the kufi, a West African king or tribal chief may have royal or noble arms embroidered on the kufi. For members of the Christian faith, the kufi is unisex, crochet and knitted styles are preferred by young girls and infants. Traditionally, when worn by men, the kufi is a sign of peace, mourning, in the Yoruba language, Ade means crown, and fila means cap. The city of Kufi is located in Yorubaland near Ibadan, other West African names include fula, fila, and malo hat. This cap is called a kofia in the Swahili language of East Africa, in the United States, the West African name, kufi, is most commonly used. Smoking cap Kofia - cap worn in East Africa Taqiyah Fez Dashiki Womens wrapper, anyiam, Jumping the Broom in Style. Media related to Kufi at Wikimedia Commons
25.
Tagelmust
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The tagelmust is an indigo-dyed cotton garment, with the appearance of both a veil and a turban. The cloth may exceed ten meters in length and it is mostly worn by Tuareg Berber men, and is sometimes also used by men in other neighbouring ethnic groups, such as the Hausa or Songhai. In recent times, other colors have come into use, with the indigo veils saved for use on special occasions and it usually has many layers that cover the head, and it drapes down to loosely cover the neck. It is also worn by some French people as a scarf and it prevents the inhalation of wind-borne sand by its wearers in the Sahara region. Because of the scarcity of water, the tagelmust is often dyed by pounding in dried indigo instead of soaking it. The dye often permanently leaches into the skin of the wearer, and because of this, among the Tuareg, men who wear the tagelmust are called Kel Tagelmust, or People of the Veil. The tagelmust is worn only by males, and only taken off in the presence of close family. Alasho, a similar turban veil worn by Hausa men Philippi, sammlung Philippi, Kopfbedeckungen in Glaube, Religion und Spiritualität
26.
Wrapper (clothing)
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The wrapper, lappa, or pagne is a colorful womens garment widely worn in West Africa. It has formal and informal versions and varies from simple draped clothing to fully tailored ensembles, the formality of the wrapper depends on the fabric used to create it. In West Africa, a kaftan or caftan is a womans robe. In French, this robe is called a boubou, pronounced boo-boo, the boubou is the traditional female attire in many West African countries including Senegal, Mali and other countries. The boubou can be formal or informal attire, the formality of the kaftan depends upon the fabric used to create it. In Yorubaland, Nigeria the wrapper is common, called an iro in the Yoruba language, the wrapper is usually worn with a matching headscarf or head tie that is called a gele in Yoruba, pronounced geh-leh. A full wrapper ensemble consists of three garments, a blouse, called a buba, pronounced boo-bah the iro and a called a head tie in English. Traditional male attire is called a agbada, a wrapper takes metres of quality fabric. White wrapper sets are worn during wedding ceremonies, pagne designates a certain cut and type of untailored cotton textile, especially in Francophone West and Central Africa. Enormously popular in much of tropical Africa, the pagne cloths usage and patterns may be used to by convey by the wearer a number of social and it is similar—though distinct in size, expected pattern, and usage—to the Khanga, Kikoy or Chitenge of East and Southern Africa. From the pagne any number of garments may be created or it can be used untailored as a wrap, headtie, skirt, the Portuguese pano for cloth has become the French pagne, Dutch paan, and others. It appears to have referred to East Asian textiles traded in East and West Africa. In the UK and North America, a wrapper is also a term for an informal house garment. Today, words such as housecoat and bathrobe or dressing gown are usually employed instead, batik—created with hot wax and dye. Fancy print—created by printing patterns on cloth, unlike expensive wax prints, the design is printed on one side of the cotton fabric. Fancy prints are made in Europe, India, and West Africa, the most popular fancy print is known as the traditional print. Kente is a fabric for anyone who is not a member of the Akan people. For Akans and many Ewes, kente is a formal cloth, mudcloth—created by making mud drawings on cotton
27.
Pashtun clothing
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As a chiefly rural and nomadic population, the Pashtun dress of Afghanistan and Pakistan is typically made from light linens, and are loose fitting for ease of movement. The Pashtun dress includes local forms of the shalwar kameez, which are made for males and females. The traditional male dress includes the Khet partug and Perahan wa tunban, males usually wear kufi, Peshawari cap, turban, sindhi cap or pakul as traditional headgear. Pashtun Leaders sometimes wear a hat, like former President Hamid Karzai. The traditional female dress is the Firaq partūg, women typically wear solid-coloured trousers, a long kamīs shirt with a belt. Sometimes they will wear an encompassing burqa over this outfit or a tsādar on their head, more elaborate and fancier dresses are detailed with gold threading, gold beads, and come in many different colors on silk fabrics. These dresses are worn to special occasions and weddings. Many of the groups who live alongside the Pasthuns in Afghanistan, Pakistan have also adopted the dress because of comfort or popular culture. Peshawari chappal, a type of Pashtun footwear mostly worn in the Peshawar region Pashtun culture Shalwar Kameez Khet partug Peshawari Pagri Perahan tunban Firaq partug
28.
Pakol
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Pakol, or the Afghan Hat, is a soft, round-topped mens hat, typically of wool and found in any of a variety of earthy colours, brown, black, grey, or ivory, or dyed red using walnut. Before it is put on, it resembles a bag with a round, the wearer rolls up the sides nearly to the top, forming a thick band, which then rests on the head like a beret. Pakols ancestor is perhaps the remarkably similar ancient Macedonian kausia hat, the Chitralis are considered descendants of ancient Greeks. It gained popularity in Nuristan a few centuries ago. It is now very commonly worn in Swat and Dir in Pakistan. The word Pakol is derived from Chitrali Khowar language which means round cap and this cap is originated in somewhere between Chitral and Gilgit. Later Pashtuns of adjoining areas like Swat, Dir in Pakistan and Nuristan region of Afghanistan adopted it, according to the internationally known scholar on Afghanistan, Louis Dupree, the pakul is the regional headgear worn by the men of Nuristan, a region in northwest Afghanistan. Since they are made in Chitral, Pakistan, they are also referred to as Chitrali caps. In the 1980s, the Pakul was worn by a unit of the Afghan Mujahideen who fought against the Soviets. Today, they are worn by the forces of the United Front and he was assassinated in September,2001. Since then this Chitrali cap is famous in Afghanistan, the patti is first sewn into the shape of a cylinder, about a foot or more long. One end of the cylinder is capped with a piece of the same material. The woollen cylinder is then inverted and fitted onto a wooden block. The rim of the cylinder is then rolled up to the top. Today there are two varieties of cap, Chitrali Pkol and Gilgit feather hat also called Shati. In Gilgit-Baltistan, the white cap is more popular and worn with a peacock plume stuck in the folds, like a badge. The deep blue and green of the feather, set against the white of the cap, is quite eye catching. Because of the material, the pakol is basically a cold weather cap. Because of this, several authors, some even deeply acquainted with Afghanistan, have sometimes condoned definitions like “Tajik hat” or “Panjshiri hat”, actually, it could be termed by the same right, “Nuristani hat” or “Chitrali hat”, would come closer to the historical truth
29.
Chapan
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Chapan or is a coat worn over clothes, usually during the cold winter months. Usually worn by men, these coats are adorned with intricate threading and come in a variety of colors and it is worn in Central Asia, including Uzbekistan, Afghanistan, Tajikistan, Kazakhstan and Kyrgyzstan. A chapan cape was often worn by former Afghan president Hamid Karzai
30.
Deel (clothing)
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The deel is still commonly worn by both men and women outside major towns, especially by herders. In urban areas, deels are mostly worn by elderly people. The deel appears similar to a caftan or an old European folded tunic, deels typically reach to below the wearers knees and fan out at the bottom and are commonly blue, olive, or burgundy, though there are deels in a variety of other colors. The deel looks like a large overcoat when not worn, instead of buttoning together in the middle, the sides are pulled against the wearers body, the right flap close to the body with the left covering. On the right side of the wearer are typically 5 or 6 clasps to hold the top flap in place, there is one clasp below the armpit, three at the shoulder, and either one or two at the neckline. A deel is traditionally worn with a sash, usually made of silk but leather belts with large. The area between the flaps and above the belt creates a pocket in which Mongolians keep many things, Mongolian men will occasionally even carry silver bowl or cup. In Mongolia, the usage of the word deel has been extended to other long winter coats as well. Nevertheless, other Mongol regions, such as Bortala in Xinjiang retain the meaning of the word deel as the traditional garment. Deel design varies among cultures, ethnic groups and time periods to a certain degree, there are even distinct variations among different Mongol tribes mostly on the design of the upper chest opening edges. For instance the Khalkha Mongol deel opening edges are round while a Buryat deels is square and it can also vary among other tribes such as Chakhar, Torguud, and Uzemchin. Deels are designed for different occasions and environments, the design also varies due to function. There are deels for ceremonies like weddings and holidays and deels for daily wear, deels for special occasions have their outer layer made of silk while the common deels are usually made of wool, cotton and other relatively inexpensive materials
31.
Paranja
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Paranja from فرنجية is a traditional Central Asian robe for women and girls that covers the head and body. It is also known as the burqa in other languages and it is similar in basic style and function to other regional styles such as the Afghan chadari. The chasmband and paranja were used by women to cover themselves in cities in Central Asia. In Central Asian sedentary Muslim areas, women wore veils which shrouded the entire face and these were called paranja or faranji. The traditional veil in Central Asia worn before modern times was the faranji, tajikistan President Emomali has claimed that veils were not part of Tajik culture. The veil was attacked by the government of Atambaev, the Kyrgyz President, the part that covered the face, known as the chachvan, was heavy in weight and made from horsehair. It was especially prevalent among urban Uzbeks and Tajiks, the paranja was worn in Khorezm. It was also worn during the Shaybanids rule, in the 1800s, women were obliged to wear paranja when outside the house. Paranji and chachvon were by 1917 common among urban Uzbek women of the river basins. This was less frequently worn in the areas, and scarcely at all on the nomadic steppe. The unveiling by the Soviets was called the hujum in the Uzbek SSR, the paranja was worn in Central Asia in cities. The paranjas were burned on orders of the Communist Soviets, due to the fact that paranjas were worn by Tajiks and Uzbeks, in Bukhara none of the women could be seen by Lord Curzon in his travel there in 1886. Lord Curzon remarked I have frequently been asked since my return - it is the question which an Englishman always seems to ask first - what the women of Bokhara were like, I am utterly unable to say. I never saw the features of one between the ages of ten and fifty, the little girls ran about unveiled, in loose silk frocks, and wore their hair in long plaits escaping from a tiny skull-cap. Similarly the old hags were allowed to exhibit their innocuous charms, on the ground, I suppose, but the bulk of the female population were veiled in a manner that defied and even repelled scrutiny. Their chaussures consist of heavy boots, in which their little feet are fixed, enveloped in a mass of leather. Such a costume is not in itself attractive, but even so attired, ladies of rank and good character never venture to show themselves in any public place or bazaar. This becomes, after a while, one of the most disagreeable features of Khiva, mens faces, nothing but mens faces for weeks and months, until you long for the sight of a womans face, as you do for green grass and flowers in the desert
32.
Chinese clothing
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Chinese clothing is ancient and modern. Chinese clothing has varied by region and time, and is recorded by the artifacts and arts of Chinese culture, depending on ones status in society, each social class had a different sense of fashion in ancient China. Most Chinese men wore Chinese black cotton shoes, but wealthy higher class people would wear black leather shoes for formal occasions. Very rich and wealthy men would wear bright, beautiful silk shoes sometimes having leather on the inside. Women would wear silk shoes, with certain wealthy women practicing bound feet wearing coated Lotus shoes as a status symbol until in the early 20th century, mens shoes were usually less elaborate than womens. Chinese civil or military officials used a variety of codes to show their rank, the most recognized is the Mandarin square or rank bad In. Another code was also the use of hat knobs fixed on the top of their hats. The specific hat knob on ones hat determined ones rank, as there were twelve types of hat knobs representing the nine distinctive ranks of the civil or military position. Variations existed for Ming official headwear, in the Qing Dynasty different patterns of robes represented different ranks. The rise of the Manchu Qing Dynasty in many ways represented a new clothing styles were required to be worn by all noblemen, eventually, this style became widespread among the commoners. A new style of dress, called tangzhuang, included the changshan worn by men, Manchu official headwear differed from the Ming version, but the Qing continued to use the Mandarin square. It was around this time that foot binding became more popular, the abolition of imperial China in 1912 had an immediate effect on dress and customs. The largely Han Chinese population immediately cut off their queues they had forced to grow in submission to the overthrown Qing Dynasty. Sun Yat-sen popularised a new style of wear, featuring jacket. Adapted from Japanese student wear, this style of dress became known as the Zhongshan suit, for women, a transformation of the traditional qipao resulted in a slender form-fitting dress with a high cut. This new cheongsam contrasted sharply with the traditional qipao but has replaced it in modern fashion. In the early period, the traditional dudou underbodice was largely abandoned in favor of western-style corsets. Early in the Peoples Republic, Mao Zedong would inspire Chinese fashion with his own variant of the Zhongshan suit, meanwhile, Sun Yat-sens widow, Soong Ching-ling, popularized the cheongsam as the standard female dress
33.
Hanfu
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Hanfu is the traditional, historical dress of the Han people. The term Hanfu was originally recorded by the Book of Han, Chinese clothing is influential to Japanese kimono and Korean hanbok. From the beginning of its history, Hanfu was inseparable from silk, supposedly discovered by the Yellow Emperors consort, vivid primary colors and green were used, due to the degree of technology at the time. Such markers included the length of a skirt, the wideness of a sleeve, in addition to these class-oriented developments, Han Chinese clothing became looser, with the introduction of wide sleeves and jade decorations hung from the sash which served to keep the yi closed. The yi was essentially wrapped over, in a known as jiaoling youren, or wrapping the right side over before the left. The style of traditional / historical Han clothing can be summarized as containing garment elements that are arranged in distinctive, one can often tell the profession or social rank of someone by what they wear on their heads. The typical types of male headwear are called jin for soft caps, mao for stiff hats, officials and academics have a separate set of hats, typically the putou, the wushamao, the si-fang pingding jin and the Zhuangzi jin. A typical hairpiece for women is the ji but there are more elaborate hairpieces, in addition, managing hair was also a crucial part of ancient Han peoples daily life. Commonly, males and females would stop cutting their hair once they reached adulthood and this was marked by the Chinese coming of age ceremony Guan Li, usually performed between ages 15 to 20. They allowed their hair to grow long naturally until death, including facial hair, children were exempt from the above commandment, they could cut their hair short, make different kinds of knots or braids, or simply just let them hang without any care. However, once they entered adulthood, every male was obliged to tie his hair into a bun called ji either on or behind his head. Females on the hand, had more choices in terms of decorating their hair as adults. They could still arrange their hair into as various kinds of hairstyles as they pleased, there were different fashions for women in various dynastic periods. Han children and females were spared from this order, also Taoist monks were allowed to keep their hair, Han defectors to the Qing like Li Chengdong and Liu Liangzuo and their Han troops carried out the queue order to force it on the general population. Han-Chinese clothing had changed and evolved with the fashion of the days since its commonly assumed beginnings in the Shang dynasty, many of the earlier designs are more gender-neutral and simple in cuttings. Later garments incorporate multiple pieces with men commonly wearing pants and women wearing skirts. Clothing for women usually accentuates the bodys natural curves through wrapping of upper garment lapels or binding with sashes at the waist, each dynasty has their own styles of Hanfu as they evolved and only few styles are fossilized. Types include tops and bottoms, and one-piece robes that wrap around the body once or several times, note, Daopao doesnt necessarily means Taoists robe, it actually is a style of robe for scholars
34.
Yuanlingshan
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Yuanlingshan is a form of traditional Chinese attire. It is a formal attire worn by men and it is also the most common form of attire for officials and nobles during the Ming Dynasty. The difference between civilians and officials/nobles yuanlingshan is that officials/nobles yuanlingshan has a square on it. The sleeves of the yuanlingshan are mostly curved with a narrow sleeve cuff and it has round collar and side slits. Mens yuanlingshan have side panels at the slits to conceal the undergarments. The collar is secured with a button, and a crossed-collar undergarment must be worn, however, yuanlingshan is not worn alone. Underneath the Yuanlingshan is worn the Da Hu and the Tie Li, during an Imperial Funeral, Ming officers wore a grey blue Yuanlingshan, buffalo horn panel belt and wushamao. This set was known as Qing Su Fu, officials/nobles yuanlingshan are also wedding attire for commoners. The groom wears a hat and the yuanlingshan of a 9th rank official robe. The bride wears the crown and a red yuanlingshan with the xiapei of a noblewoman. Panling Lanshan Han Chinese clothing List of Han Chinese clothing
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Beizi
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A beizi is an item of traditional Chinese attire common to both men and women, a large loose coat. It was most popular during the Song Dynasty and Ming Dynasty, the origin date of beizi is unknown, and someone believed that beizi and banbi had been adopted from Central Asia during the Tang Dynasty through the Silk Road when cultural exchanges were frequent. However, it is believed to have been derived from banbi during the Song Dynasty, where the sleeves. The gender difference is that while wide-sleeved beizi were considered formal wear for women and it has a parallel/straight-collar with side slits beginning at the armpit or at the waist. It can be secured at the front either with ties or a metal button, Han Chinese clothing List of Han Chinese clothing
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Changshan
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A changshan in traditional Chinese dress is a long jacket or tunic worn by men. In function, it is considered the equivalent of the womens cheongsam. It is also known as a changpao or dagua and these types of dress were widely adopted beginning under the Manchu rulers of the Qing dynasty, who required that men in certain positions wear this style. It took more time for the majority of women to adopt the new style of qipao rather than hanfu, the Mandarin Chinese word changshan is cognate with the Cantonese term 長衫 chèuhng sàam. This was borrowed into English as cheongsam, unlike the Mandarin term, however, chèuhngsàam can refer to both male and female garments. In Hong Kong the term is used to refer to the body-hugging female garment rather than the male changshan. Because of the long British presence in Hong Kong, that usage has become reflected in the meaning of cheongsam in English. Changshan, along with qipao, were introduced to China during the Qing dynasty, the Manchus in 1636 ordered that all Han Chinese should adopt the changshan style of dress or face harsh punishment. However, after the 1644 fall of the Ming dynasty, the Manchu stopped this order, they required only that court, commoners were still allowed to wear the hanfu. Over time, the commoners adopted the changshan and qipao as their own dress, the traditional Chinese Hanfu style of clothing was gradually replaced. Over time, the Manchu style gained popularity, changshan was considered formal dress for Chinese men before Western-style suits were widely adopted in China. The male changshan could be worn under an overcoat, and topped with a fedora. This combination expressed an East Asian modernity in the early 20th century, the 1949 Communist Revolution ended the wearing of changshan and other traditional clothing in Shanghai. Shanghainese emigrants and refugees carried the fashion to Hong Kong, where it has remained popular, recently in Shanghai and elsewhere in mainland China, many people have revived wearing the Shanghainese changshan. Changshan are traditionally worn for formal pictures, weddings, and other formal Chinese events, a black changshan, along with a rounded black hat, was, and sometimes still is, the burial attire for Chinese men
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Cheongsam
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The cheongsam is a body-hugging one-piece Chinese dress for women, also known as qipao, and was ROCs mandarin gown. The stylish and often tight-fitting cheongsam or qipao that is best known today was created in the 1920s in Shanghai and made fashionable by socialites and upper class women. The English loanword cheongsam comes from chèuhngsāam, the Cantonese pronunciation of the Shanghainese term zǎnze or zansae, by which the original tight-fitting form was first known. The Shanghainese name was somewhat in contrast with usage in Mandarin and other Chinese dialects, where chángshān refers to an exclusively male dress and the female version is known as a qípáo. In Hong Kong, where many Shanghai tailors fled to after the communist revolution in China, the word keipo is either a more formal term for the female chèuhngsāam, or is used for the two-piece cheongsam variant that is popular in China. Traditionally, usage in Western countries mostly followed the original Shanghainese usage, during the Qing dynasty, certain social strata emerged. Among them were the Banners, mostly Manchu, who as a group were called Banner People, Manchu women typically wore a one-piece dress that retrospectively came to be known as the qípáo. The generic term for both the male and the forms of Manchu dress, essentially similar garments, was chángpáo. The qipao fitted loosely and hung straight down the body, or flared slightly in an A-line. Under the dynastic laws after 1636, all Han Chinese in the system were forced to adopt the Manchu male hairstyle of wearing a queue as did all Manchu men. Most Han civilian men voluntarily adopted Manchu clothing while Han women continued wearing Han clothing. Until 1911, the changpao was required clothing for Chinese men of a certain class, the qipao was a new fashion item for Han Chinese women when they started wearing it around 1925. The original qipao was wide and loose and it covered most of the womans body, revealing only the head, hands, and the tips of the toes. The baggy nature of the clothing also served to conceal the figure of the wearer regardless of age, with time, though, the qipao were tailored to become more form fitting and revealing. The modern version, which is now recognized popularly in China as the standard qipao, was first developed in Shanghai in the 1920s, People eagerly sought a more modernized style of dress and transformed the old qipao to suit their tastes. Slender and form fitting with a cut, it had great differences from the traditional qipao. It was high-class courtesans and celebrities in the city that would make these redesigned tight fitting qipao popular at that time, in Shanghai it was first known as zansae or long dress, and it is this name that survives in English as the cheongsam. Like the male changpaos they derive from, cheongsams in the beginning were always worn in conjunction with trousers, however, with the introduction of Western fashion during the Nanking decade, it became a popular choice to replace these with stockings
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Mao suit
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The modern Chinese tunic suit is a style of male attire traditionally known in China as the Zhongshan suit, and later as the Mao suit. Sun Yat-sen introduced the style shortly after the founding of the Republic of China as a form of national dress although with a distinctly political, in the 1960s and 1970s the Mao suit became fashionable among Western European, Australian, and New Zealander socialists and intellectuals. It was sometimes worn over a turtleneck, when the Republic was founded in 1912, the style of dress worn in China was based on Manchu dress, which had been imposed by the Qing Dynasty as a form of social control. The majority-Han Chinese revolutionaries who overthrew the Qing were fueled by failure of the Qing to defend China, the Zhongshan suit is a similar development which combined Western and Eastern fashions. The Zhongshan suit was an attempt to cater to contemporary sensibilities without adopting Western styles wholesale, dr. Sun Yat-sen was personally involved, providing inputs based on his life experience in Japan, the Japanese cadet uniform became a basis of the Zhongshan suit. Over time, minor stylistic changes developed, the suit originally had seven buttons, later reduced to five. As a result, early Communist Party members adopted the attire as a mark of joining the Nationalist Party, after Sun Yat-sens death in 1925, popular mythology assigned a revolutionary and patriotic significance to the Zhongshan suit. The four pockets were said to represent the Four Virtues cited in the classic Guanzi, Propriety, Justice, Honesty, finally, unlike Western-style suits that are usually composed of two layers of cloth, the jacket is in a single piece—symbolizing Chinas unity and peace. In the 1920s and 1930s, civil servants of the Chinese government were required to wear the Zhongshan zhuang, the Mao suit remained the standard formal dress for the first and second generations of PRC leaders such as Deng Xiaoping. During the 1990s, it began to be worn with decreasing frequency by leaders of Jiang Zemins generation as more and more Chinese politicians began wearing traditional Western-style suits with neckties, Jiang wore it only on special occasions, such as to state dinners. Hu Jintao still wore the Mao suit, but only on special occasions, hu Jintao even showed up to a black tie state dinner in the United States wearing a business suit, attracting some criticism for being underdressed at a formal occasion. In the Xi Jinping administration, however, the Mao suit made a comeback as a diplomatic uniform, in Taiwan, the Zhongshan suit was seldom seen after the 1970s. The Mao suit is worn at the most formal ceremonies as a symbol of national sovereignty, Chinese paramount leaders always wear Mao suits for military parades in Beijing, even though the Vice President and other Politburo officials wear Western business suits. It is customary for Chinese leaders to wear Mao suits when attending state dinners, in this situation, the Mao suit serves as a form of evening dress, equivalent to a military uniform for a monarch, or a tuxedo for a president. The Mao suit also serves as a diplomatic uniform, although Chinese ambassadors usually wear Western business suits, many Chinese ambassadors choose to wear a Mao suit when they present their credentials to the head of state. The presentation ceremony is symbolic of the recognition that exists between the two countries, so it carries a higher level of formality than other diplomatic meetings. Barong Tagalog French Nehru jacket Gakuran Mandarin collar Madiba shirt Safari jacket Feldbluse Abacost Mao cap History of the Mao Suit
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Tangzhuang
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A tangzhuang is a type of Chinese jackets that originated at the end of the Qing dynasty. In modern times it has been adopted by ordinary people. They are often worn by men, although women wear them as well, in Chinese communities, the Mao suit, the western suit, and the Tang suit are the main forms of formal dress for men on many occasions. Tangzhuang are made in different colors, most commonly red, navy, gold, black, one common design is the use of Chinese characters as monograms such as Fu or Shou to spread good luck and wishes. At the Asia-Pacific Economic Cooperation summit in Shanghai in November 2001, Chinese clothing Cheongsam Changshan Mandarin collar Hanfu jiury. com on the Tangzhuang
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Japanese clothing
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There are typically two types of clothing that the Japanese wear, the Japanese clothing, such as kimonos, and Western clothing. Japanese culture has greatly impacted by the rest of the world throughout history. One of the most noticeable changes in Japanese culture is the clothing, traditional, while the traditional ethnic garments of Japan are still in use, they are mainly worn for ceremonies and special events, funerals, coming-of-age ceremonies, and festivals. In more recent years, western clothing is often in day-to-day life. While the westernization of fashions has continued at a rapid pace, modern Japanese fashion history might be conceived as the very gradual westernization of Japanese clothes. The woolen and worsted industries were completely a product of Japan’s re-established contact with the West in the 1850s and 1860s, before the 1860s, Japanese clothing consisted entirely of a great variety of kimono. They first appeared in the Jomon period, with no distinction between male and female, after Japan opened up for trading with the outside world, other clothing options started to come in. The first Japanese to adopt western clothing were officers and men of some units of the shoguns army, sometime in the 1850s these men adopted woolen uniforms worn by English marines stationed at Yokohama. To produce them could not have been easy, the cloth had to be imported. Perhaps the most significant of early adoption of Western styles was its public origin. For quite a while, the sector remained as major champion of the new garb. The style only grew from there, moving out from the military to other lifestyles, soon, courtiers and bureaucrats were urged to adopt Western clothing, which was thought to be more practical. The Ministry of Education ordered that Western-style student uniforms be worn in public colleges and universities, businessmen, teachers, doctors, bankers, and other leaders of the new society wore suits to work and at large social functions. Although western-style dress was becoming popular for workplaces, schools. Since World War II most areas have taken over by western clothing. Thus, by the opening of the century, western dress was a symbol of social dignity. However, the vast majority of Japanese stuck to their fashions, Western dress for street wear and Japanese dress at home remained the general rule for a very long time. An example of Eastern influence from Japan that spread to the rest of the world is evident in the late 1880s, an ordinary wool blanket was used as a shawl for women, and a red blanket was featured in Vogue for winter wear
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Hachimaki
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A hachimaki is a stylized headband in Japanese culture, usually made of red or white cloth, worn as a symbol of perseverance, effort, and/or courage by the wearer. These narrow strips of fabric are generally decorated with slogans, like 日本一. The historical origin of hachimaki is uncertain, one theory links the cloth to those worn by early religious ascetics. Another theory states that they originated in headbands worn by samurai that kept their helmets on, to absorb perspiration and this is similar to the purpose of the European cloth arming cap. Perhaps the most well known usage of the hachimaki was by the kamikaze pilots toward the end of World War II, kamikaze pilots would frequently don a hachimaki, usually with the kanji 神風, before flying to their deaths
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Kimono
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The kimono is a Japanese traditional garment. The word kimono, which means a thing to wear, has come to denote these full-length robes. The standard plural of the kimono in English is kimonos. The kimono is always used in important festival or formal moments, it is the representative of polite, Kimono has T-shaped, straight-lined robes worn so that the hem falls to the ankle, with attached collars and long, wide sleeves. Kimono are wrapped around the body, always with the side over the right and secured by a sash called an obi. Kimono are generally worn with traditional footwear and split-toe socks, today, kimono are most often worn by women and on special occasions. Traditionally, unmarried women wore a style of kimono called furisode, with almost floor-length sleeves, a few older women and even fewer men still wear the kimono on a daily basis. Men wear the kimono most often at weddings, tea ceremonies, professional sumo wrestlers are often seen in the kimono because they are required to wear traditional Japanese dress whenever appearing in public. Chinese fashion had a influence on Japan from the Kofun period to the early Heian period as a result of mass immigration from the continent. During Japans Heian period, the kimono became increasingly stylized, though one still wore a half-apron, called a mo, over it. During the Muromachi age, the Kosode, a single kimono formerly considered underwear, began to be worn without the hakama over it, and thus began to be held closed by an obi belt. During the Edo period, the sleeves began to grow in length, especially among unmarried women, since then, the basic shape of both the men’s and women’s kimono has remained essentially unchanged. Kimonos made with exceptional skill from fine materials have been regarded as great works of art, the formal kimono was replaced by the more convenient Western clothes and yukata as everyday wear. After an edict by Emperor Meiji, police, railroad men, the Western clothes became the army and school uniform for boys. After the 1923 Great Kantō earthquake, kimono wearers often became victims of robbery because they could not run very fast due to the nature of the kimono on the body. The Tokyo Womens & Childrens Wear Manufacturers Association promoted Western clothes, between 1920 and 1930 the sailor outfit replaced the undivided hakama in school uniforms for girls. The 1932 fire at Shirokiyas Nihonbashi store is said to have been the catalyst for the decline in kimonos as everyday wear, kimono-clad Japanese women did not wear underwear and several women refused to jump into safety nets because they were ashamed of being seen from below. The national uniform, Kokumin-fuku, a type of Western clothes, was mandated for males in 1940, today most people wear Western clothes and wear the breezier and more comfortable yukata for special occasions
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Cheopji
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Cheopji is a Korean hair accessory decorating the chignon of ladies when they wear a ceremonial dress. It is usually made of silver, and a frog-shape is its common form, the use of cheopji began after Baljaegaeheok proclaimed by Yeongjo of Joseon. It was used routinely at court, but ordinary people were to use only when they wear a ceremonial dress
44.
Daenggi
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Daenggi is a traditional Korean ribbon made of cloth to tie and to decorate braided hair. There are several types of daenggi according to purpose, age, tteoguji daenggi, maegae daenggi, doturak daenggi, and deurim daenggi are used for ceremonial purpose. While jebiburi daenggi, doturank daenggi, jjok daenggi, and malttuk daenggi, the daenggi used for gungnyeo or count ladies during the Joseon Dynasty were negadak daenggi, and patip daenggi. Gache Hanbok Hwarot List of Korean clothing
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Gache
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The gache is a big wig worn by Korean women. Women of high social backgrounds and kisaeng wore them, like their western contemporaries Koreans considered bigger and heavier wigs to be more aesthetically pleasing. Also due to its costliness, some lower-class families took up to 6–7 years preparing a new gache wig for their new daughter-in-law, the gache also flourished in Goryeo, the Three Kingdoms, Balhae, the Gaya confederacy, and Gojoseon. They were decorated with objects, gold, jewels, silver, coral, jade. Certain decorations were reserved for royalty, in the 19th century, yangban women began to wear jokduri, a small hat that substituted for the gache. However gache still enjoyed vast popularity in kisaeng circles and traditional weddings, inclusive of its decorations, a gache usually weighs about 3 to 4 kg
46.
Hanbok
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Hanbok or Joseon-ot is the representative example of traditional Korean dress. It is characterized by vibrant colors and simple lines without pockets, in 1996, the South Korean Ministry of Culture, Sports and Tourism established Hanbok Day to encourage South Korean citizens to wear hanbok. Traditional womens hanbok consists of jeogori, a shirt or a jacket, and chima, a wrap-around skirt. The ensemble is often called chima jeogori, mens hanbok consists of jeogori and loose-fitting baji, Jeogori is the basic upper garment of the hanbok, worn by both man and women. It covers the arms and upper part of the wearers body, the basic form of a jeogori consists of gil, git, dongjeong, goreum and sleeves. Gil is the section of the garment on both front and back sides, and git is a band of fabric that trims the collar. Dongjeong is a white collar placed over the end of the git and is generally squared off. The goreum are coat-strings that tie the jeogori, womens jeogori may have kkeutdong, a different colored cuff placed at the end of the sleeves. Two jeogori may be the earliest surviving archaeological finds of their kind, one from a Yangcheon Heo Clan tomb is dated 1400-1450, while the other was discovered inside a statue of the Buddha at Sangwonsa Temple that has been dated to the 1460s. The form of Jeogori has changed over time, while mens jeogori remained relatively unchanged, womens jeogori dramatically shortened during the Joseon dynasty, reaching its shortest length at the late 19th century. However, due to efforts and practical reasons, modern jeogori for women is longer than its earlier counterpart. Nonetheless the length is still above the waist line, traditionally, goreum were short and narrow, however modern goreum are rather long and wide. There are several types of jeogori varying in fabric, sewing technique, chima refers to skirt, which is also called sang or gun in hanja. The underskirt, or petticoat layer, is called sokchima, according to ancient murals of Goguryeo and an earthen toy excavated from the neighborhood of Hwangnam-dong, Gyeongju, Goguryeo women wore a chima with jeogori over it, covering the belt. Although striped, patchwork, and gored skirts are known from the Goguryeo and Joseon periods and this waistband extended past the skirt fabric itself and formed ties for fastening the skirt around the body. Sokchima was largely made in a way to the overskirts until the early 20th century when straps were added. By the mid-20th century, some outer chima had also gained a sleeveless bodice, baji refers to the bottom part of the mens hanbok. It is the term for pants in Korean
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Jokduri
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A jokduri is a type of Korean traditional coronet worn by women for special occasions such as weddings. It consists of a crown which is covered with black silk. Its top is decorated with cloisonné ornaments, the crown is also called jokdu or jokgwan and is used mostly as an accessory. The upper part is hexagonal and the bottom is cylindrical. The form of jokduri gets narrower from the top to the bottom, jokduri can be used to display the wearers social status by being adorned with accessories made from gold or silver. It is said that the jokduri was derived from the Mongolian womans cap for outing and it began to be used in that period as intermarriages between Goryeo and the Yuan Dynasty of China happened. However, the jokduri during the Goryeo period is assumed to be bigger and higher than the one in the Joseon period, during the Joseon Dynasty, the jokduri became smaller and there was not much difference in the overall shape between the top and the bottom. During the reign of King Gwanghaegun, black silk began to be used for the covering whereas purple silk was used as the inner fabric, thereafter, as women enjoyed wearing a jokduri, it became almost a national style in fashion. In the late Joseon period, King Yeongjo and Jeongjo prohibited women from wearing gache and, instead, as Kinds of Jokguri is for wedding, funeral rites and rituals and used daily for the court. Hwagwan Ayam Gache Hanbok Hwarot Headgear Crown
The dictionary definition of Aboyne dress at Wiktionary