Fashioration project An in-depth research into the Balkans rich tradition of traditional costumes and techniques.
An Erasmus+ project
FASHIORATION-INSPIRATION
By Mika Panagou Costume designer and researcher CENTRE OF HIGHER EDUCATION IN THEATRE STUDIES (Greece) Coordinator
The partners
Dah theater Serbia
Action Synergy Greece
Together For Life Albania
Bravo org. Bosnia
Prona Org. Montenegro
FASHIORATION for INSPIRATION An in-depth research into the Balkans rich tradition of traditional costumes & techniques.
Fashioration aims to provide new ways and fields of inspiration and Creativity in Fashion.
Introduction a philosophical approach by Mika Panagou
Why is it only in the recent years that we finally are looking back into ourselves, our heritage and culture. The truth is that it is far more complicated than accepting that Fashion has nowhere else to turn after recreating almost any previous trends only to look into the somewhat revival of folklore for new inspiration. Traditional Costumes are historic elements; they convey our living culture and thus should be considered a cradle of knowledge and art. They are works of Art; A different kind of Art but nevertheless of utmost importance. Fashion is an expressive Art. We express ourselves but at the same time clothes reflect our social and cultural environment. Women during war had to replace men at work so they wore pants and cut their hair short as even shampoo became a scarce necessity. A social circumstance brought fashion up-side-down at times where women could be in pin-up posters but could not really show their legs. Here and now we are ready to look back into our handmade, unique craftsmanship, to the work of our grandmothers just a century away and re-discover who we are and how we got here. We are at the dew point of history of truly accepting the importance of our identity and finding ways to preserve it in new forms and designs for future generations. Fashioration aims to develop critical skills and competences in youth connected to fashion and tradition along with solving challenges for a more sustainable future. We will be focusing on 4 Balkan Countries with very rich tradition& eventful History. Costumes are an integral part of our identity and in contemporary times we need to analyse our common challenges, opportunities & needs among the participating countries. This project is focusing on critical thinking. A critical eye and an investigating mind that will research and decode past times, people and techniques connected to dressing habits in the Balkan countries an area that was left in-transit of its identity during different Rules and Occupations. Traditional Costumes are our living culture but are not Fashion trends and Styles as they never were. In their time they conveyed much of a person’s social character and a conservative one too. Traditional Costumes were not based on change as Fashion is and therefore have survived until nowadays to teach us about our past.
The Methodology
This handbook along with its full presentation of visual material aims to create a useful method for youth workers /young designers in the fields of Fashion, design and tradition to develop their skills and start their own clothing and fashion business drawing from the history and tradition of their country. This will take place via a unique approach to tradition, with modern means and especially with a modern look, avoiding folklore and focusing in creating clothes and accessories. Furthermore, creating useful prêt-a-porte designs and having as a goal, diverse/ innovative uses such as incorporating items into the touristic market sector in a totally fresh look. Fashioration has been established through training and hand-on workshops and has developed the skills of young people based on this methodology.
Related research material: Background research as a basis of developing theory, existing situation in every country: A concise cross country visual research will be provided throughout the handbook accordingly: Greece, Albania, Serbia, Montenegro & Bosnia. A closer look into : A. Costumes B. Head-pieces C. Jewellery D. Shoes plus any other accessories.
Analyzing forms, pattern, decorative motifs, techniques and materials. Desk Research as a different file provides all this information with useful links and images.
Identification of best practices in each Country related with Preserving tradition & Techniques, especially related to fashion and connected elements of costumes. Looking into young designers and tradition inspired techniques. Furthermore, researching craftsmanship that has been revived connected to textiles and costumes.
Getting inspiration to create clothing and fashion: History and tradition as inexhaustible sources of ideas and design: we study the basic forms by analyzing the costumes parts, while looking into the common shapes, colors and materials throughout the ages. As well as the use of materials and handmade ornaments and decorations.
How to decode and analyze clothing habits by drawing on history and tradition. Clothing habits of past eras and their effect on modern fashion trends: A. Where culture meets fashion as a trend, based on shapes and forms but furthermore by underlining prints, motifs and special materials. Natural materials (wool-cotton-linen and the use of metalwork in jewelry and accessories. B. Decoding the pieces of traditional clothing.
Dress Habits of other countries and peoples of the same culture: The Balkans. Analysis of similarities and innovation.
Borrowing from other cultures: A. the use of common techniques in all Balkan countries. B. Special Occasions outfits. The bridal Dress flowers as head pieces and its metal ornaments /jewelry. The dancing outfits.
Fabrics and textiles, natural materials and weaving techniques. Natural materials origin according to country .
and
their
Additional Theory & Technical knowledge to be explored as part of the by the ELearning Course
1. Design & construction: Adapting traditional pieces of costumes for the contemporary human form, man – woman- unisex forms. Adapting the past to the present. Selection of fabrics for different uses and creations. 2. Sampling/Materials: Fabrics and decorative elements, new materials to be used in the creation of a garment/costume/new design research and their incorporation into a specific Fashion Creation. Making use of natural and manmade materials according to the final product and idea. (textiles, linings and accessories). 3. Machinery and tools: Description of tools and their evolution through their use. Handmade vs new technologies. Sometimes unique means one of its kind and therefore handmade. 4. New technologies: What modern technology offers the costume designer, Applied and specialized software at the designer's disposal ( for future workshops.
The Method
Get to work Ignite the creative mind Cultivate Creativity
FASHIORATION: Looking back will bring you forward, Create youth-led fashion based on Cultural Heritage Elements A. Research & explore all elements of Costumes: We are looking back into our Balkan tradition and we are viewing National Costume in a different eye. We see its parts and fashion forms along with its decorations and craftsmanship. At the same time we look into its historical presence in time. We are looking back and decoding these qualities. B. Visual Concepts & Conceptual Relevance: Connecting traditional forms, motifs, colors and designs visually to past & present creativity and imagination. Our own in connection to other artists and designers in the fashion field. Our work is visual, we cannot stress enough the importance of understanding. C. Follow the steps: Analyze all parts and elements. Experiment upon all grounds. Create Visual connections and evaluate results all through the process. Each part has an isolated value and potential and this needs to be recorded.
1. Relevance by Form, Colors and Shapes. Exploring every part of the costume. The blue and gold vest. 2. Fabrics-Textiles and Embroidery. Between the same country, the different countries and known Designers. 3. The Fustanella Skirt in Albania & Greece. Mens Costumes. A case study of Then & Now. 4. The red shoe. Tsarouhi. Opanka. Opinka. 5. The pleated Skirt, both for Men and Women. 6. The Amalia Court dress. A case Study. How to create upon a concept. 7. The Doulama Coat. An exceptional Design in all the Balkans. 8. The Long coat and the Designers. 9. Hand-stitched relevance in color and textures. 10. Gold embroidery. Details. Double Vest, Jacket and Coat. 11. The white shirt in Fashion. 12. Head dress and metal work. Jewelry and Belts. The Roumlouki Helmet. 13_The Traditional Brides. Symbols of Nature. Flowers and feathers. Dresses & aprons. 14. Contemporary Designers influenced by Tradition. 15. Looking into the materials. Fabrics & Textiles. Embellishments & Decorations.
Being inspired is a process to be explored The creative mind needs research to ignite the process and vice-versa. The path from the past to the future and from the designers back to the source have to meet
Critical Thinking as a Creative Method
A. Research & Explore: Every idea needs a starting point. We always decide and select a point of interest. The costumes in the Balkans are numerous and of endless display. We need to know as much as possible. The more we see the more we can understand. The Creative Mind needs a background and in this case we have more knowledge of the History of European (and world) Fashion than our own tradition. In all our studying and school days we looked more around than close-by. Traditional costumes are a very specific subject. One can explore online up to an extent but it will not be enough. One needs to visit them up-close to understand their value. As much as here and now we can describe the how and why, you will need to experience up close the detailed craftsmanship and hours of work put into one single element of traditional costume. This naturally comes into contradiction with the fast track, easy to make and cheaply to be distributed contemporary fashion that we are used to. So this will be an extended journey, a process that we would want to carefully keep notes and sketch our way through and record our ways of inspiration. A1. Devise your Creative Strategy: We see a traditional costume as a whole but at the same time we analyze and decode in detail each and every part of it. At first glance it should be considered as a work of Art. A balanced arrangement of costume parts that have shapes, lines, colors and textures that make an artistic whole- composing a certain style. Just like a painting or even an architectural composition. This is the time to state that we need to bring out and express our ideas in writing or sketching no matter the quality. We need lots of ideas if we are to have a unique new one. One can never know and it’s a fact. The artist does not know when inspiration will pop-up. Keep sketching, designing, collecting images. More a better that less and here the field is vast. A2. Create visual awareness: use your senses to see what is before you. This is what a creative mind does: collect images. You need as many shapes and as many textures & colors you can find before you start to connect the lines. A costume is simply Lines that create forms that have textures which all used to be handmade. Here lies the uniqueness. These elements will serve your journey towards a unique creation. From inwards coming out, clothing has always undergarment and it is many times that these are used as an external design also.
B1. Explore the main Concept: Traditional Costumes in the Balkans. We will research in many dimensions as possible. The “good Sunday Clothes” as we say in many languages. We need to keep in mind that, Traditional Costumes where unique and very special in design and handmade work. They represented people in Church and Festive occasions. They needed time to be created and conveyed many techniques. They were passed from one generation to the other with care and were the pride of the family. Remember this difference, the need to transcend from tradition, meaning history and heritage, to “fashion” as in contemporary, everyday garment or element of clothing. B2. Transcending from Tradition to contemporary Fashion: In this method we see Traditional Balkan Costumes beyond their historical aspects and focus upon their aesthetic values as an act of social and artistic expression. We differentiate one by one every detail that can be transformed and participate in the design of contemporary clothing. A process that will enhance creative contemporary design. We approach with an open mind beyond likeness and see each element as it is. Both for men and women. The shirt, the long shirt, the dress, the vest, the coat, the apron and the belt, the head-dress and the jewelry, even the shoes and the socks. Each element is unique, in making and design, survived for many years and as such it should be investigated. In the Balkans and in many other cultures.
Hands on the Process
1. Research & explore: Look into tradition from as many aspects as possible. In parallel with all the elements of clothing. Textures and techniques help complete the image. Cross check in researching. Go backwards while visual seeing designs and try to trace back what came to be. So, decide where lies your interest. You could create a costume or part of it. An element of costume or an accessory. Will it be used in the same way as the original or will it be transformed into something else. A key question. Keep in sketches or better photocopies a selection of what you are interested. Keep them on a board or in a concept-sketch book. 2. Experiment: The time has come, what will it be. What is most inspiring in traditional costumes is that that they have more to be explored and therefore a broader field for experimentation. The truth is that we should consider it a still virgin field. Even great designers like john Galliano have managed to create extreme images and designs but in a way he focused on over-enhancing the Aesthetic of Folklore, (borrowing elements of the Serbian Costume but also many symbols such as the metal coins from all the Balkans) which here is not our goal. On the other hand Jean Paul Gautier recreated some costume parts that he even wore himself, the vest, the jacket and used parts-elements from the traditional costume to create new designs. The fustanella skirt with its many pleats was one of the basic concept he multiplied. Also he combined the red fez, with the Greek striped flag of blue and white to make one of his favorite striped blouses. 3. Variations on the concept: Traditional Balkan Costumes provides us with many strong concepts. During all the history of Western Fashion that we actually focus on when studying there has been glimpses of exoticism where fashion brought up ideas from far away lands and people. Tradition is heritage and even though it may convey all sort of different messages than a high-end fashionable trend at the same time it provides multiple sources for inspiration. Therefore, the concept is never one. A concept can be based upon one element, a vest, a skirt, a headpiece or it can be invented by a texture, an embroidery or just a fabric. The beauty of it being that the journey remains visible. 4. New ideas come from creative people that risk new combinations: of old ideas. Think of it. Intuition will take you down the right path, especially when looking into tradition where the connection is stronger. Fashioration is showing you a new path of inspiration not that it has not been tackled before. Here we are putting in order ways and themes that will create new concepts of design.
5. Proceed and evaluate there is always the question how a Creation is received as innovative and if its qualities adjust and express today’s needs of fashion. Keeping the creative work in order provides a basis for the future. Tradition here is a different point of beginning and will show a wide range of creativity paths. So, evaluate the process and where it completes as it may require changes in the process but nevertheless we need all the stages for a successful End design. If you know and have a clear view of how the work proceeded then the public will know to as it will sentimentally follow you. Do not underestimate the power of the process, it may not always be successful but it will always provide a strong basis of your personal statement.
Contemporary Costume workshop in Argos Greece ARISTOTEXNHMA
1. Relevance by Form, Colors and Shapes. Exploring every part of the costume. The blue and gold vest. Eclectic relevancies -The vest: gold and blue. Embroidery and Passementerie decorations.
Greece 1821 part of a revolution painting
Manolo Blanhnic velvet shoe
Albania a young bride from Argyrokastro. Photo by Grace Medina
Albania
Ancient Kallos Fashion House, Greece, Fermeli vest
Galliano in a dark blue jacket to be embroidered and decorated with buttons and sequins giving the essence of the handmade folklore.
A bride from Bosnia
Montenegro dancers
Greece
Serbia, sumandija vest
Russian Ethnic Inspired
Montenegro
Basic Elements of traditional Costume in Balkan Culture that we are looking into for inspiration end evolvement
Decoding shapes, forms and design. See in detail the following dress elements that will serve as our basis for new designing. 1. The shirt exists in both men and women and can have different lengths according to region and use. Could be long as a dress or even a nightgown. 2.
Pants or salvar, shorter or longer for men. One or two layers of underpants-pants were worn. Salvar for women exist in all Balkan countries due to the occupation of the Ottoman Empire.
3.
A skirt or dress for the women that have a basic form mainly tight around the bodice and quite open to reveal the shirt as well as to provide space for the jewelry and decorations of special occasions. Women’s Apron, a home wear fully decorated.
4. The vest-waistcoast, short and usually fitted for both men and women. Zipuni-zipun 5.
The dress-caftan, based on the Byzantine Dalmatic robe an evolution of the ancient Tunic-Tunica. The Long Robe was worn be both men and wome. Caftan or Anteri.
6. Long coat- sleeved or sleeve-less overcoat-(over:pano-coat:fori in Greek), Doulamas or Dolmas in Serbia. Wrapped. In the absence of the dress could be a Cape. 7. Shoes and Stockings. Tsorapia- long socks. 8. Hats and head-dress for women especially 9.
Belts in fabric or leather to hold clothing or children or weapons and/or weaved and decorated. Also used for carrying goods.
10. Jewelry and special occasion decorations of unique metalwork. In parallel we investigate forms and styles of Hairstyles and beards that many times are also of unique origin.
Embroidery and textures. Elements of decoration. (Image above)
2. Fabrics-Textiles and Embroidery. Between the same country, the different countries and known Designers
Historical Research : Parallel documentation of textures and sources of material Textile tradition in the Balkans, is an important part of our cultural history. Colors and patterns exhibit our strong corelation.
1. Every material has its own textural quality that is natural and permanent. We have to bear in mind that traditional costumes are original and historic. Their materials are of unique origin mostly made by hand exhibiting amazing craftsmanship. a. all shirts and white parts of a costume are either cotton or linen. b. wool is used for vests, coats and capes as well as caps socks and shoe. Original textiles are hand-weaved and in the recent years after the end of the Ottoman the Balkan had access to new materials such as velvet, taffeta and many more. In the past, cloth was made by our mothers, grandmothers and great-grandmothers before it became an industrial technique. Each local costume was specific and marked family history, social status, and origin. It was part of a more complex cultural-geographic history and not according to country or Ethnicity. Looking into the numerous collections and selections of traditional costumes from the Balkans, you will discover great similarities such as the style of embroidery, as well as common form & design elements. For example, the influence of the Ottoman Empire is apparent in the use of coins in headdresses, necklaces, and belts from various regions including Greece, Albania, Bosnia, Serbia and Montenegro. Fashioration aims to point out visually this enormous variety of folk costumes and textiles from across the many regions of the Balkans. Embroidery upon wool, non woven fabric: felt – ketses- tsoha- etc. Embroidery in the Balkans. Since ancient times embroidery has been an art of its own. Designs of amazing craft, complicated and unique with bright colors and numerous different patterns are created and used in all kinds of textiles in the Balkan countries. Each country has its own special designs and characteristic colors& patterns as well as a certain approach to the tradition of wearing embroidered clothing. Furthermore, it is used in decorating everyday household items such as napkins, towels, blankets and of course in a bridal truce collection. Ancient needlework techniques can be seen –apart from the clothing- in towels, tablecloths, napkins, clothing and small rugs almost in every house. Many different symbols characterize each region or even each family. One will find stylized images of many figures from the natural environment: animals, plants and natural forms as well as various elements of inanimate nature such as geometric designs. Embroidery a unique creative expressive art for women always had more dimensions. Secret codes and symbols served as ways of special talismans and objects of protection from the evil. The evil eye and thoughts of strangers.
Albania detail from Bridal Costume
Greece: Embroidered textile from the Benaki Museum
Bosnian: woman in embroidered dress
Montenergro : traditional weaving
Balkan embroidery
Hungary : Matyo Embroidery
Albania: Mirdita Coat
Key Points of Relevance
Serbia: long coat
Montenegro
Compare: Embroidery patterns, forms and colors. Analyze: Designs for Costumes, household objects and special occasions. Investigate: Relevance in Clothing Forms, basic background colors and stitches. Discover: Geometric Symbols used as talismans.
3.
The Fustanella Skirt in Albania and Greece: white, pleated Men’s skirt of great History .
A case study of then and now
Fustanella is a traditional men’s garment, a skirt with pleats, worn by men of many nations in the Balkan (SE Europe). In modern times, the fustanella is part of Balkan folk dresses. In Greece a shorter version of the fustanella is worn by ceremonial military units such the Evzones, while in Albania it was worn by the Royal Guard in the Inter-bellum era. Both Greece and Albania consider the fustanella as a national costume. Fustanella today is associated with the costume worn by the Evzones, the National Guards stationed in front of the Parliament House in Athens . This kind of pleated skirt may have evolved from traditional dress-chiton worn in Ancient Greece. Some believe the Albanians introduced it to the Greeks in the 14th century. Nevertheless. it is known definitively is that it was used as part of military uniform during the Ottoman Empire. One cannot dey that such a form of dress was designed to show a man’s strength much like a kilt. In a way, the fustanella epitomized the mixed heritage of modern Greece, with Albanian, Ottoman, and Classic influences, and was declared to be Greek at a time when a national costume was in great need. Furthermore, in 1829 a Europeanization process which started for Greece. Also, fustanella was long before a common garment for men in the 13th century worn by Albanians and Arvanites (or Greeks of Albanian ancestry) who fought alongside the Greeks during the War of Indepen-dence against the Turkish invaders. Souliotes, was one of those groups, an Orthodox community of Albanian origin known for being fierce resisters to the Ottomans, and praised by Lord Byron (a British author) and many Greek historians. So, fustanella was a military uniform therefore far from clean. After the war, when King Otto, from Bavaria (and Queen Amalia), were made king of the Greeks in 1833, he declared the fustanella the national costume of Greece and even wore it himself in a clever attempt to come closer to his subjects. Ever since then, it has become a symbol of Greek national pride. King Otto, along with some members of his court and personal guard, even wore the fustanella when they returned to Munich in 1836, in support and furthering proliferating its attribution to Greece. Evolution: The fustanella is made of strips of linen sewn together straight and upside down to create a pleated skirt. It is usually fashioned in two separate sections-skirts that are tide on each part of the waist . Another thought is that it might be an evolvement of the shirt. It was worn mainly by the rebels, the guerillas-fightersAn urban legend said that some men, warriors, like General Theodoros Kolokotronis, wore a fustanella with four hundred pleats, one for every year of the Turkish occupation years. In the 18th and early 19th centuries, the fustanella garment hung below the knees, and the hem of the garment used to be tucked into boots. Later, under King Otto’s rule, the length was shortened to above the knee and created a full shaped design, as the modern-day Evzones of the Presidential Guard wear today.
Fusta-ne-lla
Fustagno (Italian, from fustian:dress), fustana, fustanella:a small/short dress, fousta (skirt in Greek) fustanje (soft cotton fabric in Montenegro) Albania & Greece Greece and Albania. The warrior, the rebel,. The soldier and/or the guard. The white shirt and Fustanella skirt. The Fez. The Vest, The ornaments. The belt. The arms. From then until now… The fermeli vest...
1821 Greek warrior
Albanian Military
Albania
Greece: General Theodore Kolokotronis and dancing soldiers at the back.
Albania
Greece: Rebel Zacharias
The shirt
Athanasios Diakos 1821 with double vest & Fermeli jacket
Presidential Guards skirt
Greece: detail-Dancing Soldiers
Greece : fermeli vest, PLI Museum
Montenegro : vest, jacket
Albania
Albania: vest, jelek
4.
The Red Shoe. Tsarouhi, Opanka (Opanak), Opinka (Opanci)
Albania opinga winter boot
Opinga shoes
Galliano: The pom-pom sandal
Peruvian, pom-pom belt
Greece: Red tsarouchia shoes with black tassels and pom-poms
Contemporary Sandal
5. The pleated skirt both for men and women
Skopelos Traditional Costume PLI museum
Dior: the red Skirt 2011
Hungarian Traditional skirt
2017-Comme de Garcon
2019-Ermano Scervino-SS
2005-Emanuel Ungaro SS
Albania Comtemporary soldier
2021, Jil Sanders
Men in skirts
2017 F/W KTZ LONDON
Greek Rebelious Warrior, Painting by Ifigeneia Logotheti
2013 India: ROHIT BAL Bridal
GREECE: King Otto, fustanella as Court dress
2017 PAUL GAUTIER at the Bennaki museum in Athens
P
EVZONE, as a case study Presidential guard costume in Athens A symbolic uniform designed by traditional costumes and a direct referral to 1821 Revolution
Ev*zone (well belted=elite )
since Homer times as referred in the heliad It is a uniform inspired by traditional costume. It is quite complicated as it has about twelve parts that each needs to be in place. The Evzones form the Presidential Guard, a prestigious discipline for the soldiers. Their main function is to guard the Tomb of the Unknown Soldier but they also march in official parades. The uniform is highly symbolic and it can change slightly at different times of the year. In addition to the typical Evzone uniform, they could wear the traditional Cretan Evzone dress and Pontiac Evzone uniform.
Key Points of Relevance:
Compare: fustanella in Greece & Albania vs. modern skirts. Analyze: basic Men’s elements of Traditional costume. Relevance of style in the Balkans. Investigate: Men in skirts. Styles by Haute Couture. Discover: Pleats in textiles and asymmetrical women’s skirts.
Greece Inspired by Tradition and the most Symbolic uniform. Celebrating 200 years of Freedom
This specific Costume of the Presidential Guard has provided Inspiration for many designers. Just the vest has been transformed to Women‟s Costume, vests even a silk Scarf (Designed by Elena Zournatzi, For Grecian chic)
DIOR Cruise Collection 2022 Athens, Greece The House of Dior collaborated with three unique craftsmen from three Greek cities Silk Line (Kostas Mouhtarides) from Soufli, provided 5 silk textiles. ARISTOTECHNIMA by Aristides Tzonevrakis, in Argos. NEMA Passementerie factory in Athens.
New Concept in Best practices : This Collection was shown in the heart of the Panathenaic Stadium in Athens. The House of Dior and Maria Grazia Chiuri weaved an open dialogue with local Greek ateliers and craftsmen, to discover and promote traditions that are intimately tied to places and families. She initiates exchanges with an emphasis on the processes of collective creation, at the junction of memory and cultural values to be handed down to younger generations. Read full article: https://www.bangkokpost.com/life/social-andlifestyle/2226039/greece-inspires-dior-cruise-2022collection
Thurios Capsule Collection for the Nevroblazer
Designer Eleanna Tampouri
6. The Amalia Court dress-outfit Looking back will bring you forward. Being inspired in steps
A case Study. How to create upon a concept. Queen Amalia came to rule Greece in 1836 with King Othonas (a newly appointed royal couple of German descent). She was so creative to present herself in a combination Costume to come closer to her people. She actually invented a new look .The outfit succeeded in the attempt to establish a unifying symbol of Greek identity. Her costume, that also her ladies in waiting wore in court, was established with great historical significance in the fashion culture of Greece. They both believed that it was of great importance to create a National Attire to ensure and create a unified identity. Therefore, including details from Greek Traditional costume with details of the European Fashion. The king proudly wore the fustanella National skirt. (see below the relative fashion in 1836 Central Europe)
1836 Nafplion, Greece ¨ Queen Amalia Court Dress¨ A combination of Traditional Greek Costume and the European Era of Romanticism Queen Amalia wore the dress on formal occasions, while wearing the latest European fashion in her everyday life and requested that her ladies in waiting, her female court wear it as well. Analyzing and decoding The Amalia Court Costume includes: A long dress – called foustani or kavadi – inspired by the central European silhouette popular in Germany and the surrounding countries. The bodice based on the model of the Greek traditional kavadi (a local long-sleeved dress). The dress Sleeves with long, Japanese like ending . A long wide skirt very similar to the European fashion of the Romantic Era. A Short velvet jacket-kontogouni The kontogouni or zipouni is the short, tight-fitting velvet jacket worn over the foustani. Embroidered with detailed gold patterns. White inner shirt The dress was open to the front to reveal an embroidered chemise-shirt. Red Fez The ensemble is adorned with the red fez always with a tassel of braided gold threads.
1863 The love Letter August Toulmouche, (French painter)
Eclectic Relevancies
Short embroidered Jacket inspired by Greek tradition elements DIMITRIOS DASSIOS contemporary designer
Dressed in queen Amalia style Short velvet jacket-kontogouni (short fur) Red Fez with a long black tassel (TZAVELENA, Benaki Museum)
Gold embroidered short jacket. Red Fez with a tassel of braided gold threads. (“Raiment of the Soul” V.Kyris, Anatoli Georgiev. Embroidered photograph)
Eclectic Relevancies - Accesories
VELVET MANOLO BLANHIC MENS LOAFERS
DIMITRIOS DASSIOS : JACKET WITH FUR AND WIDE SLEEVES
VICTORIAN SMOKING CAP 19th Century
Eclectic Relevancies II - Accesories
The amazing, Calista bag by Calista crafts
Fez-fesi by Anamnesia
ZEUS & DION FEZ CLUTCH BAG
A creation based on 2 Ethnic symbols
Key points of Research for further exploration
Costume Elements of the Amalia Court Dress The short jacket, with fur collar “kontogouni” Combination of traditional and European dress Textiles, embroideries and colors Transformed Accessories 1836 European Romantic Era New Greek State after the Ottoman Empire
7. The Doulama Coat. An exceptional Design in all the Balkans Coat in traditional Greek Costumes. Same in other Balkan Countries. Dolama, Doulma, Dolma from the word wrapped. Doulamas: A long coat, with or without sleeves for both men and women. Depending on the geographical part in Greece it could be woolen. (Northern Greece or silk brocade in the Southern islands). When sleeveless it was worn over the fermeli vest. A very interesting pattern whose form has survived from medieval times in all of Europe. An element of clothing that can be found in all the Balkan countries with very similar variations in form, color and embroidery design. After all it the Coat over a costume in colder climates and the long impressive outfit when it comes to court uniform since the 19th Century in Central European Fashion.
ALBANIA MET MUSEUM
SERBIA
MONTENEGRO MOMA COLLECTION
2018 Elsa SCIAPARELLI collection
Red Doulama & Blue Pirpiri, Greece, PLI museum Collection
ATHENIAN WOMAN, a study by P.Von Hess, painting at the PLI Museum
Long Coat with sleeves, Greece. Manikotos Ependytis PLI Museum Colection
8. The Long coat and the Designers Both in tradition and in fashion the long coat is a very sophisticate element. It relates to Royal robes, capes and formal Festive and Evening wear. It gives a formal aesthetic wherever it is used. 19 th and 20th century long coats are as equally impressive and Contemporary Designers have always had a love for them.
DIMITRIS DASSIOS Greek Designer
ALBANIAN COAT the MET collection
DIMITRIS DASSIOS Greek Designer
Greece, Sifnos Island, PLI Museum Collection
2015 VALENTINO SPRING Tradional Embroidery inspired designs
2016 VALENTINO FALL Handmade, handcrafted embroidery designs
Key Points of Relevance
Compare: The styles of the traditional Doulama Coat. Relevance of style in the Balkans. The materials and the techniques. Analyze: The concept of the Doulama Coat and the long Coat as seen by the designers. Investigate: The basic patterns. Straight. Pleated back. The width. Sleeves or nosleeves. Research back in European Fashion of the 19 th and the 20th centuries. Discover: Styles by Haute Couture. Pleats and asymmetrical designs. How designers use traditional textiles and techniques and have direct influences by tradition worldwide. Apart from the Balkans and Russia research influences by Asia and the East.
9. Hand-stitched relevance in color and textures Embroidery is an art by itself but especially in the traditional clothing has been used as an integral part of the designs of materials, clothing parts and accessories. Fashion is returning to this handmade, tenuous art with very impressive results.
MONTENEGRO QUEEN The white shirt & the embroidered short jacket. 19th Century Euopean Romantisims Era
SERBIA EMBROIDERY Handmade embroidery upon white shirt and colorfull apron.
GREECE ewbroidered Coat and inner dress with carnation flowers.
SERBIA Multiple colored Flowersembroidered upon dark background. Carnations and wildflowers.
SERBIA : This special, traditional woven cloth was called "the guardian of the soul". Because of the bright colors, it is attributed magical properties and is believed to protect the wearer. There is a type for men and women. It is used as a belt on folk costumes or as a decorative element which with its patterns is an inspiration for other products based on the recognizable and authentic pattern.
MARO PALAMARA handmade, leather crosss-tiched bag. Handmade cross-stiched traditionl Greek design that is then embeded on a leather bag.
SERBIA
MULTIPLE EXAMPLES OF EMBROIDERY
Montenegro, Mircovitchi Bridal
ALBANIA
VALENTINO presents clothing that are made from a transparent mesh like a canvas embroidered with flowers. The House chooses carnations and wild flowers.
GREECE AND SERBIA
Valentino … what else !
BOSNIA, Woman in beautiful colors and an embroidered apron
GREEK BRIDE, PLI Museum COLLECTION
MONTENEGRO
POMEGRENADE
VALENTINO COAT & SUZANNI TEXTILES
VISUAL-COLOR—TEXTURES & RELATIONS SERBIA WEAVING TILES POMEGRANADE THE SYMBOLISM AND THE IMPORTANCE OF RED IMPERIAL RED - BLOOD RED – JUICE OF LIFE RED
Key Points of Relevance
Compare: The styles of embroidery in the Balkans. The basic colors used and the themes developed: flowers, geometric etc Different techniques and canvases. Analyze: The various embroidery techniques in different countries. Investigate: The use of embroidery in contemporary clothing and accessories. Personalizing items as a handmade art. Discover: The deeper meaning behind various patterns. Where they were used and for what reasons. Designs and embroidery motifs as symbols of luck against misfortune.
10. Gold embroidery. Details. Double Vest and Coat Gold embroidery on Traditional costumes characterizes more formal-possibly Official- outfits, festive and bridal. Especially in men‟s formal traditional wear you will see the same over-layering as in Historic Fashion clothing. Each layer revealing the one beneath it and all its decoration.
MONTENEGRO
GOLD, BURGUNDI, DARK RED & BLUE COLOR SCEMES
SERBIA
MONTENEGRO SLEEVE CUFF DETAIL
MONTENEGRO
EXQUISITE GOLD EMBROIDERY
MENS FESTIVE DRESS & BRIDAL
SERBIAN Woman with wonder embroidered aprons
EMBROIDERED COAT IN RED & GOLD by DIMITRIS DASSIOS DESIGNER
GIRL FROM SARAJEVO
BOSNIA
SERBIA: ANTERIJA DRESS National museum in Kruševac
Albania
Albania : Xhubleta
The xhubleta is a complex dress that is mostly known for the beauty of the skirt, but is made up of a variety of intricate components. Women crafted their xhubleta with the help and guidance of their mothers, learning to make the xhubleta at a young age. They would begin in childhood and continue to make them throughout their lives. Women created each piece themselves, decorating each with beading and embroidery. The symbols sewn into the xhubleta were dependent on the woman, each choosing motifs and designs they felt expressed themselves. Many of these represented the beauty they noticed in nature around them. Although they were able to choose many of the designs on their dress, there are some symbols that were commonly used and expected on each piece of the xhubleta.
Xhubleta.org
Key Points of Relevance
Compare: The styles of golden thread embroidery in the Balkans. Analyze: In which elements of Costumes was it used. Investigate: The use of golden embroidery and its connection to the Byzantine styles. Discover: The strong connection of golden embroidery to Military and Religious Uniforms.
11. The white shirt in Fashion. The white undergarment-the close to our skin clothing. Weather shorter or longer throughout history it is always there since ancient times. Fashion has been widely inspired by the traditional version of the cotton-linen embroidered shirt from the Balkans and has created new contemporary versions.
The Balkan Embroidered, white shirt 2012 ADELLE by Tom ford
Bela Maci Fashion designer, Albania
Elbasan, Albania
Serbia : The long dress / shirt, deriving from the dalmatic tunic
Key Points of Relevance
Romania: traditional shirt
Compare: The styles of the white shirt for men and women in the History of Fashion. Analyze: How Contemporary Fashion has re-invented the ethnic-bohemian white shirt and also reestablished the value of embroidery along the way. Investigate: The Hungarian and Romanian motifs of the white shirt and blouse. Discover: The revival of the traditional patterns of the white shirt used since the middle ages.
12. Head dress and metal work. Jewelry and Belts. The Roumlouki Helmet The element to focus here, that inspires us the most is the women‟s traditional bridal head dress in the Balkans and in most countries. Each area has its own details but the symbols on it are universal. The Roumlouki concept of “helmet” is unique and along with silver metal jewelry and the dark colors of the whole dress, it gives the feeling of an armory to the women.
Raiment Of the Soul, Vaggelis kyris photography & Anatoly Georgiev embroidery. Costumes from the National Historic Museum of Athens
VALENTINO HAUTE COUTURE EMBROIDERY
BRIDE FROM ROUMLUKI, ALEXANDRIA, GREECE. An area inhabited by Alexander the Greats, descendants. Exceptional Headpiece resembling a warriors helmet.
SERBIA, SUMANDIJIA VEST metal buckle detail and cut-lace cuff sleeve very special embroidery details
ALBANIA, MARUBI Exceptional metal-wolk with coins as a full chest jewelry, Same in both photos and countries
BOSNIA HERZEGOVINA
13. The Traditional Brides. Symbols of Nature. Flowers and feathers The flowers are the dominant elements of decoration on bridal headpieces. All over the Balkans they are the basic and in excess decorative element. Especially then, but has survived until now more as a bouquet, flowers where the brightest and fresher symbol to convey messages of happiness on a festive day. The peacock feather was the cherry on the top, the symbol of uniqueness and pride.
Flowers for happiness Coins for wealth Feathers for luck
Greek Wedding in Athens by Louis Dupré (1789-1837), from the book Voyage à Athènes et à Constantinople, Paris 1825.
The dressing of the “Athenian Bride”. The headpiece is a new creation based on the above lithography : Greek Wedding in Athens by Louis Dupré (1789-1837), from the book Voyage à Athènes et à Constantinople, Paris 1825.
Collection of the Hellenic Lyceum Photograph : Studio Kominis.
SERBIA: Bride, at the National Museum
ALBANIA MARUBI, Bride.
RED FOR THE BRIDES Greece PLI Museum Collection
Serbia
Greek Bride from Kerkyra, MICHAEL PAPAS photography Kerkyra Islands Costume is the most famous one to decorate with Flowers the headdress VELVET SHORT JACKET WITH GOLD EMBROIDERY
GREECE: THE ROUMLOUKI BRIDAL HELMET with flowers (above) SERBIA: VELVET SHORT JACKET WITH WIDE SLEEVES „LIBADE”, WITH GOLD EMBROIDERY
The Ukranian Brides
A project
Montegro ( above), SERBIA ( below)
Akis Psilos , Greece (above) GALLIANO ( below)
Bulgaria
Key Points of Relevance
Greece a Mara Desipris photograpy
Albania, Mirdita
Compare: The similarities in all Balkan countries Bridal Head-pieces. Analyze: the materials, natural elements, symbols and colors used to make the headpiece. Tree branches, flowers, feathers, ribbons and coins. Investigate & Discover: The Pagan heritage in all cultures and the symbols of Nature still used until nowadays.
14. Contemporary Designers influenced by Tradition. Fashion designers took the next step and created over-whelming clothing that exceed our imagination while helping us see the connection between tradition and fashion.
REPROCESSING TRADITIONAL ELEMENTS SUCH AS THE APRON AND THE HEAD-DRESS, DIRECTLY INTO FASHION
2018 THE HOUSE OF DIOR & BIHOR VILLAGE ROMANIA DIOR, proved in a not so positive way that Traditional Fashion can Be sustainable …The problem was it was not inspired but copied. Nevertheless, it placed traditional costume in the runway , something we should learn from.
GALLIANO
Always to concidered innovative Borowing from Balkan countries Creating something new from many elements and details: the bridal head piece and the coins, the wide pleated skirts, embroidered vests and jackets along with the pom-pom on the shoes
Galliano Inspired by both Serbia and Albania. Color scemes and textiles. Black & White, silver ornaments, belts, coins and jewelry
2018 DOLCE GABBANA ALTA MODA COLLECTION
1993 Russian ispired fashion design, texture and colors
Russian Romantics By Ralph Lauren
BOHEMIAN
Bohemian a style that has borrowed a lot from every tradition. The term 'Bohemian' from the area Bohemia, described the local eastern European gypsies many years ago. As they always travelling and led unusual and nomadic lifestyles. In need to travel light , they layered their clothes so they would have less to carry. They were free spirits and loved new things so in their travels they encountered many different cultures and they would adorn themselves with all their findings, bright clothing, strange accessories, strange textiles and treasures from exotic places.
15. Looking into the materials. Fabrics and Textiles. Embellishments and Decorations. Indulge to a close-up to detail, an overview that can provide us all with a totally new perspective and enhance our creative thinking. When researching an image as close-up study, the actual structure disappears and the new texture that arises can be used with a new potential.
BISOUX DE CANTS Art Theatre, Greece , Theatre Costumes inspired by the Traditional Bride Looking back will bring you forward
Metamorphosis will occur… M.C.ECHER
An epilogue
Fashioration aims to cultivate Creativity and the Critical mind in a new, vast field. Not any field but the one concerning our living heritage such is our Traditional Costumes of the Balkans. We are living in fast progressive society and a global world but who are we and why are we here, still remains the question of all questions. Art has always been the safest answer as it has expressed throughout the ages most of the human concerns. Traditional Costumes are here after surviving centuries of social changes. They could be considered Fashion but they are actually more important. They provide a quite clear answer: This who we are and where we come from. Our ancestors established their way in history via difficult parts and this left an imprint upon wonderful crafts closely connected to everyday life and the social environment. Therefore, here we are and lets go back and the images. Compare the findings. Analyze the data of thousands of colors and multiple techniques and see how new roads of thought lay before us. And this is just the beginning.
Links to Contemporary Haute Couture Houses & Designers that have been inspired by Balkan Traditional costumes. 2009 JOHN GALLIANO
https://www.vogue.com/fashion-shows/fall-2009-ready-to-wear/john-galliano
2015 VALENTINO http://www.uzbekjourneys.com/2015/02/valentino-haute-couture-meets-suzani.html 2018 2021
DOLCE & GABBANA https://pursuitist.com/the-history-of-the-alta-moda-collection-from-dolce-gabbana/ ELEANNA TABOURI https://greekreporter.com/2021/04/15/greek-fashion-designer-creates-unique-1821NEVROBLAZER.COM inspired-collection/ SERBIA, SIROGOJNO https://www.sirogojno-style.com/en/about-us UKRAINE, VITA KIN https://www.vitakin.com/
MONTENEGRO, AKKA DESIGN https://www.akka.mi
Links to Fashion, Art and Culture 3000 museum Gallery Collections PELOPONESIAN LAOGRAPHIC MUSEUM virtual tour FASHION HISTORY MUSEUM NEW YORK
https://artsandculture.google.com/ https://www.pli.gr/en/content/360-tour-v-papantoniou-museum https://fashionhistory.fitnyc.edu/
CENTRE OF HIGHER EDUCATION IN THEATRE STUDIES (Greece)