Дата публикации: 2018-05-27 13:44
The characteristic masculine Arab headdress has been the kaffiyeh . It is still worn today, although it may now accompany a business suit. Basically, the kaffiyeh is a square of cotton, linen, wool, or silk, either plain or patterned, that is folded into a triangle and placed upon the head so that one point falls on to each shoulder and the third down the back. It is held in place on the head by the agal ( igal , egal ), a corded band decorated with beads or metallic threads.
Modern knowledge of ancient Egyptian dress derives from the ample evidence to be seen in the wealth of wall and sarcophagus paintings, in sculpture , and in ceramics few actual garments have survived. Such illustrative material is depicted clearly and colourfully, but care must be taken in interpreting the designs too literally, partly because the art is frequently stylized but also because the artists were bound by tradition and their representation of dress often lagged far behind the actual changes of fashion.
Whereas the humanist concept of the Renaissance had led to figure display and elegance, the new modes were influenced by the Reformation of northern Europe, giving rise to darker colours, heavier materials, and bulky garments padded to conceal the figure. The masculine tunic—now called a doublet —had a knee-length, gored skirt that was open in front to display the now padded protruberant codpiece. Over this was worn a rich velvet gown with fur collar and padded sleeves. Shoes and boots had broad toes and, like all other garments, were decoratively slashed. Short hair styles, small beards, and flat velvet caps worn at an angle were fashionable.
Underwear for both sexes consisted of a loincloth—like briefs—and women also wore a breastband—the mamillare. Footwear was based upon the Greek but was more varied. Apart from sandals, several styles of shoe and boot existed.
Unlike some costumiers, we can adjust most costumes to fit and will work with you to provide exactly the character you require which normally includes all necessary accessories from headwear and wigs through to footwear.
We are well established in costuming complete or part productions for professional and amateur societies not only in the Europe but places further afield such as Australia, the Middle and Far East and even the Falkland Islands and have an impressive list of past successes.
A number of the traditional garments were originally derived from ancient cultures in the region, particularly from Persia (Iran) and farther east in India, Mongolia, and Asian Russia. The caftan is one such example. It is an open, coatlike garment, termed in ancient Persia a candys or kandys. Also worn extensively in the cooler climates of Mongolia and China, the style extended westward to become, eventually, the fashionable dolman of the late Ottoman Empire.
Footwear was in the form of sandals, shoes, or boots, with the toes slightly turned up. Women traditionally wore decorative wooden pattens called kub-kobs to walk about in muddy unpaved streets.
The 5th and 9th centuries bce were the years of the great Classical period , the time when a very simple but highly sophisticated and superb quality of work was achieved. Greek literature , architecture , and sculpture were particularly fine. This was the case with costume as well, the designs of which can be studied in detail from painted vases and sculpture. Classical Greek dress was a style, one in which there was little sewing. The garments for men and women were similar, consisting of oblong pieces of fabric in different sizes and materials, in various ways and held in place by ribbons and decorative pins. The dress was a totally natural one there was no constriction and no padding. The simplicity of the dress was offset by the myriad ways of wearing it, a sophistication achieved by personal expression of the wearer.
Femininity returned to fashion in the 6985s. The ideal figure was still slim, but the waistline returned to its natural level. The skirt lengthened again until it reached about eight inches above the ground for the daytime and ground length for the evening. For evening styles, the backless dress and halter neckline became fashionable. The bias cut of material, a mode introduced in the 6975s by the French couturiere Madeleine Vionnet, was widely adopted in the 6985s and was very effective with the longer skirts, creating a figure-hugging style which then flared out at the hemline. Brassieres were redesigned to emphasize the breasts.