@museumwnf/clothing-data 1.0.5 → 1.0.7

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-{"002afab3-8b58-59e9-ba4f-1241146b156d":{"name":"Kaftan","description":"A Rabat-style velvet kaftan embellished with gold brocade.","type":"Dress; costume","holder":"Dar Si Said Museum","dates":"Early 20th century","location":"Marrakesh","dimensions":"L: 132cm","keywords":["Moroccan costume","traditional costume","caftan","dress","traditional dress","velvet","brocade","fashion","gold","decoration"]},"025b84b0-d00d-5c21-a749-98f3596f9d77":{"name":"Boots","description":"Men’s leather riding boots. The applications of leather in different colours, with representation of geometric patterns, follow the customs and superstitions of the Hausa. The Hausa possessed, in every community, workshops for producing and dyeing articles of leather, though the most out-standing locations are those of Kano and Sokoto in Nigeria; places producing, since the medieval times, the thinnest skins used in Europe. The skins are those of goat, preferably of the males, and the dye receives the local name of *bagaruwa*. This product is usually processed by women, and it is also used for treating dysentery. The products of the Hausa are distributed, by trade, across wide zones of the Sahel and Subsaharian Africa.","type":"Leather","holder":"National Museum of Anthropology","dates":"20th century","location":"Madrid","dimensions":"97 x 25 cm","copy_editor":"Anne Dowell","keywords":["Leather","trade","bedouins"],"materials":["Leather; tanned, dyed"]},"0268e426-50a7-5898-934e-642eb18157d3":{"name":"Chasuble of the green Persian verstements","short_description":"The ground fabric of this dalamtic, a silk in wark satin, is single-coloured. The centre and sleeve ends are decorated with a silk fabric from Persia. The manufacture of precious silk fabrics had a long-established tradition in Persia when it experienced its last climax under the Safaviden dynasty (AD 1501-1736). Silk fabrics of high quality showing naturalistic designs with reference to the contemporary miniature painting were typical products of the period.","type":"Parament","holder":"Kunsthistorisches Museum","dates":"Persian fabric, 17th century, manufacturing: Vienna, c. AD 1750","location":"Vienna","dimensions":"Height: 106cm, Width: 125cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Hof- and Burgpfarrkirche, Vienna","obtention":"From the Parish Church of the Hofburg?","bibliography":"Seipel, Wilfried (ed) and Schmitz-von Ledebur, Katja, *Hauptwerke der Geistlichen Schatzkammer. Kurzführer durch das Kunsthistorische Museum*, volume 7, Wien: Kunsthistorisches Museum, 2007: 126-127, Nr. 51.  \nSchmitz-von Ledebur, Katja, *Gottes Lob. Kirchliche Textilien aus der Zeit Maria Theresias*, exhibition catalogue Geistliche Schatzkammer, Wien: Kunsthistorisches Museum, 2016: 36-37, Nr. 1.","dynasty":"Safavid","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["atlas","floral decoration","Habsburg","lampas","liturgical vestment","Persian textiles","Persian-Austrian relations","satin"],"materials":["Ground fabric: warp satin (silk), trim: lampas (silk, even gold, even silver), patterned","silver borders"]},"04c6becd-fdd7-5c20-9596-b48f8a6ce25a":{"name":"Traditional bridal costume and jewellery","short_description":"This set of traditional clothing gives an overall picture of the universally recognized aesthetics displayed in the festive women’s outfits in Macedonia in the 19th century. Bridal costumes worn in the area of Dolni Polog were distinctive for the great number of varied garments they comprised. The costume, consisting of a *fusta*, a kind of undershirt; a *bunda*, a thicker undergarment; chemise; tunic; vest and other garments, was abundantly decorated with embroidery. It was also richly embellished with jewellery and accessorized with distinctive headdress. Even the headdress included more than one article: a fez made of red baize, a hair band called a *votus* adorned with strings of coins as well as a transparent silk scarf decorated with embroidery, fringes and sequins.","type":"Folk costume and jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","provenance":"Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Costume","accessories","headdress","fez","wedding","marriage"]},"077c68fe-2e6b-58e1-8e7b-c457e2fe3a33":{"name":"Belt of *monistra* – tiny beads","short_description":"Unlike the metal jewellery worn in towns, which was produced by goldsmiths, jewellery and other articles of adornment from rural areas were made by women themselves, mostly of canvas, *monistra* (tiny beads in varied colours) and by use of the fruits of the nature, flowers, etc.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"Beginning of the 20th century","location":"Skopje","provenance":"v. Rashtak, Skopska Blatija","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Monistra – tiny beads in different colours","costume","accessories"],"materials":["Canvas, cotton thread, tiny beads - *monistra*"]},"07cdf5ca-173b-58b3-98fd-a1ff89450b73":{"name":"Boy's Vest","description":"This boy's vest, displayed at Tiraz, features a back panel crafted from traditional Syrian-made striped saya silk. Worn specifically during a circumcision ceremony, the festive garment is heavily embellished with an assortment of coins from various currencies, origins, and geographic regions. The vest originates from the Hebron villages and dates back to approximately 1930.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1930","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["ceremony","Children","Clothing","dress","silk"],"materials":["Silk, Coins"]},"07fa4973-f69d-57f4-8e6d-caeb88f75252":{"name":"Belt with buckles","short_description":"Buckles were the most prominent articles of adornment worn by Macedonian women. They were also the most frequently worn pieces of jewellery, having been an inevitable element of folk costumes in all parts of Macedonia. Combining functionality and aesthetics, buckles were also considered to play a protective role. The diverse shapes – round, rectangular, leaf-shaped, etc., as well as the exquisite style of their decorating, show the remarkable skill and talent of goldsmiths producing them. These buckles consist of two slightly concave round plates joined with a little round piece used for fastening. They are adorned with decorative stones and decorated with geometric patterns applied by hammering. The belt is made of cotton fabric decorated with geometric and floral patterns by application of silver and gold-wrapped thread and braids.","type":"Article of adornment","holder":"Museum of Macedonia","dates":"End of 19th – early 20th century","location":"Skopje","dimensions":"Belt: 88 x 7.5 cm, buckles: 27 x 12 cm","provenance":"V. Bardovci near Skopje","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Buckles","srma","costume","accessories","fashion"],"materials":["Cotton fabric, *srma* – silver and gold-wrapped thread, braids. Buckles: silver, hammering, decorative stones"]},"08314c51-a88c-51cd-93da-fc641ebafef3":{"name":"Coat (*Anterija*)","short_description":"Starting in the late fifteenth century, modern day Albania belonged to the Ottoman Empire for more than four hundred years. The traditional clothing there is thus very strongly influenced by the Ottomans, as is seen in this floor-length coat. The neck is cut round and the overlong sleeves are slit at the bottom. The garment is fastened in the middle by 41 ornamentally trimmed metal buttons reaching to the waist. Richly ornamental embroidery in appliqué technique cover the coat. The lining consists of a vertically striped *ikat*.","type":"Albanian coat, garment, costume","holder":"MAK – Museum of Applied Arts","dates":"19th century","location":"Vienna","dimensions":"H: 115cm, W: 178cm","provenance":"Ottoman empire, modern day Albania","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-94607","author":"Martina Dax","keywords":["coat","costume","embroidery","Ottoman Balkans","Ottoman costume"],"materials":["Silk, gold lamella","Velvet, coached embroidery, gold buttons"]},"085d1bb8-7770-5c15-929d-7644cdd9063f":{"name":"Headdress.","description":"The Palestinians of Hebron and the surrounding villages call this type of cap an *araqiyeh*. It is circular with a pointed centre and elaborately embroidered with red and black cross-stitched geometric decoration. Attached to the back of the cap are silver Ottoman coins. The two multicoloured hair-bands (*laffayef*), together with the thin black ribbons fixed to either side of the cap, are modern replacements. This type of headdress has been worn in the Hebron area from the late AH 13th century / AD late 19th century to the present day. During the British mandate in Palestine, the hair-bands (which were used for tying up the hair into a round bun that rested on the back of the neck) were much longer and were made of plaited woollen thread. This headdress was made for everyday use.","short_description":"The Palestinian women of Hebron and the surrounding villages call this type of headdress an *araqiyeh*. They use the multicoloured hair-bands (*laffayef*) to tie up the hair into a round bun that rests on the back of the neck. The Ottoman coins are for decoration and a symbol of affluence.","type":"Ottoman Headgear, gems, textile","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira late 13th century / AD late 19th century (before 1940).","location":"Glasgow, Scotland","dimensions":"(All sizes approximate) hair-bands: length 70 cm, width 10; cap: diameter 20 cm; ribbons: length 30 cm.","method_for_datation":"Artistic analysis: the cross-stitched pattern is typically Palestinian. The shape of the cap is of the type worn by Hebron women; the Ottoman coins confirm that the cap was made and first used in the early AH 14th / late 19th century.","provenance":"Hebron, Palestine.","obtention":"Donation to Glasgow Museums in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman, or under the British Mandate","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Coin","Coinage","Daily life","embroidery","geometric decoration","jewellery","numismatics","Traditional costumes","women"],"materials":["Embroidered cloth with ribbons and coins."]},"0b5fcd9e-c601-56fc-a163-574f42dfce20":{"name":"Cape of the Infante Don Felipe.","description":"Almost semi-circular cape belonging to the Infante Don Felipe; one of the most representative pieces of the 13th century. Most of it is kept in the National Archaeological Museum. When restored in 1997, the known fragments (I, V, D and J in Madrid and the Cooper Union Museum for the Arts in New York) were added to others kept in the Victoria and Albert Museum in London, the Museums of the Chamber of Commerce and Industry of Lyons, the Art Institute of Chicago and the Royal Museums of Art and History in Brussels, as well as a small fragment in the National Archaeological Museum itself (inventory no. 51016). The fabric is made of blue, natural, red and yellow silk with gold thread, woven in taquete and decorated with taffeta-weave stitches on a foundation warp over the crossing of the foundation weave and other wefts, resulting in a matt fabric that appears fully woven with defined edges. The piece is decorated with knotwork with simplified knots, eight-pointed stars, quatrefoils and plant arabesques both on the inside and the intermediate spaces. The edges are finished with ornamental epigraphic bands with the word *baraka*, 'happiness' repeated in *kufic* characters from left to right and vice versa consecutively.","short_description":"This silk cape with golden threads and Arabic inscriptions was found in the tomb of the Infante Don Felipe, who chose to be buried wearing it, evidence of the esteem in which the Christian aristocracy held such Andalusian-style fabrics.","type":"Textile, garment, cape, silk","holder":"National Archaeological Museum.","initial_owner":"Infante Don Felipe (d. 1274).","dates":"13th century, before 1274, the year in which the Infante died.","location":"Madrid","dimensions":"Height 147 cm, width 293 cm.","method_for_datation":"The Infante is known to have died in 1274 and he was buried with the cape.","method_for_provenance":"The cape was found in the tomb.","provenance":"Tomb of the Templar church of Villalcazar de Sirga, Palencia, Spain.","obtention":"The piece was assigned to the National Archaeological Museum as part of the organisation of the Royal Natural History Museum collection in 1867.","bibliography":"Amador de los Ríos, R., “Restos del Traje del Infante Don Felipe”, *Museo Español de Antigüedades*, Vol. IX, Madrid, \\[1879?\\], pp.101–26.  \nSánchez Trujillano, M. T., “Catálogo de los Tejidos Medievales del Museo Arqueológico Nacional.”, *Boletín del Museo Arqueológico Nacional*, IV, Madrid, 1986, p.105, no. 4.  \nSantos Rodríguez, R. M. de los and Suárez Smith, C., “Informe Técnico Sobre los Trabajos de Conservación y Restauración de la Capa del Infante Don Felipe (s. XIII)”, *Boletín del Museo Arqueológico Nacional*, XV, Madrid, 1997,pp.231–9.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, *Ars Hispaniae*, Vol. IV, Madrid, 1949, pp.61 and 201.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["brocade","Cape","costume","Mudéjar","Palencia","silk"],"materials":["brocatelle.","Silk, gold"]},"0cc82bad-3c43-57b4-a06b-eee73296523f":{"name":"Jana o’ Narr Dress","description":"Dress with wide sleeves and made of white cotton and silk with red, green, and thin, dark blue stripes. The chest panel has striped Kashmir fabric with wavy edges. The neck and shoulders have additional silk cloth and braid work surrounding the chest panel. The sleeves have silk fabric (“bird’s tongue”) in addition to the original cotton fabric colour. The front and back panels have no embroidery work, and the border is done in wavy needlework. This dress is handmade by the women of Tubas (in the Nablus district) for special occasions and weddings. Traditional Palestinian costumes reflect complex social systems that express the owners’ social status, wealth, region and origins through different designs and decorative elements. In this case, both married and single women can wear this dress, but it is usually worn by the wealthy class of women because the fabric is very expensive and not easy to obtain. Wearing this dress is a visual statement that the owner of the dress is from the upper class of society.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 150cm, Width: 160cm","place_of_production":"Tubas","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Tubas","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"0db9b6f4-876c-52ec-9ce4-b7a1827400e3":{"name":"Coat (*Attila*) for a commander of the Macedonian reform-gendarmerie","short_description":"According to the agreements at Mürzsteg in 1903 between Austrian Emperor Francis Joseph I and the Tsar of Russian, the international community was sending police officers into the region of Macedonia in order to support and modernize the Macedonian police force. These officers submitted to the orders of the Sultan as the supreme commander of the Imperial Ottoman Army. Against the will of Russia, all international police officers wore a uniform in the Ottoman style: an *attila* like the one seen here. The official headwear was supposed to be the typical local fez, but officers from Austria, Russia and France adopted instead a *Kalpak* made of fur.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"c. 1910","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Macedonia","war","warfare","military object","military wear","Ottoman army"]},"0eb45a82-3f02-52db-8222-86625075ccdf":{"name":"Bridal coat (*Klashenik*)","short_description":"A *klashenik* is a kind of over-garment women used to wear in winter. It is split in the front and made of thick woollen broadcloth called *klashna*. This piece is long to the hips. It is adorned with red braids along the hems. It is also decorated with embroidery of geometric patterns on the sleeves and at the breasts. Every ethnic area in Macedonia had distinct style of traditional costume, yet all of them show undeniable influence of Oriental art.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"68 x 111 cm","provenance":"Debarski Drimkol","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["klashenik","broad cloth","textile","embroidery","geometric patterns","geometric motifs","costume","wedding","marriage"],"materials":["Thick woollen fabric, twill-weave, embroidery with *srma* and decoration with wool braids"]},"11568132-d5af-54cf-9a3f-f663abfb4f5b":{"name":"Winter jacket","short_description":"Sleeveless jacket made of woollen fabric of red and black stripes, decorated with floral motifs of orange and purple colour with couching in silk threads on the shoulders and the bottom. This object illustrates the variegated population composition of the Jordanian territory in the late 19th and early 20th centuries, influenced by the local economy. The main activities were trade and crafts that influenced population movements and the coexistence of various local and foreign communities.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 28cm, bottom circumference 113 cm","provenance":"Bethlehem","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Jacket","floral motifs","silk threads"],"materials":["Wool, cotton and silk; hand weaving and hand embroidered"]},"123265a3-960f-5c76-9487-14f718823b74":{"name":"*Termeh* panel","short_description":"Very popular both in the Eastern world and in Europe, ‘Kashmir shawls’ (Pers. *termeh*) were produced not only in northern India but also in Iran, mostly in Kerman. *Termeh* panels, embroidered with metal thread (in the *sermeh duzi* technique) and occasionally with pearls, were treasured family possessions handed down from generation to generation. When used as wedding gifts they included inscriptions of good wishes to the bride and groom. This sumptuous *termeh* panel features scrolling vines and grapes embroidered with silver strips on the wool ground decorated with *botehs*. Various alternating metal strips and a profusion of pearls enhance the highly suggestive tactile quality of this exquisite embroidery.","type":"Embroidery","holder":"The National Museum of Art of Romania","dates":"Hegira late 13th – early 14th century / AD late 19th century","location":"Bucharest","dimensions":"Length: 66cm, Width: 46cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Purchased by the Museum in 1959.","bibliography":"Dunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 46, no. 16.","dynasty":"Qajar","author":"Mircea Dunca","keywords":["Embroidery, termeh"],"materials":["Wool, silk braid, embroidery with silver strips, pearls"]},"1313c11f-d35a-5fba-85ac-6b580ca2b754":{"name":"Headdress ornament","short_description":"A headdress ornament with the portrait of Fath Ali Shah (1797-1834) in painted enamel. It is shaped as a half-shaped moon combined by the rising sun that was the emblem of the Persian order of honour founded by the Shah in 1807. The bejewelled imperial crown refers to later oil paintings of him, since in the early years of his reign he is usually portrayed in the traditional royal turban topped by an aigrette.","type":"Jewellery","holder":"Benaki Museum","dates":"Hegira 1211-1249 / AD 1797-1834","location":"Athens","dimensions":"Height 7 cm","provenance":"Iran","dynasty":"Qajar","keywords":["costume","Fath Ali Shah","gold","Headdress ornament","Iran"],"materials":["Gold, gems, pearls, painted enamel"]},"14df710b-1ecd-5f46-9a55-9c8986e98145":{"name":"Fragment of golden lampas with capture scene","short_description":"Silk figured fabrics (patterns of which included images of people) were at the peak of the Safavid court fashion. A remarkable example of the type is this fragment of a golden lampas depicting a scene of captivity. One of the most technologically sophisticated and costly fabrics in Iran, the golden lampas provided up to 10 silk threads of different colours in the pattern. The inclusion of threads wrapped in gold or silver foil suggest that the fabric could be produced in *karkhane* – imperial workshops.  \nThe fragment is one of the two largest pieces among seven dispersed parts of a very costly man’s robe that probably belonged to some member of the Iranian Shah family. The scene featured on the lampas has long aroused great interest among researchers. Around a tree (sycamore or maple), where a large fairy bird is sitting on the branch, rides a horseman leading a prisoner. A little child sits behind the rider. Above the people a rooster flies towards a tree.  \nThe horseman is depicted in the characteristic Safavid outfit of the AD 16th century: a turban is wound around a tall Taj cap, the number of turban bangs symbolizes 12 righteous Shi‘ite imams.  \nThe idea to treat the scene as a political manifesto of the victorious campaigns of Shah Tahmasp I to Georgia (1540, 1553) was complemented by alternative *Sufi* interpretation of the subject. The scene of captivity was seen as an allegory of man on his spiritual path to God. Thus the horseman stands for the Teacher who leads the Disciple (captive) through the complex ways of learning towards a divine truth personified by the mythical ancient Iranian bird, Simurg (fairy bird).","type":"Textile","holder":"The Khanenko Museum","owner":"The Khanenko Museum","dates":"AD 16th century","location":"Kyiv","dimensions":"Length: 109cm, Width: 34cm","method_for_datation":"Stylistic analysis by Leon Guzalian (examination, 1955); Galina Lasikova (2003).","method_for_provenance":"Ассording to the entry in the Old Museum Inventory Register (1919-1940).","provenance":"Iran","obtention":"Purchased by Bohdan and Varvara Khanenkos. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bier, Carol (ed), *Woven from the Soul, Spun from the Heart: Textile Arts of Safavid and Qajar Iran, 16th–19th Centuries*, exhibition catalogue, Washington, D.C.: Textile Museum, 1987.  \nBilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nLasikova, Galina, \"“The bird’s language” on the Safavid khil’at with capture imagery in Khanenkivski Chytannya\", in *Proceedings of the International Museum Conference*, Kyiv: The Khanenko Museum, 2003.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nThompson, Jon and Canby, Sheila, R. (eds), *Hunt for Paradise: Court Arts of Safavid Iran 1501–1576*, Milan: Skira, 2003.","dynasty":"Safavid","author":"Antonina Makarevych, Hanna Rudyk","copy_editor":"Janice Medina","keywords":["Golden lampas","Iran","Safavid"],"materials":["lampas weaving","Silk, metal-wrapped thread"]},"15610349-3f4b-5d20-bbb1-76ff1816ce04":{"name":"Kaftan","short_description":"Originally worn by a prince or a boyar, the present kaftan was turned at some point into an ecclesiastical cope and preserved as such at the Cozia Monastery (in southwestern Romania), where it was discovered in 1864. By the mid-1950s it was transferred to the Museum, and was later reconstituted into its original form. The long, loose garment with long sleeves is lavishly decorated with eight-petalled rosettes set against a red ground. Each rosette encircles a lotus flower. In between rosettes, a design of delicate scrolls with tiny wild roses.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 145cm (on the back)","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Lăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 125-126, cat. no. 48.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 32, cat. no. 3, fig. 8-10.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["çatma","Kaftan"],"materials":["Voided silk velvet brocaded with silver-gilt thread (çatma)"]},"178d2db5-fbc1-5e5a-8ce8-245dc22c7cea":{"name":"Arabian *bisht*","short_description":"Arabian *bisht* made from black cloth and gold thread.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume","fashion"],"materials":["Wool, gold threads"]},"193a9a89-b61a-5343-bfe6-6a9ba668f8c4":{"name":"Pair of belt buckles","short_description":"Two tear-shaped buckles fitted with a hook and eye, each decorated on one side with vegetal and floral details on a green velvet ground. The finely worked decorative designs enclose a motif which reiterates the tear shape of the buckles, embroidered with pearls and an emerald at its centre.","type":"Accessory","holder":"The National Museum of Art of Romania","dates":"Hegira 1203 – 1222 / AD 1789­ – 1807","location":"Bucharest","dimensions":"Length: 22cm","method_for_datation":"*Tughra* of Sultan Selim III","method_for_provenance":"*Tughra*; stylistic analysis","provenance":"Ottoman Empire","obtention":"Former royal collection, Peleş Castle, Sinaia. Transferred to the Museum in 1948.","bibliography":"Tănăsoiu, C., *Podoabe din trecut. Colecţia de paftale a Muzeului Naţional de Artă al României*, Bucharest: National Museum of Art of Romania, 2015: 103, no. 200.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Belt buckles"],"materials":["Silver-gilt, green velvet, embroidery with silver and silver-gilt thread, pearls, emerald"]},"19c733fc-08e0-52fa-a832-d08a38cebc5d":{"name":"*Tiraz* textile fragment from an *ikat* shawl","short_description":"Striped textiles from Yemen were famous in medieval times throughout the Islamic world. They were made in the *ikat* technique, in which cotton warp threads were bundled together and resist-dyed before being arranged on the loom to form striped lozenge patterns. The regularity of the weave and the fineness of the cotton threads of this *tiraz* attest to its status as a luxury object. The gilded inscription in a highly stylised floriated and interlaced *kufic* script includes the line “Dominion belongs to Him \\[God\\].”","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira second half 3rd–early 4th century / AD late 9th–early 10th century","location":"New York","dimensions":"Textile: L: 58.4cm, W: 40.6cm; Mount: L: 69.9cm, W: 53.3cm, D: 2.2cm, Wt: 8lbs, 3.6kg","provenance":"Yemen","obtention":"Gift of George D. Pratt, 1929  \nFormer owner: George D. Pratt, New York (until 1929; gifted to MMA)","bibliography":"Ali, Wijdan, *The Arab Contribution to Islamic Art : From the Seventh to the Fifteenth Centuries*, Jordan: The Royal Society of Fine Arts Jordan, 1999: 110, ill. fig. 62 (b/w).  \nEkhtiar, Maryam, Canby, Sheila R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 5, 52, no. 29, ill. 52 (colour).  \nEkhtiar, Maryam, *How to Read Islamic Calligraphy*, New York: The Metropolitan Museum of Art, 2018: 122–23, no. 32, ill.  \nEttinghausen, Richard (ed), *The Arts of Islam. Masterpieces from The Metropolitan Museum of Art New York*, Berlin: Staatliche Museen Preußischer Kulturbesitz Berlin, 1981: 56–57, no. 15, ill. 57 (b/w).  \nSchimmel, Annemarie, \"Islamic Calligraphy\", *Metropolitan Museum of Art Bulletin. New Series*, 50/1 (Summer 1992): 14, ill. fig. 16 (colour).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 27, ill. fig. 15 (colour).","dynasty":"Ziyadid","copyright":"The Metropolitan Museum of Art, Gift of George D. Pratt, 1929","keywords":["Arabic inscription","cloth","Clothing","cotton","dress","factory","Fragment","Ikat-dyed","inscription","painted","pseudo inscriptions","textile","textile fragment","tiraz","tiraz fabric","Warp","Yemen","Ziyadid"],"materials":["Cotton, ink, and gold","painted.","plain weave, resist-dyed (ikat), painted. Inscription: black ink and gold leaf"]},"1a45e8a0-c447-57b3-a5e2-1167b070b291":{"name":"Jacket.","description":"The short jacket with long sleeves is made of red velvet and displays rich decoration. Silver braid covers the seams and border the neckline, the cuffs and all other edges. In addition, the borders are highlighted by a broad strip of patterned fabric. Parts of the shoulders and the sleeves are embroidered. The braid on the shoulders is flanked by tendrils. The upper parts of the sleeves show stylised scrollwork from which, in contrast, stylised sprays of flowers and leaves emerge. The jacket is closed by a row of 16 buttons. Inside, the jacket is lined with printed cotton showing a pattern of strips.","short_description":"Short jacket with long sleeves made of red velvet, lined with printed cotton. It is richly embroidered with scrollwork, sprays of flowers and leaves.","type":"Velvet, cotton, embroidery, metal thread, costume","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Width 150 cm.","method_for_datation":"Metal thread embroidery was the preferred technique for Ottoman urban pieces of the 13th / 19th century.","method_for_provenance":"High-quality Ottoman metal-thread embroideries are products of the professional workshops of Istanbul and Bursa.","provenance":"Turkey, possibly Istanbul or Bursa.","obtention":"Purchased from the collection of F. R. Martin in 1898.","bibliography":"Johnstone, P., *Turkish Embroidery*, Victoria and Albert Museum, London, 1985.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.  \nTher, U., *Floral Messages: From Ottoman Court Embroideries to Anatolian Trousseau Chests*, Bremen, 1993.  \n*Türkische Kunst und Kultur aus Osmanischer Zeit*, Museum für Kunsthandwerk Frankfurt, Exhibition catalogue, Vol. 2, Recklinghausen, 1985.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Clothing","costume","embroidery"],"materials":["needlework, embroidery.","Velvet, printed cotton, gold metal thread"]},"1b9107ef-851d-52ee-bc3e-ab6407fccbb8":{"name":"Sarong","short_description":"The harmonious marriage of the iridescent colours in Malay textiles is perhaps best seen in examples of finely woven *kain limar*. The single weft-ikat cloth, also known as *kain lemar* or *kain limau*, is principally produced in the state of Terengganu and Kelantan on the East Coast of the Malay Peninsula. While these cloths are now associated with the Sultanate of Terengganu, in the past they were also part of royal ceremonial costume in the Riau and Lingga archipelago, which lie between the Malay Peninsula and southern Sumatra.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1300-1400 / c. AD 1900-2000","location":"Kuala Lumpur","dimensions":"103 x 210cm","provenance":"Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *The Message & The Monsoon: Islamic Art of Southeast Asia*, Kuala Lumpur: IAMM Publications, 2005: 95.","materials":["Silk weft ikat with supplementary weft metal threads"]},"1bf2807f-b480-5653-a4f4-e5a1183a5629":{"name":"Dura'ah coat","short_description":"Druze, Galilee. Most of this coat, apart from the brown cotton sleeves, is made from luxury fabrics imported from Syria or Europe: red satin and panels of  blue and silver brocade, which are attached with large red running stitches. The cord edging shows Ottoman influence.","type":"Textile","holder":"The British Museum","dates":"Late 19th – early 20th century","location":"London","provenance":"Levant","keywords":["costume","cotton","silk","silk trade","Syria"]},"1c5f02d2-2470-50be-8d9d-69e9381c662f":{"name":"Clogs","alternate_name":"Nanule (Tr. *nalın*)","description":"*Nanule* – clogs (Tr. *nalın*) are a major category of Ottoman footwear, worn both by men and women. They were carved from a single piece of hardwood, such as walnut, beech, boxwood or ash, held on the foot by a leather strap and usually decorated with mother-of-pearl inlay or metal plaques. The wooden soles of the clogs have two high wedges, as they were designed for use on wet floors in the hamam – a Turkish bath. The height of the clogs also protected the foot from the heat generated by underfloor heating in the bath.  \n  \nThese clogs, from the Museum of Applied Art in Belgrade (a.n. TC-265 (1924), are made of wood. They have flared wedges, the back one expanded at the rear. The toe of the sole is square, and the heel is pointed. The soles and wedges are inlaid with mother-of-pearl and metal wire. The inlay design features mother-of-pearl triangles set within metal wire frames. The leather straps are covered with purple velvet and embroidered with vegetable motifs in couched supported technique, using metal thread and spangles. The clogs had an important place in the shared dress and living culture of the urban population in the Ottoman Balkans, which had diverse confessional and ethnic backgrounds.","type":"Dress","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","initial_owner":"Ljuba Ivanović (1882–1945)","dates":"AH late 13th / AD late 19th century","location":"Belgrade","dimensions":"Length: 23cm, Height: 7cm","place_of_production":"Kosovo","method_for_datation":"By stylistic and comparative analysis with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Ottoman Empire","obtention":"The item is a part of the collection of Serbian painter and engraver Ljuba Ivanović (1882–1945). The collection was purchased by the Museum of Applied Art in Belgrade in 1951 and comprises 3,116 items, bearing witness to the early modern and modern visual culture of the Balkans: urban and folk dress,  jewelry, metalwork, casting molds and tools, items carved in wood, horn, and mother-of-pearl, wood-carved and painted icons, etc. The items were collected in the field, mostly during the interwar period.","bibliography":"Maskareli, D., *Fashion in Modern Serbia*, Belgrade: Museum of Applied Art, 2019: cat. no. 18.  \n  \nMaskareli, D., “Tradicija i moda: ženska obuća iz XIX i s početka XX veka u kolekciji Muzeja primenjene umetnosti u Beogradu”, *Journal 9 (2013): 93--101.  \n  \nStojanović, D., *Gradska nošnja u Srbiji tokom XIX i početkom XX veka*, Belgrade: Museum of Applied Art, 1980: cat. no. 378.  \n  \nTadić, M., “Od kućnog dvorišta do hamama, sedefli nanule”, *Journal*, 4/5 (2008/2009): 19--31.  \n  \nVitković-Žikić, M., *Artistic Embroidery in Serbia 1804–1904*, Belgrade: Prosveta, 1994: cat. No. 64.*","dynasty":"Ottomans","author":"Draginja Maskareli","copy_editor":"Zeina Al Amad","keywords":["nanule, clogs, hamam, dress, Balkans"],"materials":["inlay, velvet, embroidery","Wood, mother-of-pearl, metal wire, leather, silk, metal thread, spangles"]},"1cd784d6-18b3-56c5-be73-779aee36490e":{"name":"Widow’s Dress from Bir al-Sabe","description":"A dress for widowed women only, from Bir al-Sabe. This dress displays heavy embroidery work on the chest panel, similar to a *qalayed* (necklace) motif. The embroidery of this dress is less festive and detailed and adorned with few birds or flower motifs. The neck and shoulders are embroidered on each side and display orange *hirmizi* needlework with few flower shapes. The sleeves show varied embroidery designs, while the *banayeq* (side panels) and the front and back panels show heavy embroidery work in blue with cypress tree and feather motifs, along with talismans on the top of the side panels. This dress has a very unusual and interesting feature; at the bottom of the dress (*dyara*) there is thick blue embroidery, but the dress is devoid of embroidery in the middle. This design feature holds deep social meaning, denoting that the owner of the dress is a widowed, unmarried woman who does not intend to marry again. On the other hand, if the woman fills the gap in the middle with embroidery, this added embellishment is a declaration of her intention to marry again.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 134cm, Width: 121cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"1f0eaf20-2956-56be-9d41-aa6ed59baf58":{"name":"Robe for a man or a child","short_description":"The outside of the upper garment (*gaba*) is made of a purple silk changeant, whilst its cuffs are lined on the inside with a Persian wool fabric with a characteristic striped pattern. Since the cuffs are usually turned inside out, this creates a pleasant colour contrast. European printed fabric was used to make the lining, as was often the case during the latter 19th century.  \n  \nThe *gaba* is a traditional outer garment whose shape has changed little over the centuries. The upper part is close-fitting, while the lower part is flared and sometimes has side slits.  \n  \nThis robe was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Heigth: 119cm, Width: 169cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran","obtention":"Gift from descendants of Emil Alpiger","bibliography":"Langer, Axel, “Manteaux dʼhomme, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 362-363.  \nLanger, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Silk changeant, embroidery, lining: wool fabric (termeh), printed cotton (European manufacture)"]},"1f14a324-c1e9-5296-b0e9-2ac16800da16":{"name":"Old wooden slippers","short_description":"Slippers made out of wood that was usually worn for comfort.","type":"Costume; accessories","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Wood","accessories","shoes","costume"],"materials":["Wood"]},"2065193b-8c2b-5f0c-9ce1-122837e27dc7":{"name":"Woman’s robe (*entari*)","short_description":"Traditional Ottoman clothing was designed to conceal the figure, which explains the use of several superimposed garments. On the other hand, these multiple layers emphasized the great variety of fabrics, the striking colour contrasts, and the rich texture of the embroidered pieces. The *entari* is typical for the Ottoman female dress: ankle-length or shorter, generally open down the front, it has long, narrow sleeves slit at the elbow to reveal the embroidered areas, as well as the colours and decoration on the sleeves of the garment underneath. Dense silk embroidery covers the entire surface of this *entari*. The floral patterns and the architectural details are stylistically similar to the rich decoration on certain embroideries of daily use dating from the same period.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira late 12th – early 13th century / AD late 18th century","location":"Bucharest","dimensions":"Height: 140cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Purchased by the Museum in 1970.","bibliography":"*Arta iraniană în colecţiile din Republica Socialistă România*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1971: 42, cat. no. 119, fig. 37.  \nBeldescu, A., *Broderii turceşti*, Bucharest: National Museum of Art of Romania, 1997: 19, cat. no. 4.  \nDunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 58, no. 20.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Entari"],"materials":["Wool embroidered with silk, silver-gilt thread and strips, sequins"]},"21d264d1-3d1b-5ec6-b7d4-e5b54eaaed68":{"name":"*Bindallı entari*","short_description":"The attire of Ottoman women included dresses for the outdoors and the indoors. Starting from early 19th century, dresses called *üçetek* (dress with three skirts) and *dörtetek* (dress with four skirts) became fashionable. As relations with Europe increased, women in Istanbul started to use imported European textiles for their new dresses. This *entari* (dress) is made of purple velvet embroidered in the *bindallı* (dress that has embroidered flowers on the branches) style with garlands and flowers in vases in the *dival* (gold or silver embroidery on velvet) technique using silver-gilt thread. It has a short front opening, round neck and fitted sleeves. The skirt is widened by triangular gores and is longer at the back.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"H (front): 128 c, h (back): 146 cm, sleeves: 49 cm","copy_editor":"Daniel de la Vega","keywords":["fashion, traditional dress, textile"],"materials":["Velvet, silver-gilt thread"]},"22b59916-1001-5666-873e-2d7a62f3d991":{"name":"*Keswa kabbous *(wedding outfit)**","short_description":"Worn by the bride during the wedding ceremony, the keswa kabous el-Jaraq weighs more than ten kilograms. It consists of a large, billowing pair of trousers secured at the waist by a tekka (similar to a ribbon), with a matching top, short enough to leave the waist uncovered, both made of silk taffeta. Its air of great wealth and elegance comes particularly from the contrast between the floral motifs, embroidered with a flat silver thread, and the sequins, also sewn on with a gold and silver thread. When worn by a seated bride, the trousers resemble a large hoop-skirt, connected to a low-necked bodice, which together give the impression of being a robe de cour (grand habit). The upper section of these trousers, hemmed at the waist but open at the front, consists of almost four metres of fabric, and the legs alone have a circumference of one and a half metres and are a metre long. The end of the legs is hemmed with some robust percale fabric, which contains the hemming and rises up the leg to create an even larger swell around the ankle.","type":"Textiles; dress","holder":"Office de l’Artisanat de Tunis","dates":"19th–20th century","location":"Tunis","provenance":"Nabeul","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Wedding outfit","embroidery with silver thread."],"materials":["Emroidered satin"]},"2363b57a-3e83-58d6-add7-b8e17a845595":{"name":"Belt elements","short_description":"Composed of a central rosette, eight bars and two finials, these belt elements are decorated with domes and granulation designs. Several features compare with Iranian pieces including the box construction and the minute granulation covering completely most of the domes. An early date is supported by the conspicuous absence of openwork filigree used in Fatimid jewellery. Similar belt elements were found in the Bekaa valley in Lebanon, in a hoard of Mamluk and other later jewellery.","type":"Belt elements, gold","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"Height 5.5 cm  \nLength 27 cm","provenance":"Iraq, said to have come from Samarra","dynasty":"Abbasid","keywords":["Abbasid","Belt","gold"],"materials":["Gold"]},"23e1371d-e17b-5b84-a037-47dc18e8eb2f":{"name":"*Qittan*","short_description":"A very rare piece purchased from Sheikh Sa\\`ud in 2002. This was his personal *thawb* and he said he found wearing it very relaxing. Called *qittan*, which means 'cord', the piece is embroidered around the neck up until the ends of sleeves, with silk thread. It also contains silk ball buttons.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume","silk","embroidery","thawb"],"materials":["Cotton"]},"23edfc09-0c9b-59bb-960f-61e8838f93b3":{"name":"Shoes","description":"White and blue satin shoes. They are flat and have a sharply raised toecap. The sole is made of leather. The surface is partially covered in yellow silk; they are adorned with gold sequins and a yellow tassel.","type":"Costume; accessories","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1855","location":"Madrid","dimensions":"Height 5 cm, Length 27,2 cm, Width 6,3 cm","author":"Elena Vázquez","copy_editor":"Anne Dowell","keywords":["Costume","oriental shape","commerce"],"materials":["Silk, leather, metal; tanning, satin"]},"2648874b-264b-5142-94b8-f20ea33a01b4":{"name":"Fan","description":"Historical fans were popular accessories in the second half of the 19th century, especially those commemorating important public events such as North Africans wars. These everyday objects as fans would serve as tools to disseminate political or social ideas. The employment of lithography applied to the leaf tells us of the propaganda use of the engraving and its application to the decorative arts. This fan is an example of it, because it shows the Spanish army helping the people from the villages in Spanish territory of North Africa (Morocco).","type":"Personal ornaments; Fashion complements","holder":"National Museum of Romanticism","dates":"c. 1860","location":"Madrid","dimensions":"27 x 49 cm","author":"Mercedes Rodríguez Collado","copy_editor":"Anne Dowell","keywords":["Accesories","Propaganda","Spain","Morocco"],"materials":["Double paper-leaf printed; ribs: mother-of-pearl; fretwork, gilt, carved, lithography, painted"]},"26bb48d2-0468-5e95-b709-f3f74817bef6":{"name":"Man's trousers (*Chakshiri*)","short_description":"There used to be around fifty diverse styles of folk costumes worn in different ethnic areas throughout Macedonia in the 19th century and in the early 20th century. Among the most prominent were the costumes of Gorni Polog. Unlike the diverse and numerous women’s garments, men’s outfits were much simpler and rather unified. These men's trousers of white canvas are decorated plainly with black braids.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"102 x 42 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["ethnic regions","costume"],"materials":["Klashna – twill-weave woollen fabric"]},"274e910c-7ec1-5f20-8460-292341da7d08":{"name":"Headdress","short_description":"Three silver chains formed into a hat with beaded frontispiece decorated with coins. On the back, a long fabric with gold and silver Ottoman and Venice coins. Silver jewellery was the most common, because only rich people could afford gold jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. The Jordanian economy relied on trades and crafts and new waves of people started to come to Jordan and began to settle for these purposes. This object is an example of how traditional fashion reflected the variegated population composition of Jordan in the late 19th and early 20th centuries. It is also an example of local personal attire, fashion, costumes and rites.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"1911","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver chains","coins","decorated","Ottoman coins","Venice coins"]},"279e1f50-df40-5f44-a5e0-e9a46ddf29b7":{"name":"Bridal coat (*Klashenik*)","short_description":"A *klashenik* is a kind of over-garment in varying lengths and split on the front made of thick woollen broadcloth called *klashna*. This knee-length piece comes from the Veles Region. It is abundantly adorned with embroidery above the lower hem and at the breasts. Embroidery was an inevitable part of decorating the majority of Macedonian folk costumes. The exquisite, meticulously executed embroidery applied on this tunic makes it a real work of art.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"100 x 64 cm","provenance":"Veles Region, Mijaks","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["klashenik","broad cloth","textile","embroidery","costume","wedding","marriage"],"materials":["Thick twill-weave woollen fabric decorated with braids"]},"29f9716b-3b17-5ea5-b1e6-06de5e5b0e3e":{"name":"*Funda* (pin)","short_description":"Over the course of the centuries-long existence of Macedonia in the shadow of the Ottoman Empire there was apparent reflection of Oriental-Islamic influences in its arts and crafts. This also applies to the jewellery of Macedonians and all other ethnic communities. In the east of Macedonia, young women and brides within the Vlach population used to wear exquisite articles of adornment in the area of the temples. This type of jewellery was called *funda*. It was usually in trapezoid or semi-oval shape. *Funda* was made in filigree technique richly adorned with lace and tiny silver coins.","type":"Article of adorrnment; jewellery","holder":"Museum of Macedonia","dates":"End of 19th – early 20th century","location":"Skopje","dimensions":"15 x 17 cm","provenance":"V. Sofilari near Shtip","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["decorative pin","funda","filigree","coin","coinage","currency","numismatics","silver","wedding","marriage","fashion","costume"]},"2a7ae5f9-624f-523e-9ba6-163799cfc234":{"name":"Silk lampas robe","short_description":"This monumental silk lampas robe from Sogdiana, carbon dated to the seventh to eighth century, has raised theories regarding its role and function. In religious context, this silk fabric was known to wrap religious text or relics, and bodies for burial purposes. In diplomatic relation, the weft fabric functioned as diplomatic gifts, or tailored into costumes for government officials. This silk robe presents us an image of the luxurious textiles traded between China, Central Asia and Persia.  \nThe Sassanians used to weave their own designs on silk - elaborate repeating motifs of heraldic animal and human elements with interlocking plant enclosed within a pearl-like roundel - which achieved popularity in Central Asia. The Sogdians are known to weave motifs specific to their target market by appealing to ethnic and culture, religious purposes or the ruling elite. By the eighth century, Sassanian motifs were brought into being as both imported goods and locally-produced reproduction especially from Sogdiana.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 1st-2nd century/ AD 7th-8th century","location":"Kuala Lumpur","dimensions":"143 x 263cm","provenance":"Central Asia","bibliography":"Watt, J. C. Y., *When Silk Was Gold : Central Asian and Chinese Textiles*, New York: Metropolitan Museum of Art in cooperation with the Cleveland Museum of Art, 1997. Kadoi, Y., *Islamic Chinoiserie: the Art of Mongol Iran*, Edinburgh: Edinburgh University Press, 2009. Rees, B.R., Jervis, M.E., *Lampas: a new approach to Greek*, Oxford: Blackwell, 1970.","dynasty":"Umayyad","materials":["Stitched and woven with fine red, green, blue and cream silk threads"]},"2d85c81f-8fff-5170-9719-df9f41dbd763":{"name":"Socks (*Chorapi*)","short_description":"In the 18th, 19th and early 20th centuries, all garments for the entire family were made by women themselves. They used to weave all the fabrics, except for the broadcloth, as well as to cut and sew the clothes, decorate them by embroidery and apply varied ornaments for embellishing. Women also used to knit the socks to match the outfit. These men’s socks belong to the set of traditional men’s costume from the Gorni Polog area. They are knitted from black wool and *srma* (silver and gold-wrapped threads). They have been additionally decorated with embroidered floral patterns in different colours.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"54 - 20 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["home-made attire","knitting","silver","gold","embroidery","floral decoration","costume"],"materials":["Knitted of wool and silver and gold-wrapped threads. Decoration with embroidery of varied wool"]},"2e2c6f60-7eec-5d13-9b2d-03e45b5cd72a":{"name":"*Burqu\\` rayyasi*","short_description":"Face mask (also known in Arabic as *batula*) decorated with small embossed gold discs all around the forehead and sides. There are two matching gold clasps on each side of the forehead.","type":"Costume; accessories","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Gold","mask","facemask","costume","accessories"],"materials":["Calico, gold, golden silk cord"]},"2e61e3f7-50c6-567e-8d2c-022e0356b93e":{"name":"Uniform-coat and fez of an officer of the Austro-Hungarian infantry from Bosnia-Herzegovina","short_description":"The terms of the Congress of Berlin (1878) placed the two Ottoman provinces of Bosnia and Herzegovina under the direct administration of Austro-Hungarian Empire. Troops under the command of general (*Feldzeugmeister*) Joseph Philippovich von Philippsberg (1818–1889) occupied both regions, which became – by annexation – integral parts of the empire in 1908. In 1882, the Austro-Hungarian Army began recruiting local troops from the provinces, which provided great military value, especially during World War I.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Bosnia","Austrian army","Ottoman army","war","warfare","military wear"],"materials":["Textile"]},"2f43e6b1-762a-5338-b352-7d38a498d393":{"name":"Insignia with the Portrait of Muhammad Shah Qajar (r. 1834–48)","short_description":"This lavishly embellished portrait of Muhammad Shah Qajar with its fine enamelling and diamond-set turban ornament, arm bands and collar, offers an exquisite example of the skill of the royal Qajar artists during his reign. The *nasta’liq* inscription within the two medallions read: Al-Sultan ibn Sultan, Al-Sultan Muhammad Shah Qajar.","type":"Jewellery","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1235-40 / c. AD 1835-40","location":"Kuala Lumpur","dimensions":"10 x 8cm","provenance":"Iran","obtention":"Swiss private collection","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015.","dynasty":"Qajar","materials":["Gold and diamond","granulation, soldering, hinges, rivet, stone setting, enamelling, bending, handwritten on the enamel surface"]},"2f8b920a-ec65-5c26-a6f7-a26f55c2895e":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child’s collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall design of eight-pointed stars set in staggered rows on a crimson ground.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The so-called *kemha* costumes were designed to emphasise the imperial status of members of the court, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Height 75 cm, width 72.14 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been made in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.268–9, fig. 200 (for discussion about this fragment and other Ottoman silks).  \n*Türkische Kunst und Kultur aus osmanischer Zeit*’, exhibition catalogue, Recklinghausen, 1985, p.227, cat. nos. 4/1 and 4/2 (for discussion about this fragment and related textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"2f953756-84c0-5583-addd-4a04b14f482f":{"name":"Shirt","description":"White linen shirt, long and flared sleeves ruffled long fist, also shirred boat neckline and wedge in the armpits and on the skirt. On the neckline, sleeves and cuffs, bands embroidered with black wool based geometric, vegetable and rampant lions.","type":"Costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"Late 19th century","location":"Madrid","dimensions":"Width 77 cm, Height 76 cm","provenance":"Alosno, Huelva, Andalucía","author":"Mª Antonia Herradón","copy_editor":"Anne Dowell","keywords":["Traditional costume","geometric decoration","Spain"],"materials":["Linen, wool; taffeta, embroidery needle-lace"]},"30f8c92a-d056-538d-835c-8f96181283c0":{"name":"Ikhdari Dress (*Malaq*)","description":"This *malaq* dress originates in the Al-Khadir area of Bethlehem District, where women embroider it by hand. It is worn only by brides for their wedding day. This dress is made with *Abu Warda* fabric. It has a traditional *malaq* chest panel of flower pot motifs, bordered by two pieces of blue velvet fabric with a bird embroidered on them. The neck and shoulders are made of red fabric. The sleeves are made with silk *hirmizi* cloth in addition to the original fabric of the dress and are embroidered with a Bethlehem clock and a bird. The *banayeq* (side panels) are embroidered with clock and floral motifs in addition to multiple crosses. Traditional Palestinian costumes are characterized by strong emphasis on decoration and colour and are designed from the finest and most expensive fabrics, as shown by this dress.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 148cm, Width: 138cm","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bethlehem","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","workshop":"Bethlehem","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"324db717-f88f-51eb-8d77-e05946d136f3":{"name":"Headdress ornament.","description":"Made up of a nickel silver-plate disc with metal chains, Ottoman coins, charms and beads, this headdress ornament would have been worn as part of a bridal outfit, fixed to the top of a bonnet made of embroidered fabric, and shaped to fit the head. One of the charms is a French medal of Saint Joseph, and the other is the Hand of Fatima. The coins, except for one Spanish coin that shows the name of King Phillip V of Spain, are Ottoman, dated between AH 1180 and 1260 (AD 1766–1844). The coins in such headdresses had two functions, one simply about decoration, and the other as an indicator of the bride's wealth; her social status and the value of her dowry. The presence of the Christian saint's medal centred in the front section of the disk draws attention to the probability that this headdress may have belonged to a Christian bride! In Palestine, which is full of intermingling Christian and Muslim villages, this headdress is a good example of the cultural diversity of the Ottoman Middle East. Other European coins popular in Middle Eastern jewellery include coins depicting the Austrian Empress Maria Theresa.  \n  \nThe brides of Ramallah (a predominantly Christian town) would have worn headdresses such as this one for their wedding celebrations. A woman would be free to either add more coins or to take some off for personal use, for home improvements for example. Many of these headdresses were passed down through generations, and when gold coins came into fashion, many of the silver coins were replaced.","short_description":"A Christian saint’s medal attached to the front of this ornament reveals that it belonged to an Arab Christian bride from the Ottoman period in Palestine. It would have been worn as part of the bridal outfit of a lady from Ramallah. The silver coins are Ottoman from between AH 1180 and 1260 (AD 1766–1844).","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Diameter (of disk) 13.5 cm; depth (of disk, convex) 3 cm; length of short chains 12 cm; length of long chains 28.5 cm.","method_for_datation":"Stylistic analysis and dating of the Ottoman coinage used on the headdress of between AH 1180 and 1260 (AD 1766–1844).","provenance":"Ramallah, Palestine.","obtention":"Donated to the Museum in 1987.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Coin","Coinage","costume","Daily life","jewellery","marriage","numismatics","Traditional costume","women"],"materials":["Nickel silver-plate with metal chains and coins, and glass and stone beads."]},"3385951b-c80c-5d8e-8659-f32b8e5ee6a7":{"name":"Bridal coat","short_description":"Analysis of the evolution path of traditional costumes in the Republic of Macedonia have shown apparent influences of the Old Slav, Old Balkan, Byzantine and Turkish-Oriental cultures. This piece of traditional overcoat is an exquisite example of the application of *srma* – gold and silver-wrapped thread used widely in the Oriental handicraft of decorating garments. A *gornik* is a sleeveless upper garment made of white broadcloth called *klashna*. It has false sleeves hanging on the back. They are actually strips of white broadcloth richly adorned with pompoms of fluffy red wool, silver thread braids, a silver twisted ribbon, red baize, a silver string, sequins and beads. The lower part of the back is decorated in the same manner. Its rims and seams are also decorated with red and black braids.","type":"Folk costume","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","provenance":"V. Jedoarce, Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["upper garment","broad cloth","costume","textile","accessories","wedding","marriage"],"materials":["Klashna – thick woollen fabric adorned with balze, silver and gold-wrapped thread, silver string, sequins, beads and pompons of wool"]},"35b20a3e-5a46-57c7-a113-1241acad6004":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall floral design with superposed horizontal rows of alternating circular flowers and fleshy, feathered blossoms. The design is set against a deep crimson ground.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or sandukas.  \nThis fragment forms part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"The lampas-weave technique of this kaftan fragment was adopted by Ottoman weavers in the AH late 9th or early 10th / AD late 15th or early 16th centuries, possibly via Syria. An early Ottoman centre of silk manufacture was Bursa, but in the 10th-/ 16th-century court workshops were also set up in the Ottoman capital Istanbul.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Height 67.2 cm, width 73.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been made in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.292–3, fig. 271 (for discussion about this fragment and other Ottoman silks).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"37e2e07b-6aee-5702-9f00-62cab1ad8938":{"name":"Embroidered neck shirt","description":"Square piece of a neck shirt. In a cream tabby or plain ground the decoration is embroidered with black wool. The motifs are geometrical, floral and vegetal.","type":"Costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"19th century","location":"Madrid","dimensions":"Length 55 cm, Width 53 cm","provenance":"Lagartera, Toledo, Castilla la Mancha","author":"Mª Antonia Herradón","copy_editor":"Anne Dowell","keywords":["Traditional costume","geometric decoration","Spain"],"materials":["Linen, wool; taffeta, embroidered"]},"3a20e143-6e36-5c47-8630-b7694a01419b":{"name":"Jubbeh","short_description":"A 'Jubbeh'.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal","Clothes","Tradition","Fashion","Silk"],"materials":["The original was made of cotton and satin"]},"3a2530bf-22b3-5651-bacc-f8a748c678a1":{"name":"Headdress","short_description":"A rectangular piece of cotton cloth embroidered with cross-stitching forming a bonnet with a line of 70 gold coins (*ghawasi*) sewn together on the front, with two pieces of cloth on the top sides with silver Ottoman coins and red stuffed velvet pursed from the back side with 7 silver Ottoman coins. The silver coins were used as money and as jewellery given by the groom to the bride, thus being an indication of his financial status. This object reflects the variegated population composition of Jordan in the late 19th and early 20th centuries. It illustrates common elements and traditions in the area in fashion, costumes and social rites. There were no political boundaries at that period between the Jordanian and Palestinians territories. Some cities were like twins because of their close proximity and the exchange of trade goods and business.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Palestine, Ramallah","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["cotton","embroidered","gold coins","Ottoman coins"],"materials":["Gold, silver, cotton fabric, silk; casting; hand embroidered"]},"3a71d542-5e72-54c9-808c-51df8069dd8b":{"name":"Ikhdari Dress (*Malaq*)","description":"*Malaq* dress made of *Abu Warda* fabric and *Ikhdari* fabric with green, burgundy, orange and black stripes. The dress has a chest panel embroidered with the image of a vase (the traditional chest panel of a *malaq* garment) and is adorned with two pieces of blue velvet embroidered with a bird. The sleeves are wide, made of *Hormozi* silk fabric, with an *Al-Talhami* clock shape and embellished with a bird motif. Embroidery on the chest panel resembles the traditional stitch of *malaq* dress with floral motifs, while the collar on the neck and shoulders is made with pink cloth and connected to the chest panel by a line of russet velveteen trim. The front of the dress shows the original fabric colors without embroidery, while the back panel shows four horizontal stripes of the fabric. The *banayeq* (side panels) are of silk cloth and are connected to the dress by *manajel* (thick braid work connecting the dress parts). The bottom sections of the *banayeq* are adorned with simple floral motif embroidery and some crosses. This dress is worn by women for weddings and other special occasions.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 140cm, Width: 137cm","place_of_production":"Al-Khadir","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Al-Khadir","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","translator":"Balqees Nakhlah","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"3ab9503a-ce96-572b-920f-f71d81fadf1c":{"name":"Jacket","short_description":"This small circumcision jacket from old Algiers is made of velvet from Gênes. It is decorated with a palm-leaf pattern and an acorn hanging between each pair of leaves. The sleeves and the edges of the jacket are decorated with a criss-cross pattern.","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","translator":"Flaminia Baldwin"},"40cc028f-a362-5724-b6be-dad14e9c2277":{"name":"*Dagla zabun*","short_description":"Men’s ceremonial coat style gown. Full-length A-line coat made from fine cream wool that was embroidered prior to being cut. It is likely that the coat was made from embroidered Kashmiri shawls decorated on corners and edges. Materials are cream twill, weave wool fabric, polychrome wool, embroidery threads, brown cotton knit braid, and 2 knotted brown silk buttons. This type of un-dyed wool is very fine, and we have only one. When this type of coat came back in to popularity, this specific design and color never appeared again. It is very rare. Lined with un-dyed silk in a natural color. There is a slit on the side for a pocket.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Embroidery","costume","silk"],"materials":["Cream twill, weave wool fabric, polychrome wool, embroidery threads, brown cotton knit braid, knotted brown silk buttons."]},"4160c0f6-fb41-5587-96d2-e482623adff8":{"name":"Shoes","description":"Purple velvet flat slippers, with leather soles in their natural colour lined with blue leather. The blade is decorated with floral and geometric motifs in enhancement embroidery of gold metallic thread.","type":"Costume accessories","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1860","location":"Madrid","dimensions":"Height 6,5 cm, Length 26 cm, Width 10 cm","author":"Elena Vázquez","copy_editor":"Anne Dowell","keywords":["Costume","oriental shape","commerce"],"materials":["Silk, leather, metal; tanning, velvet, embroidery"]},"418d5f13-426c-5a27-b41a-2628f935f8f4":{"name":"Talismanic Shirt","short_description":"A rich display of calligraphy covers this garment belonging to a group of magic objects called Islamic Talismanic shirts. Sewn from cream-colored cotton, the caftan is adorned with blue and red ink as well as liquidized gold.  \n  \nThe Qur’an refers to Prophet Yusuf wearing a similar protective shirt, written to have restored sight in Yusuf’s father, Yacub. In Turkey, sultans would gear up with this robe for battles as spiritual and bulletproof armour.  \n  \nThis example from 17th century Turkey shimmers with Qur’anic verses in *naskh* and *ruqqa* calligraphy. The verses include the *Surat al-Fatiha* (opening chapter of the Qur’an), *Ayat al-Kursi* (the Throne Verse), the *Surat Yasin* against evil sorcery, and the verse “Help from God and a speedy victory” from Surat al-Saff. The squares emphasize Mohammed and Allah in *kufic* script. Prayers enrich the magical shirt in bilateral symmetry. Furthermore, the first four caliphs and ninety-nine beautiful names of God appear within the fabric. Additional amuletic signs hide in plain sight, obscured in magical shapes and the science of letters (*ilm al huruf*). As one of the most efficacious inscriptions, the beautiful names of God may each represent a letter, planet, a day and an angel.  \n  \nPredominantly from India, Iran and Turkey between the 14th and 17th centuries, the wearer embodies the caftan’s healing power. The textile functions as a vehicle for the interaction of the body and sacred script, simultaneously blessing and protecting the person reading, touching or wearing the jacket. When gifted, the talismanic shirt amplifies the connection between the gift-giver and recipient.","type":"Costumes and accessories","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 106cm, Width: 88cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","provenance":"Turkey","obtention":"Purchase","bibliography":"Al-Saleh, Y., “Amulets and Talismans from the Islamic World”, *Heilbrunn Timeline of Art History*, (2000).  \nAnetshofer, H., \"The Hero Dons a Talismanic Shirt for Battle: Magical Objects Aiding the Warrior in a Turkish Epic Romance\", *Journal of Near Eastern Studies*, 77 : 2 (2018): 175–193.  \nMuravchick, R. E., \"God is the Best Guardian: Islamic Talismanic Shirts from the Gunpowder Empires\", *Publicly Accessible Penn Dissertations 1380*, (2014).  \nMuravchick, R. E., \"Objectifying the Occult: Studying an Islamic Talismanic Shirt as an Embodied Object,\" *Arabica*, 64 : 3–4 (2017): 673–693.  \nNazanin Hedayat Munroe, \"Wrapped Up: Talismanic Garments in Early Modern Islamic Culture\", *Journal of Textile Design Research and Practice*, 7 : 1 (2019): 4–24.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Amulet","caftan","Clothing","magic","Ottoman","Talisman","Turkey"],"materials":["Cotton","sewing"]},"42b5c7f1-cc74-5b88-8ab4-25e33352b53f":{"name":"Gilet","short_description":"This bodice (*frimla*) was worn by young Algerian women. The back is decorated with an interlaced pattern, emerging from a stylised vase. Young Muslim and Jewish girls wore this gilet.","type":"Fabric","holder":"Musée Public National des Arts et Traditions Populaires","location":"Algiers","translator":"Flaminia Baldwin","keywords":["Fabric"],"materials":["Fabric and silver thread"]},"44156a31-6bfc-5a44-9e81-6e02ec39aee7":{"name":"Jacket","short_description":"This short men's jacket is embroidered on the two front panels, with a decoration consisting of curls, all ending in a hook shape and bordered by a floral motif emerging from a stylised vase. The open, elbow-length sleeves are decorated with geometric motifs. The sleeves are secured by small, mother-of-pearl buttons. This formal jacket was worn for important ceremonies.","holder":"Musée Public National des Arts et Traditions Populaires","dates":"Late 19th century","location":"Algiers","translator":"Flaminia Baldwin","keywords":["Fashion","traditional"],"materials":["Cotton and braiding"]},"44836d48-50be-5459-bb62-c61172746432":{"name":"Festive women's dress from Ma'an","description":"The most vibrant costumes in Jordan originate from Ma'an, a historic crossroads for traders and pilgrims travelling to Mecca for the Hajj. This festive women's dress, distinguished by its striking combination of colours and textiles, is constructed from striped cashmere saya fabric and Syrian ikat in a bold zigzag pattern.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1925","location":"Amman","dimensions":"Height: 158 cm; width: 138 cm","place_of_production":"Ma'an, Jordan","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["hajj","pilgrimage","Textile, Clothing","Tradition"],"materials":["Silk"]},"482b2fe7-2ab8-521c-aeb6-542db13d4285":{"name":"Chasuble","description":"The background is made of red silk velvet embroidered with different silver threads. The white silver stitches blocking the metallic threads create many different surface motifs of different heights, and flat areas thanks to a light padding.  \nMost likely manufactured in Bologna, this vestment has a common decorative scheme especially evident in the chasuble. It is divided in three by a central rich bush of acanthus interlaced with the instruments of the Passion of Christ forming the main decorative feature. Great inflorescences alternate with the crown of thorns, the cock and the glove. They build a sort of central axis from which depart wide branches linked by delicate nets and vine shoots. The vestment is clearly indebted to models made in Rome in the age of Pope Benedict XIV, such as the ones donated to the Cathedral of San Pietro in Bologna. This is evident in the use of the silver thread as a reflective surface. The ample motif extended on a flat surface and the symmetrical disposition of the main shoots lead to Emilian decorative schemes and patterns. The colour red of the vestment and the symbols of the Passion might suggest a use connected with the feast of the Exaltation of the Cross or the Invention of the Cross, the sacrifice of Christ might also be generally referred to martyrdom.  \nThe high quality of the work was recognized in 1900 when the vestment was sent to the exhibition of sacred art held in Bologna, in the church of San Francesco. In 1926 this same vestment was photographed by the local Soprintendenza in one of the first campaigns documenting church heritage.","short_description":"The red background of the chasuble is divided by silver lace in fields. Two leaf garlands curl against a net ground; the sides are marked with a garland pattern in front of a net ground. The central pole springs from an acanthus bush holding the instruments of the Passion of Christ in its spires. Veil, burse, stole and maniple are embroidered using the most decorative patterns from the design.","type":"Liturgical garment (Vestment) consisting in chasuble, stole, maniple, chalice veil and burse","holder":"Parish church of San Giovanni Battista","dates":"Mid eighteenth century","location":"Minerbio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna (?)","bibliography":"Gatti, A. *Mostra d'Arte Sacra in San Francesco di Bologna* (exhibition catalogue), Bologna, 1900, p. 51, n. 30.  \n*Mistero e Immagine. L'Eucaristia nell'arte dal XVI al XVIII secolo* (exhibition catalogue) (eds. S. Baviera  and J. Bentini), Milan, 1997, p. 262, p. 264.  \nMajoli, L. “Una campagna fotografica del 1926 per il catalogo: la Chiesa di San Giovani Battista di Minerbio”, *Quaderni di Palazzo Pepoli Campogrande:* 5, 1998, pp. 12-19.","workshop":"Late Baroque","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Lorenzo Lorenzini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["embroidery","liturgical vestment","liturgy","Passion of Christ","vegetal decoration","vine tendrils decoration"],"materials":["Velvet embroidered in silk thread"]},"4910bd38-cc21-5b54-81dc-f3e7ee09ef0a":{"name":"Qaftan","short_description":"The lavish garments previously worn by Lebanese emirs and *shaykhs* were swapped in the 19th century for more sombre items, such as this Qaftan.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Costume","Fashion","Clothes","Tradition"],"materials":["The original was made of silk, velour, cashmere"]},"49567841-9478-56f0-9dd2-ff37377f69f1":{"name":"Womanʼs jacket","short_description":"After 1873, Iranian women of the upper classes wore a short skirt imitating the French *tutu* worn by ballet dancers. Called *shalitah*, this little skirt was combined with a small jacket, kept above the waist so as not to spoil the puffy effect of the *shalitah*, with long sleeves worn over a thin shirt.  \n  \nAs was customary at the time, the outer fabric is a Persian *qalamkar*, a printed fabric that is intricately handmade, whist in contrast, cheap European printed cotton fabrics was used, as was convention, for the lining. However, the two fabrics were not combined at random, and it is clear from the intriguing contrast that much attention was given to the choice of these two patterns. In this particular case, the contrast between the lively, handmade pattern and its machine-made counterpart is especially striking.  \n  \nThis jacket was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 55cm, Width: 206cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran, Isfahan","obtention":"Gift of descendants of Emil Alpiger","bibliography":"Langer, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.  \nLanger, Axel, “Vestes de femmes, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 364-365.  \nNabholz-Kartaschoff, Marie-Louise and Langer, Axel, *Pfauen, Blüten & Zypressen. Persische Textilien der Qajaren-Zeit (1788-1925)*, Zurich: Museum Rietberg, 2005: esp. 114-125.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (qalamkar), lining: printed cotton (European manufacture), brass, silk threads"]},"4b1cc99c-bdcc-51e9-bf03-770c80101277":{"name":"Men's coat (*Mintan*)","short_description":"There used to be around fifty diverse styles of folk costumes worn in different ethnic areas throughout Macedonia in the 19th century and in the early 20th century. Among the most prominent were the costumes of Gorni Polog. Unlike the diverse and numerous women’s garments, men’s outfits were much simpler and rather unified. This upper garment called a *mintan* is of plain cut. It is made of silk in a striped pattern. Its only decorations are pieces of black cloth applied to the sleeves.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"62 x 44 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["men's costume","costume"],"materials":["Silk *aladza* decorated with silk cords"]},"4b852956-5f21-5509-913e-4ba87cf57f09":{"name":"Gilet","short_description":"Golden embroidery graces the Ottoman vest in floral and circle arrangements resembling lotus buds. The glossy threads and red gemstones highlight the elegance of the cream-colored silk called *yelek*.  \n  \nAcross centuries, the traditional costumes remain unisex. This jacket may be worn by children as an inner vest or an overcoat with layers of elaborate garments meeting the requirements of Muslim modesty and the desire for luxury.  \n  \nWhile Ottomans adopted shorter jackets from Europe, Turkish attire entered Western fashion in the 19th century. Pieces like this *yelek* appeared at masquerade balls in Britain and became widespread in fashion magazines as trendy clothing restricted to women’s wear. Their influence still permeates today’s runways.","type":"Costumes and accessories","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 36.5cm, Width: 33cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","provenance":"Turkey","obtention":"Purchase","bibliography":"Inal, O., \"Women’s Fashions in Transition: Ottoman Borderlands and the Anglo-Ottoman Exchange of Costumes\" *Journal of World History*, 22 : 2 (2011): 243–272.  \nJirousek, C., \"The transition to mass fashion system dress in the later Ottoman Empire\", in Diane M. Spivey (ed), *Consumption Studies and the History of the Ottoman Empire, 1550–1922: An Introduction*, New York: State University of New York Press, 2000: 76–77.  \nVryzidis, N., \"Ottoman textiles and Greek clerical vestments: Prolegomena on a neglected aspect of ecclesiastical material culture\". *Byzantine and Modern Greek Studies*, 42 : 1 (2018): 92–114.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["costume","Gilet","Ottoman","Turkey","Vest","Yelek"],"materials":["embroidery","Silk, gold thread, silver thread"]},"4cb2c7b0-e6c5-5421-ba04-8e3b26cad183":{"name":"Purse","description":"Miser’s purses, also known as ring or string purses, were very popular feminine accessories during the 19th century and even the first decades of the following century. The Cerralbo Museum has a small collection of these kinds of pieces, souvenirs from Istanbul. This Turkish and colourful beadwork one, with its traditional geometric pattern and the promise of a fashionable outfit, would have surely delighted any lady.","type":"Costume","holder":"Cerralbo Museum","dates":"Late 19th century","location":"Madrid","dimensions":"47 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Textiles","women","Turkey"],"materials":["Beadwork"]},"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0":{"name":"Veil","short_description":"Three natural cotton and linen fabrics sewn and decorated with cross-stitch with embroidered folkloric patterns (known as “cypress trees”, “amulets”, “keys”, “saw” and “Shuayb teeth”). They are mainly in red with some green colour; a small linen fringe dangles from two sides. The veil was an essential piece of women’s dress. Girls started preparing their trousseau (clothes, shawls, and other belongings collected for marriage) at the age of ten. Married women had various embroidered costumes worn for special occasions. As the economy of the Jordanian territory in the late 19th century-early 20th century relied on trades and crafts, new waves of traders and artisans started to arrive and to settle. Thus, traditional costumes reflect a variegated population composition, demographic changes, personal attire and local rites.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 173 cm, width 118 cm","provenance":"Palestine, Ashdod and Hebron villages","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Linen fabric","natural cotton","embroidered patterns"],"materials":["Linen, silk; hand weaving, hand embroidered, natural dyes"]},"523bb921-1fd6-50c1-866d-04687585ebaa":{"name":"Headscarf","short_description":"High quality silk fabrics from Tunisia woven with inwoven silver  \nand goldthreads were already admired at the London World’s Fair in 1851. In Tunisia, these girdles, sashes, head-cloths or shawls were reserved for the well-to-do. Specialists, organised into guilds since the Middle Ages, dye and weave the imported raw silk. After 1900, the wholesale import of cheap, industrially produced textiles drove the Tunisian silk production out of the market.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Second half of the 19th century","location":"Vienna","dimensions":"H: 71cm, W: 71cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Tunis","obtention":"At the turn of the 19th century, parts of the inventory of collections of the Austrian Museum of Trade (established 1874) gradually found their way to the ethnographic department of the Imperial and Royal Court Museum of Natural History (later, Museum of Ethnology, today Weltmuseum Wien). In 1925 the Austrian Museum of Trade was dissolved.","materials":["Silk, fine silver thread"]},"531f2f47-2ae4-509e-a2e9-99d2a1ea93da":{"name":"Ornament from a Janissary’s cap","short_description":"The military supremacy that had helped make the Ottomans a world power was largely based on the highly disciplined Janissary corps – crack infantry troops. As a part of their uniform, the Janissaries wore a distinctive felt hat somewhat like a stocking cap in appearance, known as a *börk*, to which was affixed just above the forehead an ornament such as this rare silver gilt example. The slightly concave device, decorated with delicately worked geometric designs, would have held an insignia demonstrating the Janissary's loyalty to the Sultan–possibly a feather or even a spoon, signifying that it was the ruler who provided him with his daily soup.","type":"Costumes","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira 11th century / AD 17th century","location":"Los Angeles","dimensions":"25.6 x 9.5cm","method_for_datation":"The decoration of this object, including eight- and six-pointed stars against a scrolling background, is identical to janissary hat ornaments captured from the Ottomans after the Battle of Vienna in 1683, establishing a probable terminus ante quem (e.g., Museum of Karlsruhe, Baden Germany).","method_for_provenance":"The same type of ornament is represented attached to the distinctive Ottoman military hat in paintings, lithographs and photographs of Ottoman janissaries; the hat with ornament carved in stone forms the upper part of janissary tombstones, while a few actual hats have survived with their ornaments (e.g., Museum of Karlsruhe, Baden, Germany).","provenance":"Turkey","obtention":"Collection of Maan Z. Madina (1926-2013), New York, until 2002 (sold to); LACMA, The Madina Collection of Islamic Art, gift of Camilla Chandler Frost.","bibliography":"Jenkins, Marilyn, “Mamluk Jewelry: Influences and Echoes”, *Muqarnas*, 5 (1988): 36, 38, figs. 16a, 16b.  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Rev. ed., Los Angeles: Museum Associates, 2005: 49, fig. 47.  \nKomaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 150, 212.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 200.","dynasty":"Ottoman","author":"LACMA Staff","keywords":["costume","devşirme","geometric decoration","Janissaries","metalwork","military object","military wear","Ottoman army"],"materials":["Silver, gilt, decorated with flattened wire and granulation"]},"54310c6d-87ca-585e-b552-bcb1c5951fe3":{"name":"Dress","short_description":"This dress of al-Druze (Druse) women is made of a long grey with green and silver brocade, pursed narrow sleeves, wide, open square shaped chest, pursed at the middle and wide at the bottom with ruffles and a cotton liner. This object illustrates the variegated social composition and demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation. The traditional Druse and other Jordanian costumes were influenced by the local trade and economic activities: as illustrated in this case, they were often made of silk textiles, produced in Syria and traded to Jordan and Palestine.","type":"Costume; clothing","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Height 99 cm","provenance":"Eastern Jordan (al-Azraq) al-Druz tribes","author":"Huda Kilani","keywords":["Brocade dress","ruffles","cotton liner"],"materials":["Silk, cotton; hand woven Syrian silk fabric (brocade)"]},"54ee640a-4e1d-59a5-ba23-f9a85bf4e010":{"name":"Gilet","short_description":"This velvet bolero, known as a *frimla* has an embroidered front. It was typically worn over a silk shirt. Young Muslim and Jewish girls wore this gilet.","type":"Velvet","holder":"Musée Public National des Arts et Traditions Populaires","location":"Algiers","translator":"Flaminia Baldwin","materials":["Velvet and silver thread"]},"557a3c2b-e69e-533d-a2c9-d263db2c8d12":{"name":"Woman's *entari*","short_description":"*Entari*s were worn over thin silk shifts and baggy *shalvar* trousers and were held at the waist by a sash or belt. They could be worn open or buttoned above the waist. Several *entari*s, made of different fabrics, usually with contrasting colours, were often layered on top of one another. They were more often than not made of luxurious silk striped or brocaded fabrics and trimmed with fine braid or *oya* needlework.","type":"Textile","holder":"The British Museum","dates":"Late 19th century","location":"London","provenance":"Levant","keywords":["costume","women","silk"]},"56bae231-ad09-5568-8e83-1f1aa7115444":{"name":"Buckles (*Pafti*)","short_description":"Buckles were distinctive articles of adornment used throughout the centuries by Macedonian women. They were the most frequently worn and most exquisite articles of adornment in Macedonian women’s folk attire. Buckles used to be adorned with stylized geometric and floral patterns, the artistic effect having been emphasized by the application of decorative stones, filigree ornaments, gold-plating, pearls, mother-of-pearl, corals, chains and other embellishments. This outstanding set of buckles in leaf shapes is decorated with pearls and semi-precious stones, by application of the technique of \"live\" gold-plating.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"28 x 10 cm","provenance":"Skopje","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Buckles","live gold-plating","wedding","marriage","accessories","costume"],"materials":["Silver, filigree, granulation. Decoration with semi-precious stones, pearls and live gold plating"]},"5714f381-6e11-56d5-9801-fef85803c128":{"name":"Wedding dress","short_description":"Long black dress, wide at the bottom with narrow sleeves, rounded neck and open chest. Silk linen appliqué, hand embroidery with cross-stitch on the sides, back panel, chest, and sleeves with embroidered folkloric patterns. On the chest: necklace, cypress tree. Side: ivy, amulets, “feathers”. Front: small cypress tree on silk. Back: ivy, cypress tree, pillows, pasha tents. Sleeve: ivy, feather, triangle (amulets). Palestinian women's costumes varied according to each Palestinian city and geographical area. Costumes in the mountain regions were different from those of coastal and desert areas, and had a distinguished embroidery. This costume represents village style. Girls started preparing their trousseau (clothes, shawls and other belongings they collected for their marriage) at the age of ten. Married women's costumes were heavily embroidered. Palestinian weavers used traditional spinning processes using manual spindles to prepare the cotton and linen threads imported from Egypt. Ashkelon city weavers used light vertical hand looms (*Majdalawi* looms) to produce linen fabrics, while silk fabrics were spindled and woven in Syria.","type":"Clothing; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 142 cm, bottom circumference 153 cm","provenance":"(Beit Dajan) near Jaffa – Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Dress","hand embroidery","patterns"],"materials":["Linen and silk; hand woven and hand embroidered"]},"58b8041e-0838-56a2-b0b3-2369a498e868":{"name":"Belt.","description":"This type of long brocade silk belt, or *lampas*, woven on a draw-loom in the workshops of Fez, appeared in the early AH 12th / AD 18th century. Worn on top of a kaftan by aristocratic and middle-class women, it was wrapped several times around the waist. Folded in half, it could be used on either side. This piece is narrow and flexible like the older examples. On a red background, brocade decoration consisting of five differently coloured motifs inspired by the decorative Moroccan-Andalusian repertoire of is embellished with elements borrowed from Persian and Ottoman art: geometric knotwork whose interstices are decorated with flowers, fleurons and palms, ovoid motifs reminiscent of the fruit of the citrus tree *tronjia*, and friezes of arcades decorated with flowers similar to the designs found on wall hangings. These motifs appear on their own or combined in repetitive alternating transverse bands.  \nThe two ends of the belt are decorated with several stylised hands and eight-pointed stars, or Solomon's seals, considered in esoteric Moroccan tradition to be prophylactic symbols. Between the large motifs that make up the main decoration of the fabric and the two ends of the belt, a narrow band decorated with small tulips arranged head-to-foot is the mark of the workshop.  \nThe long cords that finish the belt are knotted at the front to keep it around the waist.","short_description":"This sort of long silk-brocade belt would have been worn above a kaftan by the wives of important dignitaries and the bourgeoisie. It would have been wrapped around the waist several times and could be worn either way around.","type":"Belt, silk","holder":"Museum of the Udayas.","dates":"Hegira 12th-13th centuries / AD 18th–19th centuries.","location":"Rabat.","dimensions":"Length 135 cm, width 32 cm.","method_for_datation":"By its decoration, the length and width of the belt and the flexibility of the fabric.","method_for_provenance":"According to the studies carried out on the subject and the work of historians, brocade workshops were set up in Fez from the Marinid era until the early 20th century.","provenance":"Fez, Morocco.","obtention":"Purchased.","bibliography":"Golvin, L., 'Les métiers à la tire des fabricants de brocarts de Fès', *Hespéris*, 1950, 1st & 3rd quarters, pp.37-48.  \nVogel, L., *Soieries marocaines, les ceintures de Fès*, Paris, 1920.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Amulet","architectural decoration","costume","floral decoration","geometric decoration","Talisman","women"],"materials":["Silk brocade woven on a draw-loom."]},"593969dc-7368-5182-961d-c81a464474fc":{"name":"Bridal headdress (*Kiska*)","short_description":"Hairpins and other articles of adornment worn on the head were inevitable elements of Macedonian women's attire in the 19th century and at the beginning of the 20th century. This distinctive decorative pin – *kiska* – was used for supporting the hat or scarf. This type of jewellery also conveyed a symbolic meaning and served an apotropaic purpose in addition to its decorative function. The pear-shaped ornament was made by application of filigree and granulation techniques. It is adorned with pellets and decorative stones in varied colours. Tiny coins are suspended on chains at the bottom of the ornament.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"13 x 4 cm","provenance":"Srtushko Pole","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Decorative pin","kiska","apotropaic intention","amulet","talisman","coin","coinage","currency","numismatics","wedding","marriage"],"materials":["Gilt silver, filigree, granulation"]},"59e106e1-b0a2-5505-af4e-7abfde04a90a":{"name":"Belt","short_description":"Leather belt embellished with silver pieces decorated in niello with patterns and symbols at the end. Two silver rosette buckles at the end form a locking mechanism. This is an object produced by Circassian craftsmen. The immigration of the Circassians to the Ottoman Empire started in the middle of 19th century and continued until 1900. The Circassian communities migrated mostly to the eastern Arab countries, with which they had spiritual and religious links. They brought with them their traditional activities, crafts and decorative patterns. All these elements soon mingled with the local Arab society and became part of the social and economic landscape of the Arab countries.","type":"Clothing ornament; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Length 78 cm, width 3.5 cm","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Leather","belt","embellished","niello","rosette buckles","silver"],"materials":["Leather, silver; cutting, casting"]},"5d9fc24f-9c51-56b2-a925-33389c038005":{"name":"Paper crown for *Maulid an-Nabi*","short_description":"In Egypt, houses are festively decorated for the Prophet's birthday, the *Maulid an-Nabi*, and the mosques are brightly lit. Jugglers, fire-swallowers and dancing Sufis fill the streets and squares of Cairo. Processions snake through the streets. Children are treated to carousel rides. Merchants appear and sell a variety of figures made out of sugar, wrapped with coloured paper; that are particularly popular with children. Another hit amongst the children is a birthday crown, made out of cardboard, printed tissue paper and wire, on the forehead of which is displayed a paper image, cut out of a newspaper, of an *ʿud* (lute) player, or a famous star from film and television. Gifts given at the festival of *Maulid* are made of ephemeral, perishable materials such as paper. These are small works of art full of poetry and definite meaning. *Ephemera* are intended for shortterm use as they are unsuitable for prolonged use in daily life.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1976","location":"Vienna","dimensions":"Diameter: 17cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1976.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["Cardboard, paper, pigment, wire"]},"5ea5b8ab-9f07-5718-8f32-a6c53d04b318":{"name":"Tunic.","description":"This tunic is dyed black. It has a rounded collar and half-length sleeves. The garment opens at the back and can only be donned by first putting the hand into the sleeves. It was probably made for a child and is similar in design to contemporary Coptic clothing. The embroidery occurs where the sleeves join the body and is different on each side.  \nThe right-hand band has a red background on which yellow lines form geometric shapes. These are interspersed with medallion shapes containing stylised vegetable, floral and animal motifs, some could be hares.  \nIn the left-hand band the colours are more varied and the motifs are animal; mainly hares and dogs in blue, green and black. The background is yellow. The two bands are framed with pious inscriptions in angular *kufic* lettering embroidered in silk. Although they are damaged and almost illegible, we can read;  \n'Lasting blessings \\[…\\] sovereignty is with God'.","short_description":"The shape of this linen tunic, dyed black and undoubtedly intended for a child, is reminiscent of Coptic clothes. Each sleeve is decorated around the shoulders slightly differently from the other with plant and floral elements mixed with stylised zoomorphic motifs.","type":"Costumes, wool","holder":"Bardo Museum.","dates":"Hegira 3rd–4th centuries / AD 9th–10th centuries.","location":"Tunis.","dimensions":"Length 70 cm, width 50 cm to 70 cm; 120 cm (with sleeves).","method_for_datation":"Tunics dating from the High Muslim era are rare, and this limits our dating criteria. However, based on the decoration and the type of script, we can date this object fairly accurately from the 3rd–4th / 9th–10th centuries.","method_for_provenance":"Stylistic analysis.","provenance":"Egypt(?)","obtention":"This garment was bought from an antique dealership in Cairo in 1958 by H. H. Abdelwahab, former Director of the National Institute of Art and Archaeology. He donated it to the Bardo Museum in 1962.","bibliography":"Skik, K., *Musée du Bardo, département musulman*, Tunis, 1974, p.16, fig. 6.","dynasty":"Abbasid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["costume","figurative decoration","Textiles"],"materials":["Linen embroidered in wool."]},"5f89dbe5-9c2a-5bd5-873c-3b29fca4dd90":{"name":"Coronation mantle","short_description":"The precious mantle embroidered with gold, pearls and cloisonné-enamelled plaques was part of the set of robes used at the coronations of the kings and emperors of the Holy Roman Empire. The semicircular edge of the mantle is decorated with a gold-embroidered *kufic* inscription. It reveals that the mantle was produced in AH 528/ AD 1133/34 during the reign of the Norman king Roger II of Sicily (AD 1095–1154) in the royal workshops in Palermo where among others Arabic artisans worked.  \nAncient motifs are depicted on the surface of the semicircular mantle: to both sides of a palm-tree (representing the tree of life) a lion triumph over a camel, which has a saddle and bridle and has thus been domesticated.","type":"Mantle","holder":"Kunsthistorisches Museum","dates":"AD 1133/1134","location":"Vienna","dimensions":"Height: 146cm, Width: 345cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Italy","obtention":"Made for king Roger II of Sicily as part of the Norman treasure transferred by heritage to the Hohenstaufen and finally used as coronation mantle of the kings and emperors of the Holy Roman Empire.","bibliography":"Bauer, Rotraud, \"Der Mantel Rogers II. und die siculo-normannischen Gewänder aus den königlichen Hofwerkstätten in Palermo“, in Wilfred Seipel (ed), *Nobiles Officinae. Die königlichen Hofwerkstätten zu Palermo zur Zeit der Normannen und Staufer im 12. und 13. Jahrhundert. Ausstellungskatalog (Kunsthistorisches Museum Wien)*, Milan/Vienna: Kunsthistorisches Museum, 2004: 115–123.  \nSchmitz-von Ledebur, Katja, \"Die Krönungsgewänder aus den palermitanischen Hofwerkstätten – zu den jüngsten epigraphischen und naturwissenschaftlichen Untersuchungen“, in Annemarie Stauffer (ed), *Textile Kostbarkeiten staufischer Herrscher. Werkstätten – Bilder – Funktionen. Tagungsband zum internationalen Kolloquium im Rahmen der Ausstellung „Die Staufer und Italien“ am 20. und 21. Januar 2011 in den Reiss-Engelhorn- Museen Mannheim, Studien zur internationalen Architektur- und Kunstgeschichte 99*, Petersberg: Imhof, 2014: 12–25.  \nSeipel, Wilfred (ed), *Masterpieces of the Secular Treasury*, Milan/Vienna: Kunsthistorisches Museum, 2008: 58–60.","dynasty":"Palermo, royal workshop","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["embroidery","figurative decoration","Roger II","royal manufacture","Sicily","Siculo-Norman","textile","tree of life","workshop"],"materials":["Samite, silk, gold, pearls, enamel, filigree, precious stones, tablet weave"]},"5f944369-bc84-59f2-a3a6-21c5dda0f6fe":{"name":"Wooden clogs","short_description":"Wooden clogs such as these have a long history in the Middle East, emerging before the Middle Ages and remaining popular for centuries to come. They were made of a variety of woods, including walnut, apricot, willow, poplar, or beech. The wood was cut into wedge shapes then moulded around the foot of the wearer. Excess wood was then shaved off, the heel attached, and the wood painted and polished. Leather girdles in a variety of colours were fixed to the heel with special nails and the wood would often be decorated with mosaics of bone or seashells organised in geometric or floral patterns. Clogs were designed to be comfortable and resistant to water, and thus were usually worn at home, particularly by women. These shoes have a higher heel than usual and would be worn by brides so that they would appear taller than the other girls in the *hammam* (Turkish baths).","type":"Woodwork; shoes","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Shoes","Woodwork","Fashion"],"materials":["Wood, leather, bone, seashell"]},"5f958fd8-3a2a-50d4-a26a-9ea8b55e677e":{"name":"Gilet","short_description":"Men's sleeveless gilet, embroidered with gold thread.","type":"Velvet; silk; gold thread","holder":"Musée Public National des Antiquités","dates":"19th century","location":"Algiers","dimensions":"61 cm x 58 cm","provenance":"Algiers","author":"Houria Cherid","translator":"Flaminia Baldwin","keywords":["Traditional dress"],"materials":["Embroidered velvet"]},"602e2e1a-614b-533b-b171-c2a7bb60bc72":{"name":"Bridal apron","short_description":"Belts, sashes and aprons were unavoidable accessories of folk costumes in all areas of Macedonia. This sash was made of white hand-woven cotton cloth, which was decorated at the front with embroidery of pink wool, silver-wrapped thread, silver string, sequins and multi-coloured beads. It has a hook and a loop on the ends for fastening. The apron was made in the technique of plain-weave. The warp of cotton and the weft of red wool and silver and gold-wrapped threads was embellished with sequins – *svetlinke* – and beads. The apron has two strips on the left and right sides woven and decorated in the same manner with shells and coins suspended at the bottom.","type":"Traditional clothing and adornment","holder":"Museum of Macedonia","dates":"End of the19th – beginning of the 20th century","location":"Skopje","dimensions":"40 x 40 cm","provenance":"V. Setole, Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Plain weave","warp","weft","sequins","sash","costume","accessories","textile","shell","coin","coinage","currency","numismatics","wedding","marriage"],"materials":["Plain weave of cotton warp and weft consisting of wool and silver and gold wrapped thread. Decoration with sequins – *svetlinke*, *puloi*, and beads"]},"60c41d82-4ce0-5ec0-9037-67792716aba8":{"name":"Tunic (*'aba'a*)","description":"Aba or man’s robe is inspired in the North African ones. It is made in cream velvet with a stencilled decoration related with Safavid motifs. This kind of garment that Fortuny discovered in his travels for North Africa is related to Spanish Muslim “aljubas” of the Medieval Spain.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1910 – c. 1915","location":"Madrid","dimensions":"Height 125 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes","Design","North African influence","Spanish Muslim influence"],"materials":["Silk, velvet"]},"6131fb50-04d3-542e-b078-c6c43dfd4c0a":{"name":"Chasuble (Mass vestment for the Catholic liturgy) made of decorative velvet and silk weave","short_description":"The chasuble is a *pasticcio* consisting of an older Italian decorative velvet and a chasuble cross of Ottoman silk. The latter silk has a pattern of large lancet ovals filled with tulips, pinks and floral scrolls, a decoration typical of Ottoman silk weaving of the time. This combination of textiles for a chasuble demonstrates that there were no reservations about using a textile from Islamic regions for the Christian liturgy on account of its impressive appearance.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"Velvet: 15th century;  \nSilk: 2nd half of the 16th century","location":"Vienna","dimensions":"H: 104cm, W: 64cm","provenance":"Velvet: Italy;  \nSilk: Ottoman Empire, Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97542","author":"Martina Dax","keywords":["floral decoration","liturgical vestment","Ottoman Silk","textile","trade","tulip","Velvet"],"materials":["Lampas broché, lancé","Silk","Velvet broché"]},"61764374-5c01-519a-9a4b-13fb610fdbda":{"name":"Wedding tunic in Andalusian style","short_description":"Simply tailored wedding tunics have been seen in mosaics from the Roman period. The special character of this splendid costume, however, lies less in its cut, which is standard for all wedding attire in Tunisia, but in its sophisticated decoration, which reveals Andalusian influence. Typical for this tunic, made in Raf Raf on the north coast of Tunisia, is the extensive central stripe embroidered in gold and silver and decorated with sequins. A defensive hand serves as protective symbol.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1913","location":"Vienna","dimensions":"H: 132cm, W: 108cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Raf Raf","obtention":"Catalog entry: \"Collected by and purchased from  Maria Countess Drohojowska from Zakopane (Galicia), 1913.\"","bibliography":"Janata, Alfred, \"Nordafrika, Vorder- und Zentralasien\", in Das Museum für Völkerkunde in Wien (ed), *Das Museum für Völkerkunde in Wien (Mit Beiträgen von Hans Manndorff, Christian F. Feest, Armand Duchâteau, Alfred Janata, Kurt Binder, Heide Theisen, Hanns Peter, Peter Kann)*, Salzburg and Vienna: Residenz Verlag, 1980: 70-93.","materials":["Silk, cotton, gold and silver threads, sequins"]},"61ff0f1e-695e-5970-a8a9-44151ef0e284":{"name":"Traditional peasant attire","short_description":"Peasants and ordinary people's clothes did not change much over the centuries. It generally consisted of a shorter, narrower and darker coloured pair of baggy *shirwal* trousers for winter, and another pair in a lighter beige or khaki colour for the summer. This was paired with a cotton shirt or vest, called a *sudriye*, and a short embroidered *abaya*. A *keffiye*, a large scarf made of white cotton, was worn on the head with a *lebbede* or *'agal* on top.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal","Clothes","Traditions","Keffiye","Colour"],"materials":["The costumes were made of cotton and silk"]},"6358ef7b-3436-5d35-ad94-2c51478ff9e5":{"name":"Womanʼs jacket","short_description":"After 1873, Iranian women of the upper classes wore a short skirt imitating the French *tutu* worn by ballet dancers. Called *shalitah*, this little skirt was combined with a small jacket, kept above the waist so as not to spoil the puffy effect of the *shalitah*, with long sleeves worn over a thin shirt.  \n  \nAs was customary at the time, the outer fabric is a Persian *qalamkar*, a printed fabric that is intricately handmade, whist in contrast, cheap European printed cotton fabrics was used, as was convention, for the lining. However, the two fabrics were not combined at random, and it is clear from the intriguing contrast that much attention was given to the choice of these two patterns. The ogival lattice structure that dominates the Persian print enjoyed a long tradition in Ottoman, Indian and Persian textile design and was even known in the West.  \n  \nThis jacket was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 53cm, Width: 207cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran, Isfahan","obtention":"Gift of descendants of Emil Alpiger","bibliography":"Langer, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.  \nLanger, Axel, “Vestes de femmes, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 364-365.  \nNabholz-Kartaschoff, Marie-Louise and Langer, Axel, *Pfauen, Blüten & Zypressen. Persische Textilien der Qajaren-Zeit (1788-1925)*, Zurich: Museum Rietberg, 2005: esp. 114-125.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (qalamkar), lining: printed cotton (European manufacture), brass, silk threads"]},"65b12078-9fc9-543e-94fd-9274d0e1813b":{"name":"Cloak belonging to Sheikh Muhammad al-Khalili.","description":"A cloak ('*Aba'a*) or outer garment composed of small pieces (approximately 3 cm x 3 cm) sewn together. The pieces consist of woven silk and cotton stitched together with woollen thread. The background, in the form of polygons, is made up from interchanging colours that include yellow, red, green and black. The polygons are arranged within rectangles tightly woven in an elongated form, which would have made the wearer (Sheikh Muhammad al-Khalili) seem taller in stature than he was in reality. The woven section at the back of the garment between the shoulders is square, containing a circle of polygons arranged in circles, which become smaller by degrees as they move towards the centre of the circle. This gives the back of the cloak great depth and splendour. Two facing triangular sections in the corners of the square are red, while the two other corners are black. The garment has half sleeves finished with a band of green silk. This mode of outer garment was inspired by the asceticism and the piety of its wearer. It is made from very small pieces of cloth to make it appear as if it was woven from pieces of fabric. The Sheikh's cloak is considered a rarity, having survived in a complete state and in such beautiful condition.  \nSheikh Muhammad al-Khalili was among the scholars of *fiqh* (Islamic Jurisprudence) in Jerusalem and one of the most important personalities of Palestine at the time. In view of his distinctive position he was buried in the Madrasa al-Ashrafiyya located at the western wall of the Haram al-Sharif. This honour was bestowed on a select group which did not exceed 10 Islamic personalities over the course of history. Sheikh al-Khalili was renowned for wearing this cloak which was preserved for more than two centuries in his burial chamber until it was transferred to the Islamic Museum.","short_description":"The cloak of a scholar of *fiqh* (Islamic jurisprudence) and one of the most important personalities of Palestine in the AH 12th / AD 18th century. It covered his tomb. It is woven from small polygonal pieces in cotton and silk. The coat has half sleeves. This garment is a rare example to have survived almost completely intact.","type":"Silk, cotton , wool","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Sheikh Muhammad bin Muhammad Sharaf al-Din Khalili (d. AH 1146 / AD 1734).","dates":"Before hegira 1146 / AD 1734, during the lifetime of the original owner.","location":"Jerusalem","dimensions":"Length 145 cm, width 90 cm.","method_for_datation":"The garment is dated based on when the owner died.","method_for_provenance":"Silk was woven during this period in different regions of Syria and Palestine. It is not possible to be precise about where this garment was produced.","provenance":"Palestine or Syria.","obtention":"The garment was spread out close to the tomb of the Shaikh Muhammad al-Khalili in the floor level of Madrasa al-Ashrafiyya; it was then transferred at an unknown date to the Islamic Museum.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["coat","costume","cotton","garment","silk","textile","wool"],"materials":["Polychrome silk and cotton woven together with woollen threads."]},"65ef6d27-a41c-53d2-98a2-dab87b965982":{"name":"Boot","short_description":"The leg of each boot is decorated with floral and geometrical designs cut into the leather and then pressed up or out from the inside to appear in relief like repoussé work. Dyed dark brown, these details are set off by the punched yellow-brown leather of the boots.","type":"Clothing","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Height: 60cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Probably Ambras Castle AD  1596; 1875 Ambr. Sammlg., XV, 78a, S. 320; 1869 aus Ambras (Verz. d. Tauschobjekte Nr. 64)","provenance":"Turkey?","obtention":"Collection Ambras Castle","bibliography":"Sandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.  \nScheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.  \nSeipel, Wilfried (ed), *Dracula. Woiwode und Vampir*, exh. cat., Wien: Kunsthistorisches Museum, 2008.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["costume","floral decoration","geometric decoration","military object","military wear","Ottoman army"],"materials":["Leather, gold, bronze, silver"]},"665fead3-3926-5df0-ac85-fe2c13fabcb2":{"name":"*Bisht muqassab*","short_description":"A clothing article, made out of cotton, worn during weddings.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume","bedouin","marriage","wedding"],"materials":["Cotton"]},"69944391-4804-5b5b-96e7-56b15185e288":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the front of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall design of undulating vines and floral detail in subtle gold and greenish-brown hues, set against a cream-coloured background.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"This fragment once formed the front of a child's collarless and short-sleeved kaftan cut with a straight waist and bell-shaped skirt. Made from silk brocade material woven at the imperial manufactures at Bursa or Istanbul, it would have been worn by a junior member of the Imperial Ottoman household.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 72 cm, width 73.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"6b0278dc-5b28-55d6-9771-7558446e7713":{"name":"Silk 'Limar' Sarong","short_description":"Silk *limar* sarong predominantly purple & red. The central compartment is adorned floral chain patterns with a panel adorned with a motif of confronted bamboo shoots & flowers.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"108.5 x 105cm","provenance":"Possibly Terengganu, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 52-53.","dynasty":"Terengganu Sultanate"},"6b03ecfa-3333-5fb8-b1a6-fd52388b653a":{"name":"Textile fragment.","description":"This is a fragment from a shawl or turban made from fine linen and decorated with a wide band of delicately woven vegetal decoration in green, blue and yellow silk. In the lower portion of this band, is a line of inscription in *kufic* script woven in brown silk that reads: 'In the name of God, the Blessings of God on Abd Allah al-Amin Muhammad, Commander of the Faithful, may God grant him a long life, who has commissioned the production of this in the *tiraz al-'amma* \\[…\\] Egypt at the hands of al-Fadl bin al-Rabi', a supporter of the Commander of the Faithful'.This is considered to be the oldest woven silk inscription on linen. In the Islamic-period a shawl or turban, such as the one from which this fragment comes, was usually decorated at both ends by a decorative band next to which was a band of inscription, and then a thin strip; the shawl or turban would have been finished with a fringe.  \nThis piece was made in *tiraz al-'amma* (the public workshop). Beside the public *tiraz,* there were textile establishments which were set up by the caliphs to produce garments and textiles for the caliph and his entourage; these were called *tiraz al-khasa* (exclusive workshops). Some of the fine *tiraz al-'amma* textiles, indicate that these were commissioned when needed by the caliphs alongside *tiraz al-khasa*. The storehouses of the Abbasid Caliph, Muhammad al-Amin (r. AH 193–8 / AD 809–13) were filled with clothes, hangings and carpets, to the point where it took al-Fadl ibn Rabi' four months to complete the inventory of the contents of these treasuries, demonstrating the great interest that this caliph took in a variety of apparel, turbans and coverings.","short_description":"This fragment bears the name of the Abbasid Caliph al-Amin Muhammad and is considered to be the oldest woven silk inscription on linen. The Fatimids established many government textile factories called *Tiraz*. Some specialised in making textiles for the caliph and his court; others were allocated for the general public.","type":"Textile, linen","holder":"Museum of Islamic Art","initial_owner":"Abbasid Caliph, Muhammad al-Amin.","dates":"Hegira 193–8 / AD 809–13.","location":"Cairo","dimensions":"Length 80 cm, width 18 cm.","method_for_datation":"The textile is dated based on the mention of the Abbasid caliph, Muhammad al-Amin and his follower al-Fadl ibn al-Rabi' in the inscription band which embellishes this textile fragment.","method_for_provenance":"It is thought that Fustat is the most likely place of production in view of the fact that Egypt is mentioned as the place of manufacture in the inscription band.","provenance":"Fustat, Egypt.","obtention":"This piece was bought in 1903, from an antiquities dealer, Paul Philip.","bibliography":"Baker, P. L., *Islamic Textiles,* London, 1995.  \nHassan, Z. M., *Al-Fan al-Islami fi Masr \\[Islamic Art in Egypt\\],* Cairo, 1935.  \nMarzuq, Muhammad Abd al-Aziz, *Al-Funun al-Zukhrufiya al-Islamiya fi Masr qabl 'asr al-Fatimiyyin \\[Islamic Decorative Arts in Egypt before the Fatimids\\],* Cairo, 1974.  \nMaher M. S., *Al-Nasij al-Islami \\[Islamic Textiles\\],* Cairo, 1977.  \nRizq, A. M., *Marakiz al Sina'a fi Masr al Islamiya \\[Industrial Centres in Islamic Egypt\\],* Cairo, 1989.  \nSelim, Muhammad Abbas Muhammad, *Mansujat al-Tiraz fi al-'Asr al-Abbasi \\[Tiraz Textiles in the Abbasid Period\\],* MA Thesis, Cairo, 1995.","dynasty":"Abbasid","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["costume","kufic script","linen","silk","textile","tiraz","vegetal decoration","workshop"],"materials":["Linen, decorated with woven silk."]},"6b90a9c0-f193-55c4-9a03-d29b7b481484":{"name":"*Kiswah* Belt","short_description":"Religious leaders in the Muslim world would commission the crafting of the *Kiswah* - the cover of the Kaaba - including key components such this belt embellished in gold and silver thread. Craftsmen embroider Qur’anic verses and words of protective value to provide a generous offering to the house of God. This belt was manufactured in Egypt.  \n  \nOnce a new veil is bestowed upon the cubic building, the previous cover is broken up beneath the new *Kiswah* and donated to individuals and institutions such as museums to honor the yearly tradition.","type":"Religious relic","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 648cm, Width: 91.5cm","place_of_production":"Egypt","method_for_datation":"The date and origin were established in a comparison of colour and calligraphy of other Kiswas.","method_for_provenance":"The Kiswa covers the Kaaba in Mecca, Saudi Arabia.","provenance":"Mecca, Kingdom of Saudi Arabia","obtention":"Gift","bibliography":"Alashari, D. M., Hamzah, A. R., and Marni, N., \"The Aesthetics and Greatness of the Kiswah of the Kaaba in the Saudi Era\", *Umran-International Journal of Islamic and Civilizational Studies*, 8 : 1 (2021).  \nAlhazmi, N. H., *Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa*, Doctoral dissertation, Ohio University, 2021.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kaaba","Kiswa","Mecca","Saudi Arabia Belt"],"materials":["embroidery","Silk, cotton, gold, silver"]},"6d50fc9a-40d7-5903-b14d-ddd9bf5e5e84":{"name":"Jacket","short_description":"Yusuf Bey Karam's military uniform. It is made of red velvet and embroidered with a yellow gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Embroidery","Needlework","Handmade"],"materials":["Embroidery; velvet"]},"6e335928-9fa2-5b6f-93cb-9088b371f464":{"name":"*Zabun*","short_description":"The *zabun* is similar to a European coat and the Turkish *qaftan* (a European inspired coat). It is speculated that it first arrived in the eastern part of Saudi Arabia through the Hajj, at the time of the Turkish empire, and later became popular in Qatar and Bahrayn. The *zabun* is made out of fine Indian Kashmiri brown wool with intricate embroidery. Decoration: made of light brown wool embroidered with *boteh* design, motif across the coat – paisley, Islamic decorative arts. Imitated because the shape is Kashmiri, shaped like cashew nut, pronounced ‘Gazorah.’ Colours are red, yellow, and edges are lined with metal silk thread – round neck opening. Narrow Nehru collar, or Chinese collar is known in Qatar. Buttons are handmade metal balls down the front. It is worn with the *thawb ishlahat*.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume","fashion","thawb","boteh","coat"],"materials":["Brown wool"]},"6f8705b6-8b55-55ab-a02e-52dedab4e4de":{"name":"Long-sleeve women's coat (*Mintan*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. A *mintan* is a short upper garment worn over the tunic. This piece is made of red silk. It is decorated with braids and cords of *srma* – gold-wrapped thread applied on the hems and over the front.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"33 x 83 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Mintan","srma","silk","silver","costume","Yörük community","nomads","Turkish","marriage","wedding"],"materials":["Decoration with braids and cords of gold wrapped thread"]},"701d0273-bf02-5200-8f32-6dab9287106b":{"name":"Bridal apron jewellery (*Mangura*)","short_description":"The influences of Eastern art in Macedonia were largely expressed in the jewellery of the 19th century through the so-called Levantine Baroque style. This piece preserves evidence of the exceptional diversity of the jewellery. Worn on the apron, it also shows that articles of adornment used to be applied on many different items of clothing. A *mangura* consists of a string of tiny beads adorned with ornaments. The larger central pendant has been made in the filigree technique and embellished with decorative stones. It is flanked by minor ornaments decorated by perforation.","type":"Traditional jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"67,5 cm","provenance":"Ohrid region","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Mangura","filigree","perforation","silver","costume","accessories","wedding","marriage"],"materials":["Silver, silver alloy, tiny beads, hammering, casting, filigree, perforation"]},"703b6c7e-f4d6-51d7-9caa-1fade8284326":{"name":"Bejewelled ivory belts.","description":"Two ivory belts, one comprising five large plaques with oval medallions, and the other four large plaques with round medallions, attached to each other with groups of small conjoined rectangular pieces. All are decorated in multiple layers. The surfaces are decorated with finely engraved spiralling tendrils and flower motifs, their lines filled with black mastic. The second layer of decoration includes gold flowers with rubies and turquoises at their centres, connected to tendrils with golden leaves. The background is concealed under the all-pervasive decoration, and the base materials are outshone by the ostentatiously encrusted stones. The deeply inlaid flowers in gilded settings, and the technique of decoration in multiple layers, reflect the courtly art of jewellery during the reign of Süleyman the Magnificent (r. AH 926–74 / AD 1520–66).  \n  \nThe organisations of court artists and artisans (called the Ehl-i Hiref) were founded in the reign of Bayezid II (r. AH 886–918 / AD 1481–1512) and these organisations served as a school for all fields of Ottoman art. The number of artists at work in the palace can be followed from the books of salaries, which were kept regularly beginning in the reign of Süleyman the Magnificent.  \n  \nA popular accessory for both men and women, belts were used to enrich and decorate a costume, secured around the waist. They bore a ritual meaning as well. Promotion to a certain rank was completed with the ceremony of girding on a belt. This custom, known from professional guilds was important for the sultans as well, and it was emphasised by placing a belt on the cenotaphs of deceased sultans and courtiers. In the Ottoman period, belts were produced from precious textiles and embroidered with silver and gold threads. Carved and ornamented belts made from metal plaques fitted side by side exhibit high standards of craftsmanship. While women's belts were elaborately decorated, those worn by men were fairly plain.","short_description":"In the Ottoman period, belts were used not only as accessories for women's and men's costumes, but were also palatial awards given for promotion to a higher rank or for remarkable professional accomplishments in a 'belt girding' ceremony.","type":"Ivory, gold, emerald, ruby","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira, first half of the 10th century / AD 16th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 65.5 cm, width 4.5 cm.","method_for_datation":"Decorative motifs and stylistic features date the belts to the first half of the 10th / 16th century. The general character of this period is best reflected by works decorated with precious stones.","obtention":"The belts were transferred to the museum in 1914 from the tomb of Sultan Selim II (r. AH 974–82 / AD 1566–74) in Istanbul.","bibliography":"ölçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.261.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.453.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Belt","costume","floral motifs","ivory","precious gems"],"materials":["Ivory, gold, mastic, turquoise, ruby, emerald, engraving."]},"70de6de0-cb62-5e26-a637-a4597cda72ee":{"name":"*Turban* cap","short_description":"This felt hat may be a typical head-covering worn by Turkish brides. The bridal headdress (*külah*) was always red and, depending on the bride's social status, decorated with silver and gold thread and small metal plaques. A veil (*duvak*) was attached to the tip of the hat with a jewelled pin.","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century (?) / AD 16th century (?)","location":"Vienna","dimensions":"Height: 49.5cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 6","provenance":"Turkey?","obtention":"Collection of Ambras castle","bibliography":"Sandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.  \nScheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["cap","clothes","costume","fashion","hat","marriage","ottoman empire","textile","wedding","women"],"materials":["Felt"]},"7145d9d7-3f20-55d9-a385-486cd31761ab":{"name":"Women's pants (*Don*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. In general terms, the traditional outfit of Yoruk women in Macedonia is distinguished with exceptional colouring and application of varied elements in all articles of clothing. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. This piece of trousers shows decoration of embroidery with geometric patterns applied on the lower front part of the trousers.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"73 x 56 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["costume","embroidery","geometric patterns","geometric motifs","Yörük community","nomads","Turkish","marriage","wedding"],"materials":["White canvas decorated with embroidery og varied wool, as well as silver and gold wrapped thread"]},"714736c9-97a7-5e87-b9d2-fc5d38aed09f":{"name":"Thirty belts","short_description":"Belts like these were traditionally given to a bride by her parents, and were worn for the marriage ceremony. The belts are made of silver, and each one is carved with its tribe's traditional design. The bride would wear the belt of her own tribe during the ceremony as a sign of belonging. These belts date to the 19th century.","type":"Personal ornament; metalwork","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Accessories","Silver","Metalwork"],"materials":["Silver"]},"73c04230-63e1-510e-98c5-207e053e23cf":{"name":"Chaplet of an Ottoman dervish","short_description":"The Austro-Hungarian troops who joined the Ottoman forces in 1915 performed their service very close to the Allies, but were never put under the administrative control of the Ottoman Empire, as the German soldiers were. Souvenirs of this very exotic mission during World War I were in high demand and were brought back to Austria after the end of the war.","type":"Stonework","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Sufi","Bosnia","Sufi Hadschi Loja","religious object","souvenirs","war","warfare"]},"73e736ab-49ec-5eea-8f27-af65046fe133":{"name":"Headdress","short_description":"A silver circular disk with filigree work and prominent dome above; chains dangling with triple petal and filigree work at the end; placed on the top of a high hat worn by al-Druze (Druse) women. Silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated social composition and the demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Diameter 16,5 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver","prominent dome","disk","al- Druz women"],"materials":["Silver; casting, filigree, hammering"]},"77e732d5-caee-5472-847f-63e657f1353d":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall design of eight-pointed stars in staggered rows. Each star contains a central motif, consisting of eight tulip heads issuing from a central rosette. Tri-lobed arabesque extensions enhance the stars at the top and bottom. This type of pattern is also found in Ottoman velvets.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The silk brocadecostumes were designed to emphasise the imperial status of the sultan and his family, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 73.7 cm, width 63.7 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp21–3, pp.268–9, fig. 201 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"77fc77a2-454c-58fa-aa16-959029610bb1":{"name":"Women's tunic (*Gomlek*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. In general terms, the traditional outfit of Yoruk women in Macedonia is distinguished with exceptional colouring and application of varied elements in all articles of clothing. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. The tunic is made of white canvas and modestly decorated by embroidery of two short vertical strips above the lower hem.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"100 x 60 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Yörük community","nomads","Turkish","tunic","costume","embroidery","wedding","marriage"],"materials":["White canvas decorated with embroidery og varied wool, as well as silver and gold wrapped thread"]},"77fcfe50-ba2c-54a4-8cbb-d6153c293443":{"name":"Child's robe","short_description":"Cloths with the *shahada* imprinted on it were reserved for special use and considered appropriate to be handled only by those who were pure, including children who had not reached puberty. This lampas child’s robe is made of fabric which is woven with chevrons and adorned with inscriptions which include *shahada* and Qur’anic verses. The inscriptions on the robe are written in cream against the crimson ground. Lampas cloth was also frequently used as cenotaph cover and as talismanic garments.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1200 / c. AD 1800","location":"Kuala Lumpur","dimensions":"49 x 97cm","provenance":"Turkey","bibliography":"Islamic Arts Museum Malaysia, *Al-Kalima*, Kuala Lumpur: IAMM Publications, 2003: 49.  \nIslamic Arts Museum Malaysia, *Mightier than the Sword*, Kuala Lumpur: IAMM Publications, 2004: 193-195. Islamic Arts Museum Malaysia, *The Message & The Monsoon: Islamic Art of Southeast Asia*, Kuala Lumpur: IAMM Publications, 2005: 136.","dynasty":"Ottoman","materials":["Made from a cenotaph cover, silk lampas"]},"7821de49-1833-5656-935a-de7859fecc1b":{"name":"Jacket","short_description":"Yusuf Bey Karam's jacket, probably worn during the winter months. It is made of dark blue wool, with floral patterns embroidered in black thread and bordered by a black ribbon. The lining is made of a mustard-coloured fabric.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art","Embroidery","Needlework","Handmade"],"materials":["Embroidery; wool"]},"79528dd8-b305-5d0a-99c2-94a3c8d75553":{"name":"Clogs","alternate_name":"*Nanule* (Tr. *nalın*)","description":"*Nanule* (Tr. *nalın*) – clogs from the Museum of Applied Art in Belgrade (a.n. TC-283 (1942)), are made of wood. They have a slightly flared front wedge and a concave back wedge. The toe of the sole is square, and the heel is round. The sole is decorated with intarsia of leaf-shaped medallions with carved vegetal motifs, while along the edges runs a frame of inlaid mother-of-pearl rhombi. The wedges are adorned with carved geometrical motifs. The leather straps that hold the clog on the foot are plain. The clogs were used in the hamam, and belong to the shared dress and living culture of the urban population in the Ottoman Balkans, which had diverse confessional and ethnic backgrounds.","type":"Clothing","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","dates":"AH late 13th / AD Late 19th century","location":"Belgrade, Serbia","dimensions":"Length: 23cm, Height: 7cm","place_of_production":"Kosovo","method_for_datation":"By stylistic and comparative analisys with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Ottoman Empire","obtention":"Purchased in 1956.","bibliography":"Maskareli, D., (2013), 'Tradicija i moda: ženska obuća iz XIX i s početka XX veka u kolekciji Muzeja primenjene umetnosti u Beogradu', *Journal 9 (2013): 93--101.  \n  \nStojanović, D., *(1980), Gradska nošnja u Srbiji tokom XIX i početkom XX veka*, Belgrade: Museum of Applied Art, 1980: cat. nNo. 378.  \n  \nTadić, M., “Od kućnog dvorišta do hamama, sedefli nanule”, *Journal*, 4/5 (2008/2009): 19--31.*","dynasty":"Ottomans","author":"Draginja Maskareli","copy_editor":"Zeina Al Amad","keywords":["nanule, clogs, hamam, Turkish bath, dress, Balkans"],"materials":["inlay, intarsia, carving","Wood, mother-of-pearl, leather"]},"79fded3c-fc12-5fa3-bff4-6820a231b3e4":{"name":"Marriage shawl","short_description":"This loose marriage shawl is decorated with various symbols of fertility. Two large rectangles of red wool are sewn together, and their joining seam is ornately decorated with gold embroidery. The decorations are spread out across the whole cloth, forming a strip of finely woven motifs in the centre, which is surrounded by various traditional figures and patterns. The human figures are characteristic of the (often enigmatic) decorative arts of the towns of El Jem and Ouerdanine, and feature here in addition to the more common motifs such as the fish, the hand, disks, circles, diamonds, crescents, the dove and the camel.","type":"Textiles; dress; embroidery","holder":"Musée des Arts et Traditions Populaires","dates":"19th–20th century","location":"Tunis","dimensions":"H. 454 cm, l. 120 cm","provenance":"El Jem","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Fertility symbols"],"materials":["Emroidered wool"]},"7c5b0aa9-383a-5b52-bc5a-91c986d3c9eb":{"name":"Toiletries","short_description":"In the 19th century the wealthy families of Tunis invented the notion of the knastrou l'aroussa (marriage basket) as a mark of their wealth. Made of engraved or watermarked silver, this basket would contain various toiletries for the bride: a perfume sprinkler (mrach), a khol phial with applicator for the eyes (mokhala), a round or rectangular-framed mirror with engraved floral motifs, and a knife and plate for henna. A pair of clogs (qobqabs) made of wood and covered in silver worn by the bride. As a traditional bath (hammam) was the bride's first event on her wedding day, all her toiletries were set out ready for her, with a series of tools for exfoliation, depilation, application of a clay face mask, and more.","type":"Silver","holder":"Musée des Arts et Traditions Populaires","dates":"19th–20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Engraved silver","watermarks"],"materials":["Silver plated metal"]},"7f2fed78-da3c-5a60-9d84-6fa3d3fadd64":{"name":"*Kain panjang* (Shoulder or hip cloth)","short_description":"Ceremonial shoulder or hip cloth, predominantly maroon, featuring *pucuk rebung lawi ayam* (bamboo shoot with cockerel's tail) and *bunga rumput* (grass flower) motif.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"224 x 89.7cm","provenance":"East Coast, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 60-61.","dynasty":"Malay Sultanate","materials":["Silk limar with songket"]},"7f865df5-a1bf-51f2-943d-4a9bec647c8f":{"name":"Dress","short_description":"This long dress or *djebba* is made of brocade and has a breast plate on the front. The low-cut sleeves are bordered by a golden ribbon. Jewish women from Constantine wore this long dress, whereas Muslim women wore a slightly shorter one. Although the decoration of the Constantine dress is completely different today, the shape and cut has not changed.","type":"Brocade","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","dimensions":"1.41 cm","translator":"Flaminia Baldwin","keywords":["Fashion","Jewish","dress"],"materials":["Brocade and lace trimmings"]},"80deca91-898b-5c5f-bbd8-e342f80ead7f":{"name":"Burqa - Face Cover","short_description":"A rare example of a traditional accessory that adorns nomadic women during special occasions such as weddings, the decorated veil remains a source of honour and identity for Bedouins. It is found across the Middle East, especially in Egypt’s Sinai region, southern Palestine, and the Tabuk region of north-western Saudi Arabia. The veil reflects the shared material culture and long-standing historical interactions across Sinai, the southern Levant, and north-western Arabia.  \n  \nShells, colourful beads and over 350 gold and silver coins adorn this burgundy veil, revealing only the eyes while the burgundy fabric masks the nose, mouth and neck. In a shiny coat of feathers, the coins aim to reflect ill intent, with the Maria Theresa thaler as a central display of wealth and status. Triangle and diamond shapes embody amulet-like powers in thoughtful cross-stitching and beadwork. As a final touch, cowrie shells defend against the evil eye and enhance fertility through their suggestive resemblance.","type":"Costume; Accessory","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"20th century","location":"Shahaniya","dimensions":"Length: 39cm, Width: 37.5cm","method_for_datation":"The date and origin were derived from an examination of material and technique in a research comparison with similar objects.","method_for_provenance":"The date and origin were derived from an examination of material and technique in a research comparison with similar objects.","provenance":"Sinai, Egypt","obtention":"Purchase","bibliography":"Abu-Rabia, A., \"The Evil Eye and Cultural Beliefs among the Bedouin Tribes of the Negev, Middle East\", *Folklore*, 116 : 3 (2005): 241-254.  \nBille, M., *Being Bedouin Around Petra: Life at a World Heritage Site in the Twenty-First Century*, New York / Oxford: Berghahn Books, 2019.  \nHeller J.,\"Magic, Status and Money\", in Joseph Heller (ed), *Sea Snails*, Cham: Springer, 2015.  \nKawar, W. K., \"The Traditional Palestinian Costume\", *Journal of Palestine Studies*, 10 : 1 (1980): 118-129.  \nRansom, M., *Silver Treasures from the Land of Sheba: Regional Yemeni Jewelry*, Cairo / New York: American University in Cairo Press, 2014.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Bedouin","Burqa","Coins","Palestine","textile"],"materials":["Textile, copper, silver, ivory, shell, plastic"]},"83550dcd-d5fe-53bf-ba81-33534dbf86ed":{"name":"Lace skirt","short_description":"Skirt of light pink lace with black flowers, pursed from the middle, worn over a woman’s dress. This object illustrates the variegated population composition of Jordan in the late 19th and early 20th centuries, the various local costumes and rites, fashion and personal attire. This skirt was used by al-Druze women in Jordan. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Lace","skirt"],"materials":["Lace; machine weaving"]},"84d4fca3-e4d2-596e-bea2-0a5eda7a5ccf":{"name":"Traditional dress for a *shaykh* or *shaykha*","short_description":"Featured here is the traditional dress for the *shaykh* and *shaykha* of the Keserwan district. The *kubran* is an embroidered jacket (with or without sleeves) made of silk or velvet. The *gumbaz* is a long dress or coat embroidered with gold or silver and sometimes adorned with semi-precious jewels. It consisted of three panels and was split on either side of the body, beginning from the hip area. Other components of this traditional attire were a *mentiene* (blouse), the *shirwal* baggy trousers, a velvet or satin cape with gold or silver embroidery, and a long belt called a *shamle* or *zunnar* made of silk or cashmere depending on the season, and which was wrapped around the waist or hips.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Clothes","Tradition","Luxury","Fashion"],"materials":["The original were made of silk, velvet, gemstones, cashmere, satin, gold, silver"]},"8965ef4e-0491-5348-8ff0-02681f79580f":{"name":"Woman’s court robe (*conteş*)","short_description":"This *seraser* silk was discovered in the latter half of the nineteenth century in a monastery located in the historical region of Oltenia (southwestern Romania), probably at Bistriţa, where it was preserved as an ecclesiastical cope. A hundred years later, following ample restoration undertaken at the Museum, it regained its original form, namely that of a woman’s court robe. It can be assumed that the robe had been donated to the monastery by a boyar’s family, which testifies to the wealth and refinement of the Romanian aristocracy in the sixteenth century, given the fact that *seraser* silk was by far the most precious Ottoman textile, covered ‘from end to end’ with silver and silver-gilt thread. The robe features a design of large palmette garlands, outlined with green silk, each of which encloses a circular motif and a crescent. Between the garlands, circular motifs surrounding a star.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 151cm (from collar to hem on the back)","method_for_datation":"Stylistic analysis, comparison with related objects; technique","method_for_provenance":"Stylistic analysis","provenance":"Bursa or Istanbul, Turkey","obtention":"Transferred from the collection of the Commission on Historical Monuments in 1949.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W. and Tezcan, H., *Ipek. Imperial Ottoman Silks and Velvets*, London: Azimuth Editions, 2001: 259, fig. 179.  \nLăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 127-128, cat. no. 49.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 35, cat. no. 4, fig. 11-14.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Seraser"],"materials":["Woven silk, silver and silver-gilt thread"]},"89881283-d829-5946-bd7c-505438d8c8c0":{"name":"Costume for Cleopatra in the Ballets Russes production of *Cléopâtre*, 1918","short_description":"The sets and many costumes for the 1909 *Cleopatre* were destroyed in a fire during the company’s 1917 South American tour, so painter Sonia Delaunay was commissioned to fashion new costumes for the principals. The artist’s palette of brilliant color, graphic design, and combination of textures resulted in costumes markedly different from the originals. Cleopatra’s luminous dress, reflecting the abstract forms in Sonia Delaunay’s paintings, as well as aspects of fashionable dress of the period, remains one of her most significant creations for the theatre.","type":"Costume; costume for theatre","holder":"Los Angeles County Museum of Art (LACMA)","dates":"1918","location":"Los Angeles","author":"Kaye Spilker","keywords":["Clothing","theatre","dance","fashion","abstract decoration","exoticism","textile","painting","coreography","abstract art","avant-garde"],"materials":["Silk, sequins, mirror, beads, wool yarn, metallic thread braid, lamé"]},"8b0ba994-910a-52d0-99bb-c869a430a235":{"name":"Woman’s dress (*entari*)","short_description":"The floor-length overcoat, flaring below, has a low, lancet-oval décolleté. The fineness of workmanship indicates a production in the context of the Court. The sleeves are overlong, slit below and lined with embroidered top fabric. The dress is fastened in the middle more or less to the waist with twelve ornamentally trimmed buttons. The tambour embroidery includes floral scrolls and bunches of flowers as well as miniature architectural motifs and birds.","type":"Ottoman dress, silk, cotton, embroidery, garment","holder":"MAK – Museum of Applied Arts","dates":"18th – 19th century","location":"Vienna","dimensions":"H: 136.5cm, W: 197cm","provenance":"Ottoman empire, Anatolia","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-95627","author":"Martina Dax","keywords":["costume","dress","floral decoration","Ottoman costume","women","workshop"],"materials":["embroidery","Silk, cotton"]},"8c4076d1-62c9-5729-a3d5-d8c91345437b":{"name":"Bridal headdress","description":"An example of coin-adorned accessories from Palestine dating to the early twentieth century, this bridal headdress originates from the villages of the Jaffa area. The coins incorporated into bridal ornaments symbolised part of the bride’s dowry, traditionally gifted by the groom’s family and considered her personal property, which she could keep and use according to her wishes. The embroidered motifs and techniques featured on the headdress are characteristic of the Jaffa region’s village dress traditions and are also found on women’s garments from the area.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","dates":"ca. 1930","location":"Amman","dimensions":"Height: 48 cm; width 32cm","place_of_production":"Jaffa villages, Palestine","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Accessory","ceremony","marriage","Ornamentation","wedding"],"materials":["Cotton, silk, coins"]},"8d188108-655f-550e-b130-a0eb24f32b9c":{"name":"Headdress","short_description":"Three bands of silver (800) chain fitted around the sides and over the crown of the head; 1/4 Ottoman coins (*barah*s) are fixed in the inner section of the band. This kind of jewellery was part of the dowry the groom gave to the bride. Dowries consisted mostly of silver jewellery because only the rich could afford gold jewellery. Thus, the financial status of the groom was highlighted by the jewellery he could give as a dowry and by the use of coins as pieces of jewellery for his wife.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Northern Jordan, (Irbid, Ajlun, Ramtha)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver chain","Ottoman coins"],"materials":["Silver; casting, welding"]},"901912af-e2dd-5692-a2e7-be09e9e75334":{"name":"'Abaya-style dress","description":"This ‘abaya style dress incorporates a variety of fabrics sourced from all over the world brought together into a vibrant yet harmonious piece.   Colourful Indian and Southeast Asian textiles in the form of silk ikats and brocaded sari borders sit alongside embroidered suzani panels from Central Asia and plain coloured textiles sourced in the United Kingdom or the Middle East.  Designed by Thea Porter for Thea Porter Couture, this garment harked exoticism.  In line with fashion trends of the 1970s, designers such as Porter looked to Middle Eastern, South Asian and Central Asian textiles for inspiration, incorporating them into their designs. Such bright textiles with their vibrant colour combinations, textures, and bold patterns spoke to notions of travel to exotic destination, highlighted exposure to different cultures, and in an era of synthetic fibres, placed emphasis on natural materials and the handmade.  Born in Jerusalem but having lived in Damascus and Beirut, Porter introduced her Western clientèle to voluminous Arab-style over-garments such as ‘abayas and thawbs.    Her loose shapes and her innate understanding and choice of fabrics appealed to many with Porter being credited with bringing the bohemian look to London catwalks.","type":"Dress","holder":"British Museum","dates":"1970-1977","location":"London","dimensions":"Length: 155cm, Width: 227cm","obtention":"Gift of Venetia Porter in memory of Thea Porter (formerly in the collection of Honor Frost).","bibliography":"Fahmida, Suleman, *Textiles of the Middle East and Central Asia:The fabric of Life*, London: Thames and Hudson in collaboration with the British Museum, 2017: 19.","artist_birthdate":"1927","artist_birthplace":"Jerusalem","artist_deathdate":"2000","artist_deathplace":"London","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_2016-6045-1"},"922e411d-1b69-5d14-ac14-e76be57376fa":{"name":"Kaftan.","description":"A woman's garment, rectangular in shape, widening slightly towards the top and open at the front with long, wide sleeves. Braided conical buttons fasten the garment at the top.  \nThe word 'kaftan' was originally Persian and was adopted by the Ottomans to describe their emperor's dress. It would have been introduced in Morocco by the Sa'did king 'Abd al-Malik (r. AH 984–6 / AD 1576–8), who had lived in Algiers and Istanbul and would have borrowed the word from the Turks. Adopted firstly by the dignitaries and women of the palace, kaftans became fashionable among the middle classes from the late AH 10th / AD 17th century, if the accounts of European travellers are to be believed. Each of the large towns had a particular variation of this type of costume, which would have been covered with a light tunic. Its shape and decoration tell us that this kaftan is from Tetouan. It would not have been hidden under a tunic and would have been worn above a bolero made in the same way and in the same material. Embroidered with gold thread, gold braids and frogging, its arborescent decoration is reminiscent of the designs on the dresses and boleros of Ottoman women in Algeria.","short_description":"This woman's garment is rectangular and slightly opened at the front. It would have been worn above a bolero, and the braided buttons fastened the top of the garment. Its gold thread and gold braiding decoration would have been inspired by the clothes worn by Ottoman women in Algiers.","type":"Costume, textile","holder":"Museum of the Udayas.","dates":"Hegira 13th century / AD 19th century.","location":"Rabat.","dimensions":"Length 140 cm, top width 145 cm, bottom width 100 cm.","method_for_datation":"This type of kaftan was produced only in Tetouan and was worn only by middle-class women in the north of Morocco.","method_for_provenance":"This type of kaftan was no longer worn at the beginning of the 20th century.","provenance":"Tetouan, Morocco.","obtention":"Purchased.","bibliography":"Besancenot, J., *Costumes et types du Maroc*, Paris, 1940.  \n  \nDiouri, Z., El Idrissi, A., Khlifi, F.Z., and Ait M'barek, S., *[Le caftan marocain](https://images.museumwnf.org/hi_res/thematic_gallery/thg_galleries/47/related_content/27/en/1.pdf)*, Rabat: Foundation Nationale des Musées, 2025.  \n  \nLemprière, G., *Voyage dans l'Empire du Maroc et le Royaume de Fès, fait pendant les années 1790 et 1791*, Paris, 1801.  \n  \nMiège, J.-L., Benaboud, M., Erzini N., *Tétouan, ville andalouse marocaine*, Paris, 1996.  \n  \nPidou de Saint-Olon, F. *Relation de l'Empire de Maroc où l'on voit la situation du pays…*, Paris, 1694.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["costume","floral decoration","geometric decoration","women"],"materials":["Velvet, gold embroidery, frogging."]},"92c6732e-264e-56fc-b2bd-43a71e310d3b":{"name":"Traditional dress worn by the Emir of the Chouf district","short_description":"This was the formal dress of the Emir of the Chouf district. It consists of traditional *shirwal* trousers and a silk jacket with embroidered patterns.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Fashion","Design","Clothes","Tradition"],"materials":["The original was made of silk and cashmere"]},"92dacff0-b9ed-51f4-8929-313eefaa5ba9":{"name":"Coat of a bedouin collected during the Expedition of the Austrian Ship Pola under the command of Paul von Pott to explore the Red Sea","short_description":"This Bedouin shirt from Palmyra, Syria was collected by an Austrian officer named Karl Alexander Anselm Freiherr von Hügel. He left the army in 1824 and organized a long voyage, which took him from France to the Near East. He first visited Syria and Palestine, then reached Mumbai, India in 1832. From 1832 to 1836 he travelled widely in India, until he returned to Europe.","type":"Costume","holder":"Kunsthistorisches Museum, Weltmuseum","dates":"1839","location":"Vienna","dimensions":"Length 293 cm, Width 63 cm","copy_editor":"Daniel de la Vega","keywords":["Palmyra","Syria","Palestine","Bedouins","textile","exploration","travel","traveller"],"materials":["Cotton"]},"94c59dc9-5032-599d-bcf3-18eec377e4fa":{"name":"Velvet embroidered kaftan","short_description":"This purple velvet kaftan is decorated with gold and silver braided trimmings and embroidered with silver and golden metal thread. It is fitted with mid-length sleeves embellished with a large \"lyonnais\" ribbon. The chest is covered by a large breastplate, split into two symmetrical halves, and adorned with large buttons of gold lace. The embroidery on the breastplate features two peacocks facing, on each side, a bowl with floral motifs. The kaftan is lined with a pale blue satinette on the outer rims with a pattern of swallows' wings sewn on. The kaftan, a particularly lavish item in the 19th century, was typically worn for marriage ceremonies, usually with calf-length trousers.","type":"Textiles; dress; embroidery","holder":"Musée des Arts et Traditions Populaires","dates":"19th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Kaftan","braided trimmings"],"materials":["Velvet fabric, braided trimmings, silver thread with white and gold"]},"9543dd9a-7bf0-51dd-86f0-064bea14a470":{"name":"Asbe woman's headdress","description":"Traditional Jordanian headpieces worn across northern and central Jordan, crafted from richly patterned fabric woven in Syria using the brocade technique. The headpiece is worn wrapped around the head and placed on top, traditionally appearing in black or red.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1935","location":"Amman","dimensions":"Height: 125 cm and 147 cm; width: 125 cm and 138 cm","place_of_production":"Central Jordan (Salt,  Karak, Jordan Valley)","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["brocade","Clothing","silk","textile","weave"],"materials":["Silk, metal"]},"9729e384-0aab-59c6-bb73-2a5621d81218":{"name":"Bridal headdress (*Tepelak* – tas)","short_description":"Jewellery worn on the head included diverse types of metal articles which served to support the hat or scarf and also had an apotropaic function in addition to their decorative one. Especially noteworthy head-pieces were *tepelaks*. These are headdresses of round form, sometimes slightly concave, abundantly adorned with chains, smaller or larger silver coins and with *trepkas* (tiny ornaments in diverse forms – round, leaf-shaped, rectangular, heart-shaped, etc.). *Tepelaks* used to be worn everywhere in Macedonia, particularly in the Kumanovo, Skopje, Gostivar and Gevgelija regions, as well as within Vlachs. This piece of bridal *tepelak-tas* was made by application of filigree technique. It is abundantly decorated with coins suspended on tiny chains.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"Diameter 16 cm","provenance":"Mavrovsko Pole","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Head-dress","tepelak","coin","coinage","currency","numismatics","tughra","marriage","wedding","fashion","costume"],"materials":["Gilt silver, casting, filigree, adornment with small coins"]},"97603dc7-78b0-567d-995d-706683438f46":{"name":"Wedding dress","short_description":"The main fabric of this wedding dress is linen with silk selvedge stripes, with red and yellow taffeta inserts in the sleeves and skirt; the chest panel is couched with gilt cord and yellow, green and purple silk cord, and filled with multi-coloured stain and herringbone stitches. Palestinian weavers used manual spindles to prepare the cotton and linen threads imported from Egypt. Ashkelon weavers used light vertical hand looms (*Majdalawi* looms) to produce linen fabrics, while silk fabrics were spindled, died and woven in Syria. The Jordanian economy in the late 19th and early 20th centuries relied on trade and crafts; new waves of people started to come to Jordan to participate in those industries. This object shows the diverse population composition of Jordan at that time, through personal attire, fashion, local costumes and rites.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 145 cm, bottom circumference 94 cm","provenance":"Palestine, Bethlehem area","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Silk","linen"],"materials":["Linen with silk; hand weaving, hand embroidered, natural dyes"]},"98c3852e-4d88-54fc-b204-73d1b0245994":{"name":"Fan","description":"This fan was used by the Queen Maria Cristina of Spain and showed that the influence of the Orientalism or Neo-Mudéjar style had arrived in lace design. This lace has pointed arches and interlacing decoration very similar to Arab patterns.","type":"Accessories","holder":"National Museum of Decorative Arts","dates":"1905-1910","location":"Madrid","dimensions":"26,5 x 52 cm","provenance":"Portugal/possibly Belgium (lace)","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Orientalism","Applied Arts"],"materials":["Lace and tortoiseshell; diamonds and pearls"]},"9a135c4c-830c-5fdd-a5e6-61129754ecfd":{"name":"Bridal breast jewellery (*Chaprag*)","short_description":"This exquisite article called a *chaprag* shows the exceptional skill and inventiveness of the unknown goldsmith, who makes each piece of jewellery a virtual work of art in itself. The *chaprag* is a breast ornament consisting of a round plate and tiny chains. It is executed in filigree technique and adorned with decorative stones. Besides its decorative function, it was applied for the purpose of fastening the cleavage of the tunic. It was characteristic of the Ohrid-Prespa region, that is, the areas of Ohridsko Pole, Strushko Pole and Debarski Drimkol.","type":"Traditional jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"33 cm","provenance":"Struga","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Breast ornament","coin","coinage","currency","numismatics","accessories","costume","wedding","marriage"],"materials":["Filigree, combined technique"]},"9aa9bf06-9414-5502-8c25-a49ce6269462":{"name":"Belt","short_description":"A Circassian belt with 15 silver and niello-decorated buckles connected together to form the belt; there is a rosette shape at the end with locking mechanism and three dangling silver tassels. This belt, together with the dagger, was an accessory forming the traditional male Circassian dress. The Circassians used to carry daggers which were an essential part of the national dress. The immigration of the Circassians to the Ottoman Empire started in the middle of 19th century and continued until 1900. The Circassian communities migrated mostly to the eastern Arab countries with which they had spiritual and religious links.","type":"Clothing ornament; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Length 80.5 cm","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver","niello","rosette","belt"],"materials":["Silver with niello; casting"]},"9b44d0ac-222b-523a-ae62-0176f671ccfa":{"name":"Waistcoat.","description":"The waistcoat is made of green velvet and displays rich decoration. Silver braid borders all the edges. In addition, the neckline and each side of the double row of buttons are highlighted by a broad strip of patterned fabric. The green velvet is symmetrically embroidered with a design that includes elements of European rococo. The waistcoat is closed by two rows of 17 buttons. Inside, the waistcoat is lined with printed cotton showing flowers within squares.","short_description":"Waistcoat made of green velvet lined with printed cotton and closed by two rows of 17 buttons. Its embroidery shows European influence.","type":"Velvet, cotton, embroidery, metal thread, costume","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Length 37 cm.","method_for_datation":"Metal thread embroidery was the preferred technique for Ottoman urban pieces of the 13th / 19th century frequently showing European influence in their designs.","method_for_provenance":"High-quality Ottoman metal-thread embroideries are products of the professional workshops of Istanbul and Bursa.","provenance":"Istanbul or Bursa, Turkey.","obtention":"Purchased from the collection of F. R. Martin in 1898.","bibliography":"Johnstone, P., *Turkish Embroidery*, Victoria and Albert Museum, London, 1985.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.  \nTher, U., *Floral Messages: From Ottoman Court Embroideries to Anatolian Trousseau Chests*, Bremen, 1993.  \n*Türkische Kunst und Kultur aus Osmanischer Zeit*, Museum für Kunsthandwerk Frankfurt, Exhibition catalogue, Vol. 2, Recklinghausen, 1985.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Clothing","costume","embroidery"],"materials":["needlework, embroidery.","Velvet, printed cotton, gold metal thread"]},"9b83a66c-2937-5afb-80f5-4db5f45d441b":{"name":"Slippers","description":"The slippers are handcrafted and embroidered by hand, their unique creation emphasizing their value. This type of footwear demonstrates the influence of oriental art in the technical work of 19th century European artisans, and the great fascination with the objects coming from the East that refer to the luxurious craftsmanship of these countries.","type":"Personal ornaments; Fashion complements","holder":"National Museum of Romanticism","dates":"19th century","location":"Madrid","dimensions":"21,5 x 10 x 4 cm","author":"Mercedes Rodríguez Collado","copy_editor":"Anne Dowell","keywords":["Shoes","Silk","Turkish fashion"],"materials":["Silk, metallic thread, leather; velvet, sewn, embroidered, tanning"]},"9c6f1f64-15f3-5d35-93ad-16dc50cc2b9f":{"name":"Coat","description":"Coat in green velvet completely decorated in flowers and leaves in gold with the stencil technique. It is lined with a silk and has a green velvet belt.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1914 – c. 1930","location":"Madrid","dimensions":"Height 104 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Turkish influence","Costume","Design"],"materials":["Silk, velvet"]},"9d7d8f95-c69d-5158-8fc8-44463428b5eb":{"name":"Shapeable cloak","description":"From the 1970s to the 1990s, important figures in fashion like Ursula Rodel, Ruth Grüninger, Hannes Bühler, Ida Gut, and Dorothee Vogel influenced the Swiss designer Christa de Carouge whose work represented a new departure for Swiss fashion. Japan also inspired her, and she created pieces that became a part of the women who wore them — which is especially true in the case of this cloak. Its silk fabric combined with copper wire allowed the wearer to shape it with her hands to create an object in the form she desired.","type":"Cloak","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1994","location":"Zurich","dimensions":"H: 113cm","method_for_datation":"Information by the Designer","provenance":"Switzerland, Zurich","obtention":"Bought in 1994","workshop":"Jakob Schlaepfer AG, St. Gallen","keywords":["Christa de Carouge","coat","Shapeable","silk","Zurich"],"materials":["Silk, copper wire"]},"9e27b5b2-30a6-5252-a26a-4aac66765be3":{"name":"Silk coat","short_description":"The coat is made of two patterned textiles. The first, a fine late-Sasanian samite with a design of roundels enclosing a peacock in profile, is used mainly around the edges (textile A). The second, a samite of medium quality with a design of roundels enclosing a peacock presented frontally, forms the principal parts of the coat and was most probably made by Iranian weavers working in China (textile B). The lining, which survives mostly in the sleeves, is a purplish-brown self-patterned tabby silk of Chinese origin, (textile C). Its design is based on overlapping ovals enclosing a seated ruler, paired animals or birds and a fantastic animal, perhaps a dragon. In addition, two plain tabby fabrics are used as a facing inside the extremities of the coat and an interlining for the collar. Alterations to the coat appear to have involved adding the second samite, textile B, so that it became the its principal textile.  \nAlthough these precious samites have been cut up into much smaller pieces than should have been necessary, this kind of garment construction is evidently a common feature among finds from Dulan, the site from which the coat almost certainly comes.  \n**Additions to dating**  \nTextile A  \nC-14 dating: AD 533–615 (87.4% probability). Because of its evolved design, the actual date must be closer to the end of this range.  \nTextile B  \nC-14 dating: two date ranges, AD 430–93 and AD 530–96 (95.4% probability). The actual date is more likely to be at the upper end of the second range, close to 600 AD.  \nTextile C  \nThe approximate date of this lining silk can be estimated as c. 600 AD, because a yellow fragment with the same weave and design was found in a tomb at Astana, near Turfan, with documents dating between AD 541–622.","type":"Textile; coat; long-sleeved coat; silk; samite (*samit*)","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Around 600 AD  \nFor further details refer to the description","location":"London","dimensions":"L: 148cm, W: 216cm (sleeves outstretched)","method_for_datation":"Dates are based on C-14 tests. Provenance is based on comparisons with excavated material.","provenance":"Iran and China","bibliography":"Granger-Taylor, H., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[Title in preparation / forthcoming\\]","dynasty":"Sassanid","keywords":["bird","China","dragon","Iran","Sasanid","silk","Tabby weave","textile"],"materials":["Five different silk textiles: two samites, a self-patterned tabby and two plain tabbies"]},"9f475267-426c-5190-b0b3-f114b5dfce94":{"name":"Embroidered Safavid coat","short_description":"The voluminous men’s coat reaching half way down the thighs is embroidered with a pattern of figures, cypresses, blossoming trees and small ponds. Enthroned men under baldachins are each flanked by a guard with bow and arrow and a woman carrying a peacock. Comparable motifs on textiles and in sixteenth-century miniatures show that the elaborately designed type of garment was widespread. Similar exquisite articles of clothing served as gifts of the rulers to their retinue and were usually not intended for daily use.","type":"Safavid Iranian embroidered jacket","holder":"MAK – Museum of Applied Arts","dates":"c. 1600","location":"Vienna","dimensions":"H: 117cm, W: 207cm","provenance":"Iran","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-94636","author":"Martina Dax","keywords":["costume","cotton","court life","embroidery","figurative decoration","floral decoration","linen","Safawid","silk","textile"],"materials":["embroidery","Silk, linen, cotton"]},"9f97dfd5-8a30-53f7-9503-d00f973c94b8":{"name":"Jacket","short_description":"Yusuf Bey Karam's formal jacket, which he wore for his welcome ceremony in exile. It is made of pure black wool with floral patterns embroidered in golden thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"1860s","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral decoration","Embroidery","Needlework","Handmade"],"materials":["Embroidery; wool"]},"9ff5077e-cf93-5273-8105-87762d317700":{"name":"*Ihram* belt","short_description":"This *ihram* belt would have been worn by a male pilgrim, and used for carrying valuables while performing the Hajj rites. The *ihram* garment for men consists of two pieces of unstitched white cloth. One cloth (the *rida’*) is worn around the upper body while the other (the *izar*) would be worn wrapped around the lower body. This belt would have been worn around the waist on top of the *izar*. The inscription upon the belt wishes the wearer good health.  \nAs well as referring to ritual clothing, *ihram* also donates a state of mind in which a Muslim must enter in order to embark on Hajj. During this period, pilgrims must adhere to certain rules, for instance men and women are both forbidden from killing animals, uprooting trees, or cutting their nails or hair.","type":"Belt; clothing; money; *ihram*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"118x8cm","method_for_datation":"Provenance and date are based on stylistic grounds","provenance":"Turkey","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["Belt","Clothing","hajj","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrimage","prayer","Prophet Muhammad","Religion","travel"],"materials":["Leather, silk and linen with metal fittings"]},"a21ee902-973e-5d31-8729-1620d2b89aae":{"name":"Kaftan.","description":"The red caftan with its wide sleeves is part of the costume of an Algerian woman. The fine, shiny silk shows a floral pattern of large blossoms and leaves. The gold-thread embroidery of the neckline and on both sides of the buttons is the only additional ornamentation. The sparing but effective use of the gold thread and the contrast of the colours emphasise the precious character of this garment.  \nTogether with headdress and shoes, this kaftan was part of a large gift presented by Ali Pasha of Algiers to the Swedish king in AH 1144 / AD 1731 in connection with the peace treaty between Sweden and Algeria.","short_description":"The red caftan with its wide sleeves is part of the costume of an Algerian woman. The fine, shiny silk shows a floral pattern of large blossoms and leaves. The gold-thread embroidery of the neckline and on both sides of the buttons is the only additional ornamentation. The sparing but effective use of the gold thread and the contrast of the colours emphasise the precious character of this garment.  \nTogether with headdress and shoes, this kaftan was part of a large gift presented by Ali Pasha of Algiers to the Swedish king in AH 1144 / AD 1731 in connection with the peace treaty between Sweden and Algeria.","type":"Ottoman costumes, Silk, linen, gold","holder":"Royal Armoury (Livrustkammaren).","initial_owner":"Ali Pasha, Dey of Algiers.","dates":"in the years before Hegira 1144 / AD 1731.","location":"Stockholm","dimensions":"Length 125 cm, width 79 cm.","method_for_datation":"The kaftan was given as a present in 1144/ 1731. It is likely that it was made in the years before.","method_for_provenance":"According to the former owner, Ali Pasha, who was Dey of Algiers.","provenance":"Algeria.","obtention":"As a royal museum the Royal Armoury houses gifts presented to the Swedish kings.","bibliography":"Royal Armoury, *Gåvor från Österland*, cat. no. 87, Stockholm, 2001.","dynasty":"Ottoman","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["costume","diplomatic gifts","embroidery","textile","women"],"materials":["embroidery.","Silk, linen, gold thread"]},"a2ba32a3-7747-5b54-b011-e71d3a84e08c":{"name":"Dress","description":"Pink silk twill dress lined with cotton, long-sleeved and high-waisted. The neckline is round in the front and triangle-shaped in the back. The upper bodice area is boned. Both breasts are marked with a U-shaped pleating. The skirt is soberly straight in front but it gains volume towards the back, ending in a short trail. The dress is fastened with invisible hooks at the back and adorned with buttons covered in the same silk fabric. The lower end presents a wide multi-coloured paisley frieze; each drop is composed of minute woven flowers. This elegant dress is a late variation of Empire dresses; the slender high-waisted silhouette is the same, but the fabric is thicker, the neckline has turned more modest and the long sleeves go down to cover part of the hands.","type":"Costume; Fashion","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1810","location":"Madrid","dimensions":"Width 38 cm, Height (front) 121 cm, Height (back) 112 cm, Sleeve length 61 cm, Diameter 233 cm","author":"Irene Seco","copy_editor":"Anne Dowell","keywords":["Costume","geometric decoration","commerce","Empire dress","19th century"],"materials":["Silk, cotton, metal, bone; taffeta, twill, boning"]},"a2f41b51-30af-503a-a290-05cb553751f2":{"name":"Part of a veil","short_description":"Five lines of gold ¼ Ottoman lira and other type of coins sewn together on a piece of cloth; such pieces were usually affixed above the nose on the veils, *burqu'*, of women of Beer Sheba. Fashion, local costumes and rites in the territories of Jordan and Palestine show identical elements, as this veil illustrates. It is one of the many examples of jewellery made with Ottoman coins to decorate veils and dresses. Jewellery was an important accessory for married women because pieces of jewellery constituted part of the dowry their husbands gave them for marriage. Jewellery was also a symbol of financial prestige: the more precious it was, the richer the husband’s family. Silver jewellery was the most common because only rich people could afford gold jewellery.","type":"Clothing ornaments; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"South Palestine (Beer Sheba)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Gold","Ottoman coins","above the nose","piece of cloth"],"materials":["Gold, cotton; casting weaving, sewn"]},"a399cdfb-dda0-5b17-89ab-56d6fc1c5bcb":{"name":"A *chādri* grill","short_description":"This grill dates from the early 20th century. It is embroidered with flowers, with the names of Allah, Muhammad, Fatima, Hasan and Husayn, and with the Muslim declaration of belief.  \nIn 1997, the religious police decreed all women in Afghanistan must wear the *chādri* in public. This brought about a significant change for women. Women who were improperly covered outside their home were punished severely, along with their family elders, or risked being beaten in public by Taliban militiamen. In present-day Europe, migrant communities’ legitimate demands for equal representation of their religious values and symbols has aroused a counter-discourse, mainly led by populist politicians, against the cultural and religious demands of pluralism. Due to the increasing presence of Islam in the public sphere the *chādri* and other items of Islamic/Islamist women’s clothing are no longer seen as a mere signs of subservience but have shifted to become symbols of terrorism.","type":"Clothing; religion","holder":"Weltmuseum Wien","dates":"1900-1920","location":"Vienna","dimensions":"H: 36cm, W: 23cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Central Afghanistan; Hazara","obtention":"Catalog entry: \"Purchased from the Amsterdambased dealer in ethnographica, Saskia Wessel, 1982.\"","bibliography":"Steinmann, Axel, *Afghanistan, exhibition catalogue*, Vienna: Museum für Völkerkunde, 2003: 63.  \nSteinmann, Axel, \"Gesichtsgitter für einen Ganzkörperschleier\", in Sylvia Ferino-Pagden (ed), *Wir sind Maske, exhibition catalogue*, Milan: Silvana Editoiriale and Vienna/ Kunsthistorisches Museum Wien, 2009: cat. no. 11.15, 128-129.  \nSteinmann, Axel, \"A chādri grill\", in Anne-Marie Bouttiaux and Anna Seiderer (eds), *Fetisch Modernity, exhibition catalogue*, Tervuren: Royal Museum for Central Africa, 2011: 116.","materials":["Cotton"]},"a46e6bab-37d1-5f3c-a753-4f870c27eaf0":{"name":"Babouches [slippers] given to the King of Italy by an Ambassador from Morocco visiting Italy in 1890","short_description":"In 1890, the Sultan of Morocco sent Hagi El Maati el Mazamizi as an ambassador to Italy. The Ambassador landed in Naples on June 7th and arrived by train in Rome on June 13th. At the railway station he was received by the Mayor or Rome, the Prefect, and other authorities. A military band was playing and military men in high uniform were paraded in the station to greet the Ambassador.  \nOutside the station, three of the King’s gala carriages were waiting for the Ambassador and a military unit was paraded in his honour. Some carabinieri in high uniform escorted the Ambassador to the hotel.  \nHagi El Maati el Mazamizi presented the King with gifts, including some superb horses that the King immensely appreciated. The King presented the Ambassador with a magnificent small gold and diamond box and a hunting rifle and gave gold watches to the members of his escort.","type":"Babouches","holder":"National Museum of Prehistory and Ethnography","dates":"Late 19th century","location":"Rome","author":"Vito Lattanzi, Giulia Barrera","copy_editor":"Anne Dowell","materials":["Velvet; gold embroidery; leather"]},"a69264a8-566e-5e69-9661-65f4191695c9":{"name":"Gold-embroidered, velvet Waistcoat","short_description":"In the context of rising nationalisms, traditional costume played an important role, both in Europe and – to a lesser extent – in the Middle East.This long waistcoat is made of purple velvet with printed cotton lining. It carries extensive embroidery executed in gold-coloured metal thread, highlighting in particular the collar, the edges of the garment and the side pockets. Further ornamentation enhances the back. In the context of rising nationalisms, traditional costume played an important role, both in Europe and – to a lesser extent – in the Middle East. This waist coat may originally have been made in one of the European provinces of the Ottoman Empire, as it shows certain similarities with costume from the Balkans.","type":"Costume","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","dimensions":"Length 560 mm, width 400 mm, 130 xx","provenance":"Ottoman empire","author":"Ulrike Al-Khamis","materials":["Velvet, cotton, metal thread"]},"ad65725a-43b5-5119-ab17-edebfab3d1ae":{"name":"Tantura","short_description":"Woman's head-dress found on Mount Lebanon. Associated with the Druze. This type of headdress disappeared between 1860 and 1880 following changes in the Mount Lebanon political structure with the stronger centralisation of the Ottoman government.","type":"Headgear","holder":"The British Museum","dates":"Late 18th century to mid 19th century","location":"London","provenance":"Levant","keywords":["costume","fashion","women","metalwork","accessories"]},"ae76a20b-77b1-575a-ab1c-36776cb0c633":{"name":"Fragment of a robe.","description":"This fragment shows two dark blue friezes facing each other, each featuring white *kufic* inscriptions surrounded by pink tendrils with white blossoms. A third frieze, composed of red rosettes with white four-petalled flowers, and framed on either side with waves of brown tendrils on a green background, sits between the two inscription friezes.  \nThis small fragment, which originally formed part of a much larger *tiraz* band, was identified as having been commissioned for the Fatimid ruler Al-Mustansir billah by comparing it with a similar inscription on a nearly identical piece in the Victoria and Albert Museum, London. The *kufic* text in the upper frieze on the Berlin fragment reads ‘In the name of God the merciful and good. There is no God other than God. M(ohammed is the envoy of God)’. This represents, therefore, the message of Islam. The text in the lower frieze reads ‘…this was commissioned by the vizier, the great…’. The term *tiraz* was derived from the name of the workshops where the cloths with the inscriptions, the *tiraz*, were woven. These robes of honour were manufactured for caliphs and high-ranking nobles in the workshops of the royal court. The *tiraz* were given to local or foreign high-ranking persons as a reward for their services. Medieval sources referred to them as valuable objects. The majority of *tiraz* bands come from Egypt, as these fabrics were preserved very well in the very dry climate and, if buried, the extremely dry earth.","short_description":"Cotton textiles with silk embroidery were produced in court workshops in Fatimid Egypt and were called *tiraz* because of the inscriptions which often gave the name of the workshop and the ruler. On special occasions they were presented to people who had rendered services to the state.","type":"Robe, fragment, textile","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 427–87 / AD 1036–94.","location":"Berlin","dimensions":"Height 16 cm, width 13 cm.","method_for_datation":"An inscription on a similar piece of fabric in the Victoria and Albert Museum, London, into which the name of the Fatimid Caliph Al-Mustansir billah (r. 427–487 / 1036–94) is woven, places this object within the same reign.","method_for_provenance":"Comparisons with other fabrics have proved that the two nearly identical fragments – the London one inscribed with the name of the Caliph al-Mustansir billah and the Berlin one – have been produced in a royal workshop in Egypt from which caliphs commissioned the creation of their cloths.","provenance":"Egypt.","obtention":"Obtained from the Reinhardt Collection.","bibliography":"Kühnel, E., *Islamische Stoffe aus ägyptischen Gräbern*, Berlin, 1927, pp.22–3 no. 3132, plate 7.  \nKühnel, E. and Bellinger, L., *Catalogue of Dated Tiraz Fabrics, Umayyad, Abbasid, Fatimid*, Washington, 1959, p.75.  \n*Museum für Islamische Kunst*, Catalogue, Berlin, 1979, cat. no. 301.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, no. 16, pp.44–5.","dynasty":"Fatimid; reign of Al-Mustansir billah","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Fatimid textiles","geometric patterns","kufic","Robe","royal manufacture","royal workshop","tiraz fabric"],"materials":["Cotton and silk, weft rep, woven-in text."]},"ae7c39ba-6ec7-52c7-ab26-aa458671c2ad":{"name":"Chasuble (Mass vestment for the Catholic liturgy) of Ottoman silk fabric with European woven borders","short_description":"Bursa was an important hub of trade for Iranian silk and developed into a leading centre for the production of silk fabrics. As such, it did not only purvey to the Ottoman Court; silks from Bursa were coveted export goods for Europe, as is shown by this chasuble. At the same time, Italian silks were very much in demand in the Ottoman Empire. One consequence of this intensive exchange is seen in a reciprocal influencing of motifs, so that frequently technical details are the only characteristics that tell us where the silk fabric was woven, in Italy or in the Ottoman Empire.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"3rd quarter of the 16th century","location":"Vienna","dimensions":"H: 100.5cm, W: 65.5cm","provenance":"Ottoman Empire or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98544","author":"Martina Dax","keywords":["floral motifs","liturgical vestment","Ottoman textile","trade"],"materials":["Lampas broché, lancé","Silk, gold and silver lamella, linen"]},"b1a4a767-03a6-5102-a4ba-95f407ea3166":{"name":"Cope of Metropolitan Neophytos of Nicomedia","short_description":"This is a rare example of an ecclesiastical vestment made of *seraser* silk, the most opulent type of Ottoman silk entirely covered with silver and gilt thread. The loom-width design contains Chinese cloud scroll bands surrounding a large rosette reminiscent of a solar disc. A document of 1629 in the monastery of Saint John the Forerunner in Serres records the presentation of a “seraser cope” by the Metropolitan Neophytos.","type":"Liturgical garment, silk and silver metallic thread","holder":"Benaki Museum","dates":"Hegira 1038 / AD before 1629","location":"Athens","dimensions":"Height 139 cm","provenance":"Bursa or Istanbul","dynasty":"Ottoman","keywords":["Chinese motifs","costume","liturgical vestment","Ottoman textile","Seraster","silk","textile"],"materials":["Silk, silver and gilt metallic thread"]},"b54a4c02-3027-5de2-965f-2bb5a2395c13":{"name":"Folk costume","short_description":"The Albanian community is an important element in the multicultural milieu of ethnicities in the Republic of Macedonia. This outfit preserves some distinctive features of the clothing and adornment worn by Albanian women in Macedonia in the 19th century and early 20th century. The cotton canvas tunic is moderately decorated by embroidery of floral patterns on the sleeves and at the front part of the cleavage. The wool apron is embellished with geometric patterns woven of varied wool threads along the left and right hem, which end with woollen fringes in different colours.","type":"Traditional attire","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","provenance":"Skopje Region","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Embroidery","apron","Albanians","costume","floral decoration","geometric patterns","geometric decoration","geometric motifs"],"materials":["White canvas, embroidery, woollen home-woven fabric"]},"b5c0d18b-e693-55ac-b0f0-5d2195dc1c3e":{"name":"Kaftan","description":"Child's kaftan with *agremán* (tape of braids used as adornment), done in fabric brocade of mauve colour. The brocade is decorated with flower medallions with centres of golden thread. The sleeves are short and straight. The edge of the sleeves and of the whole jacket is edged with dark blue silk tape. The front, sides and shoulders are edged in a golden *agremán*, which ends in a circle. The jacket is lined with white cotton fabric and edged by a red tape. This garment was probably worn by children in the circumcision ceremony ritual. The practice of circumcision in the Islamic world involved a ritual in which the children involved in the ceremony were richly dressed.","type":"Textile","holder":"National Museum of Anthropology","dates":"19th century","location":"Madrid","dimensions":"97 x 94 cm","copy_editor":"Anne Dowell","keywords":["Customes","Rites","Textile","Research"],"materials":["Silk, woven; brocade"]},"b5e98c52-08ad-5e05-97c5-2071372ff0ed":{"name":"Phelonion, Mass vestment for the Orthodox liturgy","short_description":"An offset pattern of lancet ovals is structured against a red background. The ovals end in a stylised lily forming the transition to the next oval. The interior pattern of the lancet ovals consists of a scale-like network. The seams disturb the repeat pattern, revealing that the textile was reworked so that it could be shaped as part of this Mass vestment for the Orthodox liturgy.","type":"Liturgical garment of Ottoman silk, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"16th century","location":"Vienna","dimensions":"H: 137cm, W: 155cm","provenance":"Ottoman Empire, Istanbul or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98435","author":"Martina Dax","keywords":["geometric patterns","liturgical vestment","Ottoman Silk"],"materials":["Lampas broché, lancé","Silk, gold and silver lamella"]},"b6582e55-7f8a-5fe9-9368-5ce8c476126c":{"name":"Dress.","description":"A modern Palestinian dress cut and embroidered in the traditional way, using imported machine-woven fabric and threads. The embroidery motifs are copied from European pattern books. The simple cross-stitch is implemented with multi-shade coloured cotton threads, giving the motifs a multicoloured and shaded rendering.  \n  \nThe earliest examples of Palestinian needlework to survive were made early in the AH 13th / AD 19th century. These examples are broadly divided into two main regional styles: Galilee and southern Palestine. Arab village women were taught by their mothers to embroider their own garments, and began to learn the craft from the age of six years. A woman's first complete set of costumes would have been her wedding trousseau. The fabrics were either plain cotton or linen, woven locally by male weavers, or imported from Egypt and Greece. The embroidery was mainly used as decoration for dresses, caps and headscarves, with designs made up of combinations of geometrical and floral motifs. These designs and patterns were influenced by similar examples in Syria and Turkey, and in Cyprus and Greece, indicating an active cultural exchange between all sides. Palestinian women were always borrowing and adapting designs from all around them, constantly expanding their repertoire of motifs, and integrating new ones into their traditional schemes.  \n  \nAlthough there have been many attempts at attributing symbolic significance to the many motifs used, in general, these patterns did not have such special meanings. However, the embroiderers did give their patterns names to distinguish them, some of which matched the shapes of the patterns, but many others did not.","short_description":"Palestinian village women were taught by their mothers to embroider their own garments, and began to learn the craft from the age of six years. They were always borrowing and adapting designs from all around them. This modern but traditionally cut and embroidered dress has motifs of European origin.","type":"Textile, dress, costumes","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"1965.","location":"Glasgow, Scotland","dimensions":"Length 150 cm, width (of shoulders) 54 cm.","method_for_datation":"Stylistic analysis: the patterns used on this dress are taken from 20th-century European pattern books.","provenance":"Hebron, Palestine.","obtention":"Donated to the Museum in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.  \n  \nWeir, S., and Shahid, S., *Palestinian Embroidery, Cross–Stitch Patterns from the Traditional Costumes of the Village Women of Palestine*, London, 1988.","dynasty":"Modern period","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["costume","Daily life","embroidery","floral decoration","marriage","Traditional costume","women"],"materials":["Brown synthetic textile with coloured cotton-thread embroidery."]},"b7d0545b-be32-5c47-ab91-272824042882":{"name":"Headdress","short_description":"Line of silver Ottoman coins sewn together on a piece of fabric, part of a headdress. This kind of jewellery was part of the dowry the groom gave to the bride. Dowries consisted mostly of silver jewellery because only the rich could afford gold jewellery. The use of coins as pieces of jewellery in particular was an indirect statement of the financial status of the groom, as brides wore those pieces of jewellery in front of relatives and friends.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 24 cm","provenance":"Jordan, Kerak, South Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["head dress","Ottoman coins"],"materials":["Coins; weaving"]},"b814bde1-48f9-5356-8789-4fecae32bde0":{"name":"Bridal tunic (*Veyke*)","short_description":"This bridal tunic is abundantly decorated with relief embroidery above the lower hem. The embroidery is very impressive owing to the varied relief techniques applied. It has been created by application of black woollen thread with slight borders in other colours, flat silver string and silver-thread braid. The sleeves are also richly adorned with embroidery in predominantly red nuances. The symbolism of embroidered patterns endow this tunic with universal values distinctive to Macedonian home-made women's attire.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","provenance":"v. Tearce","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["bridal tunic","embroidery","costume","silver","wedding","marriage"],"materials":["White canvas, embroidery with variegate threads"]},"ba3d1a83-a184-5e97-ba14-14862bec4cac":{"name":"Man's festive ikat robe","short_description":"In 19th century Turkestan, an expensive Ikat coat represented wealth and dignity. Many specialists were involved in the creation of Ikat textiles, from the breeding of silk worms to the dyeing, weaving and tailoring of the cloth. Ikat silks are luxury articles. They are given as gifts at weddings and other important occasions. Ikat fabrics probably originated in China, from where they were disseminated along the network of the Silk Road throughout Central Asia.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1889","location":"Vienna","dimensions":"H: 139cm, W: 192cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Uzbekistan, Bukhara","obtention":"Catalog entry: \"Donated by Dr. Josef Troll, 1890.\"","bibliography":"Klimburg, Max, *Ikat. Textile Art from the Silk Road / Ikat. Textilkunst von der Seidenstrasse*, Wien: Kirdök, 1993.","materials":["Silk, cotton"]},"ba4e362f-15ff-5fee-b20f-edc0e07d2d14":{"name":"Tunic (uniform). Officer of the \"Cent-Suisse\" (Swiss Hundred Guard)","description":"Officer of the \"Cent-Suisse\" in gala uniform, carrying a pole weapon called a spontoon. The oldest Swiss Hundred Guard comprising 109 men and 4 officers was established in 1497 as a bodyguard for the French king and performed sentry duties within French royal palaces, while the Swiss Guards Regiment undertook outside duties. The \"Cent-Suisse\" soldiers functioned purely as guards for the royal households, and were dressed and equipped accordingly. Based on their example, the papal company of Swiss Guards was established in 1506, and it exists to this day. Other monarchs, including those of the Netherlands, Savoy, Austria, Brandenburg-Prussia, and the Electorate of Saxony, later also recruited Swiss Guards. The Swiss Hundred Guard was disbanded in 1792 during the French Revolution.","type":"Uniform","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1690 - 1700","location":"Zurich","dimensions":"Coat: H: 60cm, Waist 90cm; Trousers: H: 100cm, Waist 85cm","method_for_datation":"Documents","provenance":"France, probably Paris","obtention":"Bought in 1924","keywords":["Cent Suisse","Court Guard","France","Uniform"],"materials":["wool"]},"bb16c976-5f77-5e9a-b98f-840ba455f757":{"name":"Silk sash","short_description":"This fragment of a sash has its origins in Iran. The city of Kashan was renowned for the production of silk waist sashes. These were folded lengthways, wound around the waist and knotted at the front. Two different patterns can be seen on the same textile along the longitudinal line, so that the wearer had two sashes in one, depending on which side was turned outside. Hence the decoration was oriented on the way the object was worn. In Europe the demand for these sashes in the eighteenth century was so great that workshops were set up in Istanbul, Russia and Poland. In Poland the sashes eventually found their way into the traditional national dress of the aristocracy, which is why they are called Polish sashes (Polish: *kontusz*).","type":"Safawid Iranian sash","holder":"MAK – Museum of Applied Arts","dates":"17th -18th century","location":"Vienna","dimensions":"H: 174.5cm, W: 34cm","provenance":"Iran","obtention":"Purchase","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-93004","author":"Martina Dax","keywords":["costume","floral decoration","Poland","Safawid","silk","textile","vegetal decoration"],"materials":["Silk, gold and silver lamella"]},"bb542d79-d99d-5291-a57c-0b72137d0e2f":{"name":"Fez of a common soldier of the Austro-Hungarian infantry from Bosnia-Herzegovina","short_description":"The fez was more or less the most significant element of the uniform worn by soldiers of Bosnian-Herzegovinian regiments of the Austro-Hungarian Army, who earned a reputation for bravery and loyalty during World War I. While the fez was in use for all common soldiers, only Muslim officers were allowed to wear the fez instead of the normal black officer's cap. The colour of the fez was changed during the war from red to pike grey.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Fez","Morocco","Tunisia","hat gear","Bosnia","Austrian army","war","warfare","military wear","Ottoman army"],"materials":["Textile"]},"bc585e0e-7651-57e3-a5ba-853d7190ab8d":{"name":"Fragment of an ikat- dyed cotton shawl","short_description":"This inscribed fabric from Yemen is part of an ikat-dyed cotton shawl dating from the 10th century. It is a typical product of the Yemeni weaving industry with an embroidered white inscription, which quotes a passage from the Fatiha, the first chapter of the Qur’an. The *kufic* inscription displays a unified symmetry and elegance achieved by the impressive triangular endings of the letters and by a number of varied slender arch-like motifs which makes it often difficult to read.","type":"Textile, shawl, cotton","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"Height 40 cm","provenance":"Yemen","dynasty":"Abbasid","keywords":["costume","cotton","Ikat-dyed","kufic","Shawl","textile"],"materials":["Cotton"]},"bf855ca5-82b9-5496-8eb9-62a39c53ba92":{"name":"Cope of signed Safavid silk fabric","short_description":"The cope, an important element in the array of Christian liturgical vestments, was fashioned out of precious Iran silk. At the time, the silk manufactories of the Safavid Empire were ranked among the highest-quality production centres in the world; their products were coveted export articles. This textile presumably found its way to Europe via the trade routes and was processed after its arrival. The fact that the silk is signed indicates the how highly it was valued by those taking part in its production.","type":"Vestment of Safawid Iranian silk, liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"2nd half of the 16th century","location":"Vienna","dimensions":"H: 151cm, W: 297cm","provenance":"Iran, Kashan","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97451","author":"Martina Dax","keywords":["Christian","Cope","floral motifs","geometric patterns","liturgical vestment","Manufacture","Safawid","silk","workshop"],"materials":["Braids, fringes","Lampas broché, lancé","Silk, metal threads"]},"c25e83e8-79d8-5ca2-95b2-2a9dca7ab11e":{"name":"Mekleb bridal ornament","description":"Dating to approximately 1900, this exquisite Mekleb ornament worn on the back of the bride serves as both a significant ceremonial adornment and a powerful protective token. The piece is richly embellished with an array of historical coins, traditional amulets, and vibrant glass beads. Notably, the prominent blue-colored elements integrated into the ornament function as protective amulets, culturally intended to shield the bride from the evil eye and envy.","type":"Accessory","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"AH ca. 1318 / AD ca. 1900","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","dynasty":"Ottoman","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Bridal","ceremony","Ornament","Protection","wedding"],"materials":["Coins, Silver"]},"c2865a20-07ed-57a6-a434-0d7f2bfbe970":{"name":"Tunic (*'aba'a*)","description":"Tunic in cream ground with stencilled decoration in black showing vegetal and geometrical motifs. Fortuny was son of the well-known Spanish painter Mariano Fortuny. He designed one of the early dresses for women without corsets. Some of his designs were inspired in the Orientalism style, he was influenced by his travels and of the historical textiles that he collected.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"1930–1940","location":"Madrid","dimensions":"Height 104 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes","Design","North African influence","Spanish Muslim influence"],"materials":["Cotton, crepe"]},"c2892851-42f5-54f6-a096-462c69771b8c":{"name":"Fragment of a kaftan back","short_description":"This magnificent panel from a kaftan is an example of very high-grade *seraser* production in Istanbul. *Seraser*, a material that was highly favoured at the Ottoman court, is composed of gold- and silver-wrapped silk woven in a compound structure of two warps and two or more complementary wefts. The design of peacock feathers alludes to the bird who resided in paradise until he was expelled along with Adam and Eve for failing to follow God's commandments. Eccentric largescale designs were often used on mid- to late sixteenth century textiles, as they were visible from a distance and favoured for parade garments.","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira 10th century / AD mid-16th century","location":"New York","dimensions":"Textile: L: 132.1cm, W: 68.6cm; Mount: L: 147.8cm, W: 84.1cm","provenance":"Probably Istanbul, Turkey","obtention":"Purchase, Joseph Pulitzer Bequest, 1952  \nVendor: Estate of Dikran G. Kelekian, New York  \nFormer owner: Dikran G. Kelekian, New York (by 1908–d. 1951; his estate, New York, 1951–52","bibliography":"Atasoy, Nurhan, Denny, Walter B., Mackie, Louise W., Tezcan, Hulya, Raby, Julian (ed) and Effeny, Alison (ed), *IPEK: imperial Ottoman silks and velvets*, London: Azimuth Editions, 2001: 220–22, 260–63, pl. 10, fig. 185.  \nEkhtiar, Maryam, Canby, Shelia R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 287, 316, no. 225, ill. 316 (colour).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators*, New York: The Metropolitan Museum of Art, 2012: 132-133, ill. pl. 25 (colour).  \nPope, Arthur Upham, \"Special Persian Exhibition\", *Bulletin of the Pennsylvania Museum*, XXII/107 (November 1926): 245-251.","dynasty":"Ottoman","copyright":"The Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1952","keywords":["Anatolia","caftan","cloth","Clothing","dress","fabric","garment","Istanbul","Ottoman","Ottoman Silk","Ottoman textile","peacock","silk","silver","textile","Turkey","zoomorphic imagery"],"materials":["Silk, metal wrapped thread","taqueté (seraser)"]},"c3322b4d-5cf0-5412-aee3-1fd52f0cba22":{"name":"Hat (*Cuculj*)","short_description":"In the 19th century and the beginning of the 20th century, metal jewellery and other articles of adornment in Macedonia were made by goldsmiths. They were distinguished with exceptional diversity reflecting the skill and creativity of artisans. This versatility applies particularly to headdresses. The bridal hat is made of broadcloth – *klashna* – which is decorated with small silver coins reminiscent of fish scales. This particular headdress is part of a jewellery set that goes with a piece worn on the breasts, which was called *mingjuska so vot*.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"49 x 11 cm","provenance":"V. Belichica Gorna Reka","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Headdress","coin","coinage","currency","numismatics","marriage","wedding","costume","textile","fashion"],"materials":["Klashna – thick woollen fabric, silver coins, silver alloy. Silversmith's production"]},"c4b5ba7c-2038-5ab8-940f-807d336f261f":{"name":"Rag costume of a Dervish","short_description":"Once upon a time, an individual who wanted to lead the life of a mystic and had renounced the world, donned a robe of rough wool and was identified as a Sufi, derived from the Arabic word for wool, *ṣūf*. The novice was dressed in the clothing of a dervish, the *hirqa* once admitted into a brotherhood. The tattered clothing of the Sufis expresses poverty and was stitched together from numerous patches. It is somehow also reminiscent of the colourful costume of a harlequin, with vivid lozenge-shaped stripes. It seems as if the rambling fool of God in the Commedia dell'arte slipped into the role of the half-clownish, half-demonic prankster, in order to expose the structures and mechanisms of society, attracting ridicule and disdain upon himself. Spirituality and humour can be understood as effective attempts to reveal the complex and paradox situations of which real life is so full. Nowadays a Sufi wears normal daily clothing.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1925","location":"Vienna","dimensions":"H: 127cm, W: 140.5cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Iraq","obtention":"At the turn of the 19th century, parts of the inventory of collections of the Austrian Museum of Trade (established 1874) gradually found their way to the ethnographic department of the Imperial and Royal Court Museum of Natural History (later, Museum of Ethnology, today Weltmuseum Wien). In 1925 the Austrian Museum of Trade was dissolved.","bibliography":"Steinmann, Axel, \"Lunatics and Fools,\" in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 238-239.","materials":["Cotton"]},"c57c7670-03d8-5c6d-9e3f-ee91bd0cf2b5":{"name":"Lampas silk and gold tunic","short_description":"This silk and gold tunic is assumed to be one of the very rare surviving pieces from the period after the Mongol conquest. It is woven in a highly complex technique known as lampas weave. Its subtle designs, which are contained within roundels, show close links with East Asian textiles.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 7th – 8th century / AD 13th – 14th century","location":"Sharjah","provenance":"Iran or Central Asia","dynasty":"Mongol","keywords":["costume","gold","Lampas weave","silk","textile","Tunic"]},"c5abc7e0-07c7-53e5-b0b7-c0930bdd46e4":{"name":"Textiles","short_description":"These textiles are example of the early Mudéjar production after the defeat of the Nasrid kingdom. The influence of these textiles was great not only in the 16th century but also in the 19th century in the Alhambresque, Moorish and Neo-Mudéjar styles.","type":"Textiles","holder":"Lázaro Galdiano Museum","dates":"Early 16th century; 1915–1930 (Lázaro Galdiano collection)","location":"Madrid","dimensions":"1729: 40 x 53 cm; 5727: 121 x 774,5 cm","provenance":"Granada?","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art","islamic influence","orientalism","collectionism"],"materials":["Silk; lampas weave"]},"c73dca1b-c179-593d-9ff2-c9e643811ee8":{"name":"Abu Radan Dress","description":"Black dress with wide, open sleeves, made from cotton fabric with heavy embroidery. The chest panel shows geometrical motifs (fans) on a rose-coloured collar. The shoulders show an embroidered emblem that is known as *nishan*, and the sleeves are heavily embroidered with cypress trees and waves that include yellow braid work along the length of the sleeve. The side panels of the dress (*banayeq*) show braid work with floral motifs topped by a scissor motif (*maqas*). The lower front panel of the dress shows motifs of cypress branches in different colours. The back shows the Pasha’s tent motif bordered by geometrical figures and cypress branches, while the bottom edge of the back panel has two blue lines that go around the dress. This type of dress was used mainly for celebrations and was worn by unmarried women only for events like weddings and women-only parties. These dresses were produced by hand by the same women who wore them, thus demonstrating the female’s ability to be productive. The origins of this dress lie in Bir al-Sabe, which is one of the largest cities in Palestine and is also known as the capital of the Negev desert. Some Bir al-Sabe inhabitants are originally Bedouin tribes, which explains why the women of Bir al-Sabe used to wear these heavy dresses. The garment has the advantage of being heavy, which helps the wearer cope with the desert climate in that region; it prevents sand from entering the women’s bodies and protects them from the heat. The dress is only worn by the women of Bir al-Sabe, and it is unique to them in respect of all the colours, stitches and motifs that the dress exhibits. It is worth mentioning that while Palestinian traditional costumes are distinguished by their individuality and regionalism, they still exhibit the influence of the different stages of occupation that Palestine has witnessed throughout its long history. In this case, the Ottoman influence is reflected in the long sleeves of the dress.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 133cm, Width: 112cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["dress","Palestinian Textile","Traditional"],"materials":["Fabric","hand embroidered"]},"c8687cc0-0662-5210-b07f-c3fc5e107d48":{"name":"Garments and accessories: *bisht* (cloak), bag, *ghutra* (headdress), *‘iqal* (rope)","short_description":"The small stock of clothes and accessories was donated to the Italian King Vittorio Emanuele III by the shaykh Al-Husayn ibn ‘Ali Himmat, who, proclaiming himself in 1917 to be King of Hijaz (the north-western region of the Arabic Peninsula, nowadays part of Saudi Arabia), obtained the international recognition of his title. In the same year, King Vittorio Emanuele III entrusted the gifts he received by the shaykh to the Museo Nazionale Preistorico Etnografico “Luigi Pigorini” in Rome.","type":"Arab costumes; dresses; accessories","holder":"National Museum of Prehistory and Ethnography 'Luigi Pigorini'","dates":"1917","location":"Rome","dimensions":"Bisht: 138 x 88 cm and 142 x 89 cm; bag: 45 x 20.5 cm; ghutra: 122 x 122 cm; ‘iqal: diameter 40 cm; ‘iqal: diameter 48 cm","provenance":"Western region of the Arab Peninsula","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Paleoethnology","anthropology","material culture","Athanasius Kircher","exoticism","curiosities","wunderkammer Museum Kircherianum","Arabic","diplomacy","Arabian Peninsula","Hijaz","Red Sea","international relations","World War I","Ottoman empire","Arab revolt"]},"cc245129-4801-5914-b91d-808b41eb1656":{"name":"Al-Jilaya / Mardan Dress","description":"*Al-Jilaya* dress with large, open sleeves and heavy embroidery. The chest panel shows *qalayed* (necklace) embroidery and floral and geometrical motifs. The neck and shoulders are made with Ottoman striped fabric and the sleeves show patches of silk *hirmizi* fabric. The front panel of the dress has triangular shapes of silk with embroidered flowers. The *banayeq* (side panels) show rings and *Al-reesh* braid work, along with geometrical and floral motifs. The back panel has heavy and relatively long embroidery work, taking the shape of waves and geometrical figures, and is bordered with *Al-nakhl* and *Al-reesh* braid work. This is a handmade dress produced by the women of Hebron District and it is worn by married women for special occasions, especially weddings.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 137cm, Width: 143cm","place_of_production":"Hebron","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Hebron","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"cc3eb98f-be74-5f38-85da-465d5c36d52e":{"name":"Headdress","short_description":"A rectangular piece of Syrian silk cloth (*atlas*) with a small piece of coloured cotton cloth on the front on two sides. There is a line of Ottoman coins sewn together with three tassels dangling at the end with different stones. Silver was the most common jewellery, given by the groom to the bride as dowry. The use of Ottoman coins as pieces of jewellery – shown by women to friends and relatives – was an indirect reference to the financial status of their husbands. Silk was imported from Syria. Its trade in the Syro-Palestinian area was common because of the lack of geographical and political boundaries; some cities were like twins because of their close proximity and exchange of trade goods and business.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"South Palestine, Beer Sheba","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Ottoman coins","silk cloth","Atlas","cotton"],"materials":["Silver, silk, cotton; hand weaving"]},"d04f9993-36fb-5234-ad3f-ce7d4b211668":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall floral design consisting of vertically disposed, sinuous floral stems with large tulips set at regular intervals. The flowers are rendered in red against a silvery green background. This type of pattern was popular not only on *kemha* fabrics, but also on other media such as tile work.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"This fragment comes from a child's collarless and short-sleeved silk brocade kaftan worn by a junior member of the Ottoman court. The dense, overall floral design with its vertically disposed, sinuous floral stems and large tulip heads can also be found in other media such as contemporary tile work.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Around hegira 1008 / AD 1600.","location":"Edinburgh, Scotland","dimensions":"Height 73.5, width 72 cm","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, p.206, p.234, fig. 148 (for a tile panel with a very similar design); pp.282–3, fig. 240 (for a similar fragment at the V&A, London).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"d0e5dd9e-aee2-51d7-a5b3-d82228bcf1bd":{"name":"Kaftan.","description":"This is an example belonging to a group known as full-length kaftans. It features hem-length decorative sleeves and slits for pockets. The fabric is brown in colour and made of threads with gilded metal wound round them by hand, a luxurious cloth known as *kemha*. The kaftan has a round collar and is woven in the form of an unfastened crossover garment; the waist is indented. It has a lower section which widens like a skirt beginning above the hips. The fabric is decorated with lotuses and peonies as well as leaves which resemble feathers; its most interesting feature is its use of a floral design with no repeat. This is frequently encountered in the textiles which belong to this group and shows that they were woven as unique examples.  \n  \nThe *kemha* textiles are the most ostentatious in the Ottoman repertory. The cut of the kaftan is also highly careful and painstaking. The pattern is not interrupted, as can be seen in the front section and the side sections. The lining is of woven red silk with parallel lines on it. On the front of the kaftan, in the corners, the name 'Muhammad' – probably a court tailor – can be read in *kufic* script on appliqué squares. It is thought most likely that the kaftan was made for Prince Bayezid, who was killed in AH 968 / AD 1561.","short_description":"Kaftans, an inseparable part of Ottoman period court life, are also the symbols of sultanate and power. This kaftan of *kemha*, a luxurious fabric, is decorated with non-repeating favourite floral motifs and is a document of the period for it bears the name of the master tailor.","type":"Ottoman costumes, embroidered silk","holder":"Topkapı Palace Museum.","dates":"Second half of hegira 10th / AD 16th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 147 cm, width 117 cm.","method_for_datation":"No information can be found to establish the date of this kaftan. The name 'Muhammad' appears on the front in what may be considered a maker's inscription. The maker is thought to have been a court artisan as well. Based on this information it is thought that the kaftan belonged to Prince Bayezid, who was killed in AH 968 / AD 1561.","method_for_provenance":"Unknown, but Bursa was the silk and silk-textile production centre of the Ottoman Empire, and the main export centre for silk textiles such as the world-famous Ottoman brocades. It is highly likely that the textile was woven in Bursa and the kaftan was tailored at the Topkapı Palace ateliers.","provenance":"Probably the Topkapı Palace, Istanbul.","obtention":"The garment belonged to a resident of the palace and remains in the Topkapı Palace Museum.","bibliography":"Denny, W. B., “Ottoman Turkish Textiles”, *Textile Museum Journal*, 3, 2, 1972, pp.66–77.  \nÖz, T., *Textiles and Velvets, XIV–XVI Centuries*, Ankara, 1950.  \nSözen, M., *Topkapı*, Istanbul, 1998, p.193.  \nTezcan, H., and Delibaş, S., *The Topkapı Saray Museum, Costumes, Embroideries and Other Textiles*, (trans and ed J. M. Rogers), Boston, 1987, p.48.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Harun Ürer","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["costume","Kaftan","kemha","textile"],"materials":["Embroidered silk brocade (kemha)."]},"d35ea140-6436-50e0-a3c8-f37c54eabc12":{"name":"Jacket","short_description":"Yusuf Bey Karam's formal jacket, which he wore during his youth. It is made of red velvet with floral patterns embroidered in gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art","Embroidery","Needlework","Handmade"],"materials":["Embroidery; velvet"]},"d3db70b3-c132-5835-9372-de3aadb98307":{"name":"Bridal outfit (*entari*, long jacket and shoes)","short_description":"This *entari* (dress) is made of turquoise satin embroidered in various stitches using silver-gilt thread. The bridal outfit is completed by a matching *hırka* (long jacket) made of the same fabric and lined with red fox fur, and matching heeled shoes with uppers of the same fabric and soles made of leather. The tailored bodice of the *entari* is lengthened by flaps of fabric that fall over the skirt, giving the *entari* the appearance of a two-piece skirt and blouse. The front of the bodice is decorated with frills. The skirt flares out from the waist downwards. The scalloped hem is trimmed with a tiny pleated frill. The jacket has a round neck and fitted sleeves, and opens down the front. The shoes are embroidered in silver and decorated at the toe with a blue-tasselled flower.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"Dress h(front): 140, h (back): 158, sleeves: 55 cm; fleece h: 124, sleeves: 52 cm.","copy_editor":"Daniel de la Vega","keywords":["fashion","traditional dress","textile"],"materials":["Satin, fur, silver-gilt thread"]},"d5349934-5ade-59ea-ba16-2b2f3f97640d":{"name":"Robe for a man","short_description":"Whilst Iranian tailors customarily used local fabrics for the outside of women's and men's robes, with cheap European printed fabrics being used as linings, this man's robe (*gaba*) is the proverbial exception to this rule. The outside is made of a machine-printed cotton fabric that imitates a a very fine woollen fabric (*termeh*) from the early Qajar period. These highly esteemed fabrics were often decorated with alternating stripes in six or seven basic colours with floral patterns. Due to the presence of these stylistic similarities, it is probable that the European designers had such a fabric at their disposal when they created their design. The inner lining is made of a simply patterned Iranian fabric.  \n  \nThis robe was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 119cm, Width: 163cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran","obtention":"Gift from descendants of Emil Alpiger","bibliography":"Langer, Axel, “Manteaux dʼhomme, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 362-363.  \nLanger, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (European manufacture), lining: printed cotton (qalamkar), silk threads"]},"d7096975-0651-52ea-8630-a12bafecd7a2":{"name":"Fragment of a shawl","short_description":"This black-blue fragment of shawl is decorated with tapestry bands woven with *kufic* inscriptions and highly stylized human figures, quadrupeds and birds. The overall stylization is reminiscent of Coptic textiles but is typical of the Fayyum area in Upper Egypt, which is attested by Muslim writers as specializing in the weaving of woollen fabrics.","type":"Textile, shawl, wool","holder":"Benaki Museum","dates":"Hegira 3rd-4th century / AD 9th-10th century","location":"Athens","dimensions":"Height 74 cm  \nWidth 91.5 cm","provenance":"Egypt","dynasty":"Fatimid","keywords":["animal decoration","bird","Coptic","costume","Fatimid textiles","Fragment","human representation","kufic","Shawl","textile","wool"],"materials":["Wool and Linen"]},"d7822972-f602-5f72-804b-41aadb287492":{"name":"Amber/Mardan Dress","description":"Dress made of taffeta fabric (*Al-Alam*) with chest panel in *Al-Amber* style, which is a square with geometrical shapes and floral motifs on it. The top corner of the front panel has russet velveteen trim which extends along the shoulders. The dress also has large, long sleeves with geometrical motifs embroidered on the forearm and sleeve edges. The *banayeq* (side panels) show floral motifs while the back panel shows four thick braids in the style of *Al-Qasab* needlework. The women of Beit Jala (in the Bethlehem area) embroider and sew this garment on their own, and married women wear it on a daily basis. The Bethlehem area is considered to be the centre of culture and tourism in Palestine and also has religious significance as the birthplace of Jesus. Bethlehem is famous for its traditional and religious artifacts and colourful embroidery. This dress is very distinct because it is very practical and comfortable, it guarantees ease of movement and work, and it exhibits outstanding colour.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 143cm, Width: 137cm","place_of_production":"Bethlehem","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bethlehem","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"d7bfd409-e2ad-54bc-aea9-cbf7cee1a22d":{"name":"Bridal jewellery worn on the breasts (*Mingjuska so vot* and necklace)","short_description":"This piece of jewellery provides evidence on the versatility of articles of adornment worn by women in Macedonia in the 19th century. *Mingjushka so vot* belongs to the group of jewellery decorating the chests, although there is no clear distinction from pieces worn around the neck. This exquisite breast jewellery consists of a rectangular piece of broadcloth – *klashna* – covered with small silver coins reminiscent of fish scales and adorned with decorative stones. It is bordered by a chain, which is additionally adorned with coins. It used to be worn suspended on a chain. Abundant ornamentation with coins was applied on diverse pieces of jewellery and articles of adornment within all ethnic communities in Macedonia.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"34 x 29 cm & 45 x 35 cm","provenance":"V. Belichica Gorna Reka","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Broad cloth","klashna","coin","coinage","currency","numismatics","textile","costume","wedding","marriage"],"materials":["Klashna - thick woollen fabric, silver coins, silver alloy, decorative stones, tiny beads - *monistra*"]},"d951a6b1-8c1d-5dce-8a7a-81416e5bc68f":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with an overall pattern of horizontal rows of dense *chintamani*, a design comprising three circles and ‘tiger-stripes’; here the circles are green and the stripes red, while the entire pattern is set against a silvery green ground.  \nThe *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.","short_description":"The *chintamani* motif on this kaftan fragment, with its triple-dot and tiger-stripe motifs, appeared on Ottoman textiles since the AH 10th / AD 16th century. Originally, the triple-dot motif may have had talismanic significance, while the tiger-stripes recall the tiger skin worn by the Iranian superhero Rustam.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 66.4 cm, width 66 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.264–5, fig. 189 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["chintamani","cintamani","costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silk brocade (kemha)."]},"dbf4dc13-3f6b-5da9-bf05-cfabe7876ad3":{"name":"Headdress","short_description":"A silver circular disk with inherent decorations in the carving, and prominent dome above; chains dangling with oval shapes at the end. With two different length. This ornament was placed on the top of a high hat worn by al-Druze (Druse) women. Silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated social composition and the demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["disk","prominent dome","silver"],"materials":["Silver; casting, hammering"]},"dc620fad-84b0-5474-b1ee-8a583440c84a":{"name":"Textile fragment from Archbishop Ximenez de Rada's burial garments","description":"The textile fragment was part of the alb which was buried the Archbishop Rodrigo Ximénez de Rada in 1247 at the Monastery of Santa María de Huerta (Soria, Spain). The tomb was opened at the beginning of the decade of 1880 at the request of the Master of Sigüenza. The fragment was found in the coffin and the master give it to the Marquis of Cerralbo, who was present. After this event, because of the importance of the Archbishop garments and the marquis’ interest in the history of the Monastery, the marquis paid all the expenses of two new openings of the grave. The first one in 1886 for the Spanish Royal Academy of the History researches, and the second one in 1907 for his own studio, when he completed the description of the garments and took photographs to his publication in 1908.","type":"Textile","holder":"Cerralbo Museum","dates":"13th century, before 1247; discovered at the beginning of the decade of 1880","location":"Madrid","dimensions":"32 x 19 cm.","provenance":"al-Andalus","author":"Rebeca C. Recio","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art","islamic influence","orientalism","collectionism"],"materials":["Silk, metallic threads; lampas and taqueté weave"]},"dd51c631-efa7-5621-9c17-104499a84fde":{"name":"Textile fragment from a dalmatic of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg","short_description":"This fragment came into the MAK textile collection through a purchase of textiles negotiated by the Aachen Canon Franz Bock in 1865. Beforehand, it was part of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg. The longitudinal, variously wide stripes detectable on the fragment, its interior structuring with rectangular fields and different patterning of the latter, lend credence to a provenance from Central Asia.","type":"Central Asian textile fragment; Liturgical garment","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Mid-14th century","location":"Vienna","dimensions":"H: 25cm, W: 29cm","provenance":"Central Asia","obtention":"Purchase","bibliography":"Bock, Franz, *Katalog der ehemaligen Bock'schen Sammlung von Webereien und Stickereien des Mittelalters und der Renaissance*, (Jetzt Eigenthum des k. k. Oesterreichischen Museums für Kunst und Industrie), Vienna: Gerold, 1865.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-90141","author":"Martina Dax","keywords":["Central Asia","geometric patterns","liturgical vestment","silk","Textile fragments"],"materials":["Silk, gilt membrane strip"]},"ddd75581-2e37-5baa-8483-63c54f368af5":{"name":"Dress","short_description":"Long black silk dress (*malas*), narrow at the waist, wide at the bottom, embroidered with cross-stitch dark blue and red on the chest and on the front side, worn by women of the al-Druze tribes, with a shirt underneath. This object illustrates the variegated composition and the demographic changes of the Jordan population in the late 19th and early 20th centuries. It also shows how the different populations brought with them their fashion, costumes and rites which contributed to the multifaceted social and cultural heritage of Jordan. The al-Druze tribes migrated from Syria (Hawran) to northeast Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Costume; clothing","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Length 138 cm","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Malas","silk dress","Druze tribes"],"materials":["Silk fabric; hand embroidered"]},"dec4ca65-fe43-5a16-8c53-e4d5c9648ac8":{"name":"Silk kaftan","short_description":"The kaftan is cut with straight flaring skirts and has short sleeves that have been repaired with a later fabric. The loom width of the crimson silk fabric is woven with four undulating vertical stems which bear round stylized pomegranates and small rosettes. Other fabrics with larger undulating stems are ascribed to a later date as with the early 17th century kaftan of Osman II in the Topkapı Museum.","type":"Ottoman costume, garment, Lampas weave, gilt metallic thread","holder":"Benaki Museum","dates":"Hegira c.956 / AD c.1550","location":"Athens","dimensions":"Height 134 cm","provenance":"Bursa","dynasty":"Ottoman","keywords":["caftan","costume","floral motifs","vegetal decoration"],"materials":["Lampas weave, gilt metallic thread"]},"df6c527d-f54f-5563-b918-6ec2da8e94f9":{"name":"Tunic (*'aba'a*)","description":"Tunic in cotton gauze lined in a red satin. The printed decoration is similar to the Venetian Renaissance printed velvets. This garment is part of the assemble inspired in the travels to North Africa made by Fortuny.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1915 – c. 1920","location":"Madrid","dimensions":"Height 92 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes","Design","North African influence"],"materials":["Cotton; gauze weave, stencilled decoration"]},"dfd2eeea-301b-506a-85f9-f9ad927ce8f2":{"name":"Dress","short_description":"Women's costumes of the central regions of Jordan are characterized by length, dark colours, light vertical strips of embroidery and very long sleeves. This black and blue dress has a very loose fitting, open chest and long flared sleeves pulled over a head band. The length of the dress was adjusted to the height of the woman by a sash. Wide at the bottom, it is decorated horizontally with blue cotton stripes and vertically with embroidery lines and Ottoman coins. The traditional costumes reflect the variegated population composition and demographic changes of the late 19th century-early 20th century Jordanian territory, when new waves of people arrived and settled for the purpose of trades and crafts. Craft was not limited to the everyday life and the profits from crafts were a source of income.","type":"Clothing; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 300 cm, bottom circumference 398 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Dress","machine embroidery","patterns","custmes and rites","Ottoman coins"],"materials":["Chinese cotton, silver coins; machine weaving, machine embroidery"]},"e160d8e8-b92a-510d-9233-09013a954962":{"name":"Kaftan.","description":"The front half of a child's kaftan, woven of white, blue, and gold on a red satin ground (the back half was transferred to the National Museum of Scotland in the 19th century). The decorative pattern is a repeated wavy line which is thought to be based on the tiger-skin armour of the legendary Iranian hero, Rustam. Similar motifs can be seen on many Ottoman artworks of the 16th century and later (see for example, the 18th-century chimneypiece also at the Victoria and Albert Museum). Kaftans like this would have been worn by children at the Ottoman court, both princes and pages. The horizontal bands, or frogging, are thought to have indicated the wearer's rank. When the owner died, some of his state dress, such as kaftans, would be draped over his cenotaph, and then in turn carpets and other textiles were draped over it and periodically added or replaced. This practice had the beneficial result of preserving the original clothing for a remarkably long time; a garment belonging to Sultan Selim I (d. AH 926 / AD 1520) was said to have been present on top of his tomb as recently as the mid-20th century.","short_description":"The front half of a child’s kaftan, woven in white, blue and gold on a red satin ground. Kaftans like this would have been worn by children at the Ottoman court, both princes and pages. When the owner died the kaftan was placed atop his tomb.","type":"Ottoman costumes","holder":"Victoria and Albert Museum.","dates":"Late hegira 10th century / AD 16th century.","location":"London, England","dimensions":"Length 72 cm, width 72.2 cm.","method_for_datation":"Part of a group of kaftans said to have come from Ottoman tombs dating to the 16th century; the design is consistent with clothing from that period as known from other garments and as seen in Ottoman miniature painting.","method_for_provenance":"Presumed locations of imperial Ottoman looms.","provenance":"Possibly Bursa or Istanbul, Turkey.","obtention":"Purchased by the Museum in 1884.","bibliography":"Arts Council of Great Britain, The Arts of Islam, London, 1976, p.82, cat. no. 22.  \n  \nBaker, P., Wearden, J., and French, A., \"Memento Mori: Ottoman Children's Kaftans in the Victoria and Albert Museum\", Hali 51, 1990, pp.130–40.  \n  \nStanley, T., with Rosser-Owen, M., and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.32.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["costume","Ottoman costume","textile"],"materials":["Woven silk and gold."]},"e179ff65-79d3-5bba-97ab-c8056af7e861":{"name":"Handkerchief/ textile fragment.","description":"A handkerchief square, bordered along two of its sides by a series of silk-embroidered bands of chain stitch in red, yellow, black and white. Each series of bands is composed of an outer band, embellished by two undulating branches, flanking smaller ones. Next to this decorative band, is a broader one that is composed in its turn, of three smaller bands: The two border bands are decorated with a repetitive inscription in *kufic* script of the owner's name: 'al-bi-Allah'. The middle band is embellished by a successive series of birds with flying leaves drifting from their necks; this band is flanked by two thin borders filled with geometric decorative motifs.  \nThis handkerchief is attributed to the Fatimid caliph, al-'Aziz bi-Allah who ruled from AH 365–86 / AD 975–96, and who was known for his tolerant policies towards the Copts, and his patronage and encouragement of the craftsmen of the Coptic community to the point where they exerted great efforts to excel in their arts and craftsmanship. The artisans used decorative components that were influenced to a large extent by Coptic art, such as for instance the portrayal of pigeons inside roundels.  \nVarious types of textile production flourished during the Fatimid period, and silk was used extensively in the decoration and embellishment of textiles. The Fatimid Empire enjoyed great wealth, and this was reflected in splendid appearances in various aspects of their lives, and in particular in their apparel, which included richly woven and embroidered turbans, cloaks and handkerchiefs.","short_description":"Fatimid caliphs paid great attention to the textile industry and appointed a master of *Tiraz* to supervise textile affairs. Some silk textiles were made only for the caliph, including this piece, which bears the name of the Fatimid Caliph al-'Aziz bi-Allah in embroidery.","type":"Handkerchief, textile","holder":"Museum of Islamic Art","dates":"Hegira 365–86 / AD 975–96.","location":"Cairo","dimensions":"Length 40 cm, width 40 cm.","method_for_datation":"This piece was dated based on the band of inscription, which consists of the name of the Fatimid caliph, al-'Aziz bi-Allah (r. 365–86 / 975–96).","method_for_provenance":"This handkerchief is attributed to the Fatimid caliph, al-'Aziz bi-Allah who ruled in Egypt from AH 365–86 / AD 975–96.","provenance":"Egypt.","obtention":"This object was given as a gift to the museum in 1930, by Maurice Nahman, who was a dealer in antiquities.","bibliography":"Baker, P., *Islamic Textiles*, London, 1995.  \nHassan, Z. M., *Kunuzal-Fatimiyyin \\[Fatimid Treasures\\],* Beirut, 1981.  \nMarzuq, Muhammad Abd al-Aziz, *al-Zakhrafa al-Mansuja fi al-Aqmisha \\[Woven Design on Fabrics\\],* Cairo, 1942.  \nRizq, 'Asim M., *Marakiz al-Sina'a fi Masr al-Islamiya \\[Manufacturing Centres in Islamic Egypt\\],* Cairo, 1989.  \nSpuhler, F., *Islamic Carpets and Textiles in the Keir Collection,* London, 1978.","dynasty":"Fatimid","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["animal decoration","bird","chain stitch","costume","embroidery","epigraphic decoration","Fatimid textiles","figurative decoration","Figurative representation","geometric decoration","kufic","patronage","silk","textile","vegetal decoration","workshop"],"materials":["Linen decorated with silk embroidery."]},"e2276119-95e8-500a-884f-d397caff83c9":{"name":"Cap of a Janissary","short_description":"The sumptuous execution of his headdress suggests it was made for a high-ranking Janissary (the Turkish elite infantry). This Janissary cap was part of the Turkish booty that fell into the hands of Lazarus Schwendi in AD 1566; in the late 16th century it entered the collection of Archduke Ferdinand II of Tyrol (AD 1529–95) at Ambras Castle near Innsbruck.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira c. 956–957 / AD c. 1550","location":"Vienna","dimensions":"Height: 52cm, Width: 18cm, Depth: 28cm","method_for_datation":"Collection Ambras Castle","method_for_provenance":"Collection Ambras Castle","provenance":"Turkey?","obtention":"Trophies of Lazarus von Schwendi (AD 1566), Collection Ambras Castle","bibliography":"Gamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nJaeckel, P., \"Türkische Kopfbedeckungen in mitteleuropäischen Museen\", *Zeitschrift für Waffen- und Kostümkunde*, 12 (1970): 1-18.  \nLuchner, Laurin, *Denkmal eines Renaissancefürsten. Versuch einer Rekonstruktion des Ambraser Museums von 1583*, Wien: Schroll, 1958.","dynasty":"Ottoman","author":"Matthias Pfaffenbichler, Tobias Roeder","copy_editor":"Liz Cooper","keywords":["arms","costume","devşirme","hat","Janissaries","military object","military wear","Ottoman army","ottoman empire"],"materials":["Felt, gold embroidery, gilt brass"]},"e25a6015-7ec0-5c37-9571-2555b21065b7":{"name":"Cane of Krste Petkov Misirkov","short_description":"The book “On Macedonian Matters” by Krste Petkov Misirkov (1874–1926) provides the only comprehensive national program dealing with important national and political issues at the turn of the 20th century. The work of this great visionary and analyst was published for the purpose of drawing the attention of the European League of Nations to Macedonia, whose existence as separate nation was not recognized.","type":"Object for personal use; walking help","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["National issues","European League of Nations"]},"e3f48d7b-3bf0-5b73-ae59-24ec80351340":{"name":"Tantur (woman's headdress)","short_description":"The Tantur is an example of cultural tradition developed inside the contaminations typical of the Mediterranean world. It is decorated with symbolic images of leaves, flowers and animals and it is engraved with the year of Egira, 1172. Its cylindrical shape is reminiscent of an *asherah*, one of the emblems of the Phoenician goddess of fertility Astarte (the Siriac Atargotis), often represented with cylindrical headgear. The origins in terms of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Accessory; head ornament; traditional costume","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"End of the 18th century","location":"Rome","dimensions":"7,90 x 46,00","provenance":"Syria","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman","photograph","anthropology","ethnology","geography","travel","ethnography","museums","model","genre picture","portrait","representation of the other","costume","material culture","collection","Lebanon","floral decoration","animal decoration","zoomorphism","zoomorphic"],"materials":["Silver laminate decorated with embossed work"]},"e4d13bf7-94a1-5333-82e7-c8fa33d3b864":{"name":"Robe","short_description":"The cut of this male garment is typically Mongol with its full skirt for riding, its broad wrap-over, the extremely long sleeves and waist support made of silk cords. The textile itself worked with metal threads has a design with small medallions enclosing the images of *djeiran*, lion and lotus. Such garments made of cloth of gold were worn by the highest ranks of Mongol society. Nomads of Central Asia treasured textiles and used them to convey status.","type":"Textile","holder":"Museum of Islamic Art","dates":"Hegira 7th-8th century / AD late 13th-14th century","location":"Doha","dimensions":"Height: 132 cm, width: 205 cm","provenance":"Central Asia","obtention":"Christie's London, Islamic Art and Manuscripts, 16/10/2001 Sale 6497, Lot. 256","dynasty":"Mongol","author":"Reem Aboughazala","keywords":["Central Asia","costume","Mongol","Robe","silk","textile"],"materials":["Silk","Woven"]},"e5df4439-6b33-58df-9ad0-3342565ff30f":{"name":"Horsetail","short_description":"Tulgars with horse tails were ancient Ottoman symbols denoting social rank; the Turks had brought them with them when they emigrated from their Central-Asian homeland. Part of Archduke Ferdinand’s Turkish booty, this one may have been used during his “Hussars’ tournaments”. The shape and number of horse tails denoted the rank of an Ottoman dignitary. They were placed in front of his tent and accompanied him when the army was on the march. The Sultan was accorded seven or even nine horse tails as a symbol of his authority.","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Total length: 305cm, Length hair: 56/65cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 6","provenance":"Turkey?","obtention":"Collection of Ambras castle, documented since AD 1882","bibliography":"Haag, Sabine, Sandbichler, Veronika, Klarer, Mario, *Piraten und Sklaven im Mittelmeer*, exh. cat. Schloss Ambras, Innsbruck: Haymon, 2019.  \nSandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["costume","court life","equipment","military object","military wear","Ottoman army","ottoman empire","Ottoman-Habsburg relations"],"materials":["Horse hair, wood"]},"e733f2a6-8940-5e1d-ba96-bb338e5c87f6":{"name":"Hooded cloak (*burnus*)","description":"Cloak in green velvet with stencilled decoration of pomegranates and leaves in brown. This velvet is based on the Venetian ones of the 15th and 16th centuries. The cloak has a wide fullness at the bottom and a big hood, formed by four points. The cloak is lined in a green silk, printed in silver vegetal motifs.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1910 – c. 1920","location":"Madrid","dimensions":"Height 150 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes","Design","North African influence"],"materials":["Silk, velvet; stencilled and printed"]},"e7789911-13d5-5689-9f57-6f31db64cdef":{"name":"Jillayeh Wedding Dress","description":"Black dress with heavy embroidery. The chest panel shows chevron pattern embroidery, which is also known as *qalayed* (necklace), as well as many floral motifs, while the back panel shows floral motifs embroidered on silk fabric with special stitches. The sleeves are heavily embroidered with vine leaves, while the *banayeq* (side panels) show motifs of flowers, feathers and *manajel* (thick braid work connecting the dress parts). This dress is mainly worn by the married women of Hebron for ceremonial events like weddings. Located in the West Bank, south of Jerusalem, and founded by the Canaanites in the early Bronze Age, Hebron has been famous since ancient times for handicrafts, including ceramics, pottery, glass, embroidery and leather. This gown is handmade from silk and cashmere using atlas stitch. The dress is worn only by married women of Hebron, and it is unique to them in respect of all the colours, stitches, floral motifs and vine leaf motifs that the dress exhibits. The bottom front panel has yellow, orange and red silk triangles with Kashmir cloth on the sides. The bottom of the back panel has a stitched-in piece of cloth with blue embroidered birds and flowers. The use of birds and flowers does not bear any hidden symbolism; rather, it reflects the continuous work of women on the land and hence their use of nature as a main source of inspiration for their embroidery, not only in Hebron but other regions of Palestine as well.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 140cm, Width: 133cm","place_of_production":"Hebron","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Hebron","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"e826dd7d-b40a-53fb-88ca-e2af297d1f40":{"name":"Jacket","short_description":"Yusuf Bey Karam's jacket, probably worn during the summer months. It has short sleeves and is made of a dark blue fabric, with floral patterns embroidered in gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art","Embroidery","Needlework","Handmade"],"materials":["Embroidery"]},"e8eaafdf-a77c-51a2-8c54-e52092c06b0b":{"name":"Calligraphic *Limar* Cloth","short_description":"Silk *limar* cloth; predominantly blue & red. White calligraphic pattern on blue ground on the central compartment & stylised motif of bamboo shoots (*pucuk rebung*) & geometric patterns on red ground (*punca kain*) at each end of the *sarong*. Identifiable words: '*La Ilaha Il Allah*' - There is no God but Allah & *Muhammadur Rasul* (Allah) - Prophet Muhammad is His Messenger. Calligraphic pattern suggests it was not worn as a garment. Perhaps utilised in ceremonial practice such as coffin cover etc.  \n  \nClick [here](< https://www.youtube.com/watch?v=QRi5sCkwpgY>) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"220 x 73cm","provenance":"Terengganu, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 54.","dynasty":"Terengganu Sultanate","materials":["Twill Woven Silk Limar Long Cloth"]},"e8fc4581-ee8f-583c-a11e-54b1e44bda1a":{"name":"Arabic eye liner, *kohl* and perfume container","short_description":"Padded bag to hold three small brass bottles of Arab eye-liner, perfumes and essential oils. It was used as a wall decoration. Decorated with silk tassels, glass beads, Egyptian and Ottoman coins. The Jordanian economy relied on trades and crafts and new waves of people started to settle in the Jordanian territory for these purposes. This object is an example of how traditional fashion reflected the variegated population composition of the area in the late 19th and early 20th centuries. It is also an example of local personal attire, fashion, costumes and rites.","type":"Cosmetics; domestic furniture","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height with tassels 36 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["brass","essential oils","coins"],"materials":["Hand embroidered"]},"e96b2d33-110e-54cc-b032-89470c72fd09":{"name":"Head- and shoulder shawl","short_description":"The *bakhnūg* is a rectangular woollen head-scarf worn by women. It is soberly decorated (two or three narrow lines along the border, a small piece of individual embroidery in one corner, a fish, a star, a line) or with large planes of linear or geometrical designs woven into the fabric (straight, diagonal or zig-zag lines, dots, angles, triangles or a rhombus ­with endless possibilities of combinations).  \nA *bakhnūg* was made at home by its future wearer for her personal use and this could take up to two or three years to create: preparation of the wool, spinning, setting up the vertical loom, weaving, as well as incorporating the designs of white cotton thread on a white wool background. When completed, the *bakhnūg* was left white (for a young girl), dyed carmine (for a bride or newly-married women), indigo or black (for older women); when dyed, only the woollen background changes colour, setting off the filigree designs of the cotton embroidery.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Ca. 1900","location":"Vienna","dimensions":"L: 163cm, W: 100cm","method_for_datation":"Entry in the TMS digital collection database and archival documents, personal information from the collector.","method_for_provenance":"Entry in the general inventory book, personal information from the collector.","provenance":"Southern Tunisia","obtention":"Purchased from the collector, Renate Anna Menzel, Vienna, 2002.","bibliography":"Steinmann, Axel, \"Von der Kunst des Augen-Blicks. Gewirkte Frauenumhänge (bakhnug) aus Tunesien\", in *Waffen- und Kostümkunde. Zeitschrift der Gesellschaft für Historische Waffen- und Kostümkunde, 48/1 (2006): 17-30.  \nSteinmann, Axel, \"Psychological Profiles\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 230-231.*","materials":["Wool, cotton, pigment"]},"e99ae084-468e-510d-90bc-109658d66887":{"name":"Sarma woman's dress","description":"Example of sarma, an Ottoman metallic-thread embroidery technique, spread across the Levant during Ottoman rule as urban communities adopted and embraced the style as part of elite and festive dress. Characterised by intricate gold and silver threadwork, sarma became particularly associated with urban centres such as Jerusalem, Jaffa, and Damascus, where members of the social elite wore richly embellished garments on ceremonial and festive occasions.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1935","location":"Amman","dimensions":"Height: 140 cm; width: 150 cm","place_of_production":"Jerusalem","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["ceremony","dress","embroidery","festivities","metal"],"materials":["Velvet, metal"]},"eb0069e6-ef9d-5223-afab-ebd48196c101":{"name":"Sab’aawi Dress","description":"Black dress with wide, long sleeves and *aqras* (geometrical figures) embroidered on the chest panel. The shoulders and upper sleeves show geometrical figures with cypress tree braid work. The sleeve opening has a *tashreefa* motif with white and red colours. The front panel and the *banayeq* (side panels) have heavy cypress tree motif embroidery, while the back panel shows an atlas motif with moons and geometrical figures. The top shows cypress tree designs and the bottom edge of the dress shows two lines of blue embroidery. This handmade dress originally comes from the Bir al-Sabe district. It is an everyday dress, and all women can wear it day to night. It is casual and comfortable, allowing them to do their house chores easily, and is also very practical and easy to wear.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 143cm, Width: 114cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"ecda8323-4cc5-5e96-a034-122e8ca1bb6c":{"name":"Textile from the Prince Felipe of Castile burial","description":"This fragment came from the set of garments wore by the Castilian Prince Phillip in his burial at Villalcázar de Sirga (Palencia). The fragment is a very good example of the richness of the textile from al-Andalus. The textile has an inscription in Arabic that could be translated as “Glory to our Lord the Sultan”. This an early example of the interest in collecting important textiles, even before the important research made by Gómez-Moreno in the Royal Convent of the Huelgas (Burgos).","type":"Textiles","holder":"Lázaro Galdiano Museum","dates":"13th century; 1915–1930 (Lázaro Galdiano collection)","location":"Madrid","dimensions":"27,3 x 20 cm","provenance":"al-Andalus","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art","islamic influence","orientalism","collectionism"],"materials":["Silk; lampas weave"]},"ed9865de-73ac-57f6-ade6-ad41f83cd57d":{"name":"Section from a chasuble with ogival medallions","short_description":"The fabric is of very high-quality weave, and is datable on the basis of its technique and design to the early years of the classical era of Ottoman silk lampas (*kemha*) in the 1550s, when the designers and weavers, encouraged by state patronage at the very highest level, were establishing themselves in competition with Italian silk weavers. The tiny scale of the stylized blossoms, the precision of their drawing and their symmetrical arrangement are all indications of a fairly early date.  \nFabrics of this sort, exported to western and central Europe, were frequently fashioned into ecclesiastical vestments, the chasuble being the most common genre to incorporate both Ottoman *kemha* and Ottoman velvet.  \nThe two halves of the other side of this chasuble are in the Textile Museum, Washington, DC, inv. no.1.51; and the Metropolitan Museum of Art, New York, inv. no.08.109.24.","type":"Textile; chasuble; silk; lampas; *kemha*","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD second half of the 16th century","location":"London","dimensions":"139 x 74cm (max)","method_for_datation":"Date and provenance are based on stylistic and technical grounds.","provenance":"Turkey, probably Istanbul","bibliography":"Denny, W., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[In preparation / forthcoming\\]  \nMigeon, G., *La Collection Kelekian. Étoffes & Tapis d'orient et Venise*, Paris 1908, pl.36.  \nRogers, J.M., *Empire of the Sultans. Ottoman Art from the Collection of Nasser D. Khalili* (exhibition catalogue), Alexandria, Virginia and London, 2002: no.155, pp.220–21.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.381, p.254.","dynasty":"Ottoman","keywords":["kemha","Lampas weave","Ottoman textile","silk","textile","Turkey"],"materials":["Silk lampas (kemha)"]},"effaa1df-9ca1-5f7e-bc65-9a7edb7a597c":{"name":"Tunic (uniform). Officer in the regiment of Swiss Guards, quartermaster general in Holland.","description":"Uniform of Albert Dietegen von Planta from Zuoz (b. 1740, d. March or May 1803), major general and inspector of the Dutch infantry. In 1795, von Planta returned to Switzerland where he acted as deputy to the war council of the Three Leagues (Canton of Grisons). Between 1568 and 1829, a total of 80,000 Swiss troops is estimated to have fought for the Dutch on thirty-one occasions. In 1672, King William III (William of Orange) took into service some 100 Swiss halberdiers as his personal bodyguard, the so-called \"Guardes Zwitzers\". In the second half of the eighteenth century, Holland had a regiment of Swiss Guards and several Swiss line regiments, largely comprising men from the Protestant canton of Bern, but also from Zurich and Grisons; they were disbanded in 1796. The last four Swiss regiments served in Holland from 1814 until their disbandment in 1829.","type":"Uniform","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1730 - 1803","location":"Zurich","dimensions":"H: 105cm","method_for_datation":"Documents","provenance":"Netherlands","obtention":"Bought in 1978","keywords":["Albert Dietegen","Netherlands","Uniform","Zuoz"],"materials":["Woolen cloth"]},"f0667100-6159-569b-9a0e-84fec1b968f0":{"name":"Headdress","short_description":"Three bands of silver chain fitted around the sides and over the crown of the head and attached to a surrounding fabric patterned in minute beadwork and sewn with various Ottoman and Russian coins. From this head-piece hangs a long piece of cotton sewn with coins of the Ottoman Empire with a rectangular pendant and multiple red and green silk tassels on the back. Headdresses like this one were worn by married women, as silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride. The Ottoman and Russian coins reflect the social and economic situation of Jordan between the end of the 19th century and the early 20th century, when it was part of the Ottoman empire and it was influenced by population movements, demographic changes and trade with distant countries.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Height 120 cm","provenance":"Northern Jordan (Ajlun, Irbid, Ramtha)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Ottoman","Russian coins","pendent","red and green silk"],"materials":["Silver, fabric, glass beads, coins; casting, welding, weaving"]},"f29b84af-a354-519f-abf4-763d9a15df5a":{"name":"White Rumi Dress","description":"Dress made of white, handwoven raw linen, embroidered mostly with red and pink silk. The embroidery is cross-stitch in traditional Ramallah motif and colour pattern. The dress comes with basic long sleeves that show floral motifs under the arms and on the cuffs. Two identical, thick embroidery stripes sit on each side of the waist, with heavy embroidery on the border. One of the most distinguishing features of this dress is the shape of the *qabbeh* (chest panel) and the chevron on it. The chest panel is embroidered with different motifs. The centre of the panel has a chevron topped by two branches of flowers and, under it, two squares of embroidery with feathers on the sides. The panel is framed by flowers and a few feather motifs embroidered on the edges. This dress is considered to be the traditional wedding dress in Ramallah. It is very distinctive because Ramallah is one of few regions that uses white fabric and, even here, white is relatively rare. Some women might also wear this style of dress, but with different stitches, on a daily basis, and this is what makes the Ramallah dress so special. Ramallah is a Palestinian city in the central West Bank, north of Jerusalem, and is generally considered the most affluent and cultural, as well as the most liberal, of all Palestinian cities. Like most Palestinian areas, Ramallah has a rich culture of song, dance and costumes. We see examples of Palestinian attire in artifacts from the Canaanite period. Before the Palestinian Nakba in the 1948 war, traditional costumes for Palestinian women varied regionally in design.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 131cm, Width: 139cm","place_of_production":"Ramallah","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Ramallah","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"f310be0c-2e4a-5a7a-ab0c-baaa41091e32":{"name":"*Dokhla* (wedding dress)","short_description":"This tunic is entirely embroidered with gold-plated silver thread. This is the most important element of the marriage ceremony (jelwa) in Nabeul (Tunisia). The rectangular tunic's splendour comes from its incredibly rich embroidery, which is made of various different silk ribbons, all embellished with tal. In fact, the embroidery entirely covers the fabric itself. The breast and belt areas are embroidered with sequins and gold thread. The tunic is calf-length, and a luxurious pair of silk trousers can be seen beneath, covered in gold embroidery to match the sleeves. In addition to this, one of the bride's many items of jewellery is a great chain of golden rings, a rihana, which she wears with a large necklace made of a scented material. Lastly, the bride's head is covered by an embroidered veil made of muslin and silk.","type":"Textiles; dress; embroidery","holder":"Private collection","dates":"19th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Embroidery from Nabeul","sequins and gold thread"],"materials":["Embroidered fabric with gold-plated silver thread"]},"f9788b95-591f-522c-bd57-84003553fdd9":{"name":"*Üçetek entari*","short_description":"The attire of Ottoman women included dresses for the outdoors and the indoors. Starting from early 19th century, dresses called *üçetek* (dress with three skirts) and *dörtetek* (dress with four skirts) became fashionable. As relations with Europe increased, women in Istanbul started to use imported European textiles for their new dresses. This *üçetek entari* (dress with three skirts) is made of a soft red-coloured *canfes* (fine-textured shiny silk fabric) embroidered in the laid cord technique. The robe has a long trailing skirt, wrist-length sleeves and a stand-up collar. It fastens across the chest with button loops and plaited buttons. Along the edges of the skirt, sleeves, slits and seams are undulating floral designs embroidered in coloured silk cord.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"H: 191, length of sleeves: 51 cm","copy_editor":"Daniel de la Vega","keywords":["fashion","traditional dress","textile"],"materials":["Silk *canfes*, silk cord"]},"f9a18ff2-f597-5b8b-bbfe-3e66d75ad509":{"name":"Beit Dajan Wedding Dress","description":"Black dress made of black linen fabric. The chest panel of the dress is framed on three sides with different colours, surrounding a *tashreefa* motif. It has a V-neck collar with tassels, and is embellished with lulu braid work that has flowers on both ends. The neck and shoulders are made of wine-coloured linen fabric with a thick orange lacing. The sleeves include *hirmizi* fabric with multiple colours of embroidery and framed by lulu braid work with flowers. The back panel of the dress shows flowers on two sides with an oval in the centre. The *banayeq* (side panels) include soft floral motifs with geometrical shapes, surrounded by trim in geometrical motifs. A lulu braid work with flowers is seen on the centre of the front panel, while the back shows horizontal braid work of cypress trees and vertical braid work similar to the front panel. This dress is representative of garments from Beit Dajan, a Palestinian village located to the east of Nablus. Beit Dajan is famous for its fertile agricultural land, which may be a great source of inspiration for the embroidery on this garment. The women of Beit Dajan village embroider and sew this type of garment on their own, and they wear it on occasions and celebrations like weddings. It is not suitable for daily life as it is heavy and ornate.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 135cm, Width: 138cm","place_of_production":"Beit Dajan","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Beit Dajan","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Clothing","dress","Palestinian Textile","Traditional costume"],"materials":["Fabric","hand embroidered"]},"f9ae9656-29ab-534b-a02c-90fe95d65205":{"name":"Three pairs of clogs","short_description":"Wooden clogs such as these have a long history in the Middle East, emerging before the Middle Ages and remaining popular for centuries to come. They were made of a variety of woods, including walnut, apricot, willow, poplar, or beech. The wood was cut into wedge shapes then moulded around the foot of the wearer. Excess wood was then shaved off, the heel attached, and the wood painted and polished. Leather girdles in a variety of colours were fixed to the heel with special nails and the wood would often be decorated with mosaics of bone or seashells organised in geometric or floral patterns. These shoes were designed to be comfortable and resistant to water, and thus were usually worn at home, particularly by women.","type":"Woodwork; shoes","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Shoes","Woodwork","Fashion"],"materials":["Wood, leather, bone, seashell"]},"f9c5a022-ba1e-5b5b-a490-3b54263c0271":{"name":"*Daffah khachyya*","short_description":"This was purchased from Sheikh Sa\\`ud’s family collection in 2001. The cloak is handmade and hand embroidered, made from heavy black wool. It is estimated to be older than 1960, between the 1940’s and the 1950’s. It is speculated that it was used by the Bedouins from eastern Saudi Arabia. It is called *daffah khachyya* and not *bisht*. *Khachyya* is the man who would have been involved in making the cloaks.","type":"Costume","holder":"National Museum of Qatar","dates":"1940–1950","location":"Doha","keywords":["Embroidery","wool","bedouin"],"materials":["Black wool"]},"fa113d57-874f-5262-96a7-d769cd7f7fd8":{"name":"Tunic (*Djellaba*)","description":"*Djellaba* made in tabby or plain weave, with a striped decoration from the different wefts thread colours. The origin of this design was travels by Fortuny to North Africa in the 1930s.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1930 – c. 1940","location":"Madrid","dimensions":"Height 114 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes","Design","North African influence"],"materials":["Cotton; tabby or plain weave, printed"]},"fab32475-cc0b-58fd-b8a1-2d333ca79a85":{"name":"Silk garment.","description":"An exquisite garment made of silk and finely woven with great skill. It is in excellent condition and it is likely that the owner of the garment wore it for official receptions and ceremonies. The garment is made up of two pieces: the inner piece and the outer piece. The inner garment is a silk robe, soft to the touch, in yellow. It has a simple design that resembles a *disdasha / jalabiya* (a long, loose flowing garment). This garment has an open collar to the waist, but a large section of the opening is brought together with bands of fabric that can be opened and then closed in a different place.  \nThe outer garment is a loose flowing gown, which is open in front along its length and resembles an *'aba'a* \\[robe\\] which covers the body completely and allows freedom of movement. This garment is made from skilfully woven, soft silk of blue and white bestowing on the wearer stature and elegance. The outer robe is embroidered in the same shade of yellow as the inner garment.  \nThe embroidery is centred on the edges of the opening of the robe, and covers most of both sleeves; it includes blossoms and vegetal stems which are executed with thick silk thread.  \nThis garment is a good example of fashionable clothing for women of the upper classes in Ottoman society of the 13th / 19th century, showing also individual selectivity and fine taste in the choice of fabric and colours.","short_description":"A silk garment intricately woven with great skill. It is in good condition and was probably worn for official occasions. It consists of an inner soft silk yellow garment and an outer robe-like garment that covers the body completely. It is open in the front along its length and is made of blue and white soft silk imparting stature and elegance to the wearer.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The wife of Ya’qub Pasha, governor of Jerusalem AH 1245 / AD 1830.","dates":"Hegira 1245 / AD 1830.","location":"Jerusalem","dimensions":"Length exceeds 200 cm.","method_for_datation":"The piece was dated based on the date in which Ya'qub Pasha (husband of the owner of the garment) governed Jerusalem.","method_for_provenance":"This type of silken textile was famous all over Turkey especially in Istanbul, and also in Syria. Besides this information there is no means of ascertaining in which of the two countries it was made, or whether it was somewhere else entirely.","provenance":"Possibly produced in either Syria or Turkey.","bibliography":"Al-'Arif, 'A., *Al-Mufassal fi Tarikh al-Quds \\[An Articulation of the History of Jerusalem\\],* Jerusalem, 1999.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["‘aba’a","costume","embroidery","garment","Robe","silk","women"],"materials":["Silk with silk-thread embroidery."]},"fbf4d4a8-5487-5f14-80a9-c326b47bc923":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with staggered rows of diagonally ascending zigzag bands set at regular intervals, in red, which are further enhanced by a pattern, in miniature, of ‘tiger stripes’ and three circles (known as *chintamani*), rendered in green. The *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Silk brocades like the one used for this fragmented child kaftan were made in the Ottoman empire between the AH 10th and 11th / AD 16th and 17th centuries, first in the imperial workshops at Bursa. Later in the 10th- / 16th-century court workshops were also set up in Istanbul, the Ottoman capital.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 82.5 cm, width 77.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of similar Ottoman textiles).","dynasty":"Ottoman","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["cintamani","costume","kemha","Ottoman costume","textile"],"materials":["Silk, cotton and silver brocade (kemha)."]},"fd4bc2cb-a18b-5b1c-8212-6fcdba206294":{"name":"Cap","description":"Cap made of black, pink, green, yellow, blue and red paisley patterned wool quilted onto a patterned cotton lining with black thread. Embroidered with white silk thread using buttonhole wheel technique. The crown is embroidered with an octagonal star motif and sides with cypress tree or teardrop shaped motifs.","type":"Cap","holder":"The British Museum","owner":"The British Museum","dates":"Late 19th century to early 20th century","location":"London","dimensions":"Height: 11cm; diameter: 18cm","place_of_production":"Azarbaijan","provenance":"Palestine","obtention":"Purchased from the Church Missionary Society (CMS) in 1966","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_As1966-01-317","keywords":["Clothing","dress","Palestine"],"materials":["Cotton, silk, wool"]},"ff1cc08e-5e46-58f1-ba2a-f93481917b38":{"name":"Waistcoat (*Yelek*)","description":"This beautiful feminine traditional *yelek* (waistcoat) is a part of a women’s typical dress. The red velvet and the light vegetal pattern embroidery handwork enhance the elegance of the piece. The Marquise of Cerralbo or her daughter would be the probable admirers and purchasers.","type":"Costume","holder":"Cerralbo Museum","dates":"19th century","location":"Madrid","dimensions":"38 x 50 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Personal attire","Women"],"materials":["Hand-embroidered velvet"]}}
+{"002afab3-8b58-59e9-ba4f-1241146b156d":{"name":"Kaftan","description":"A Rabat-style velvet kaftan embellished with gold brocade.","type":"Dress; costume","holder":"Dar Si Said Museum","dates":"Early 20th century","location":"Marrakesh","dimensions":"L: 132cm","keywords":["Moroccan costume; traditional costume; caftan; dress; traditional dress; velvet; brocade; fashion; gold; decoration"]},"025b84b0-d00d-5c21-a749-98f3596f9d77":{"name":"Boots","description":"Men’s leather riding boots. The applications of leather in different colours, with representation of geometric patterns, follow the customs and superstitions of the Hausa. The Hausa possessed, in every community, workshops for producing and dyeing articles of leather, though the most out-standing locations are those of Kano and Sokoto in Nigeria; places producing, since the medieval times, the thinnest skins used in Europe. The skins are those of goat, preferably of the males, and the dye receives the local name of *bagaruwa*. This product is usually processed by women, and it is also used for treating dysentery. The products of the Hausa are distributed, by trade, across wide zones of the Sahel and Subsaharian Africa.","type":"Leather","holder":"National Museum of Anthropology","dates":"20th century","location":"Madrid","dimensions":"97 x 25 cm","copy_editor":"Anne Dowell","keywords":["Leather; trade; bedouins"],"materials":["Leather; tanned, dyed"]},"0268e426-50a7-5898-934e-642eb18157d3":{"name":"Chasuble of the green Persian verstements","short_description":"The ground fabric of this dalamtic, a silk in wark satin, is single-coloured. The centre and sleeve ends are decorated with a silk fabric from Persia. The manufacture of precious silk fabrics had a long-established tradition in Persia when it experienced its last climax under the Safaviden dynasty (AD 1501-1736). Silk fabrics of high quality showing naturalistic designs with reference to the contemporary miniature painting were typical products of the period.","type":"Parament","holder":"Kunsthistorisches Museum","dates":"Persian fabric, 17th century, manufacturing: Vienna, c. AD 1750","location":"Vienna","dimensions":"Height: 106cm, Width: 125cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Hof- and Burgpfarrkirche, Vienna","obtention":"From the Parish Church of the Hofburg?","bibliography":"Seipel, Wilfried (ed) and Schmitz-von Ledebur, Katja, *Hauptwerke der Geistlichen Schatzkammer. Kurzführer durch das Kunsthistorische Museum*, volume 7, Wien: Kunsthistorisches Museum, 2007: 126-127, Nr. 51.  \nSchmitz-von Ledebur, Katja, *Gottes Lob. Kirchliche Textilien aus der Zeit Maria Theresias*, exhibition catalogue Geistliche Schatzkammer, Wien: Kunsthistorisches Museum, 2016: 36-37, Nr. 1.","dynasty":"Safavid","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["Liturgical vestment; satin; atlas; lampas; floral decoration; Persian textiles; Habsburg; Persian-Austrian relations"],"materials":["Ground fabric: warp satin (silk), trim: lampas (silk, even gold, even silver), patterned; silver borders"]},"04c6becd-fdd7-5c20-9596-b48f8a6ce25a":{"name":"Traditional bridal costume and jewellery","short_description":"This set of traditional clothing gives an overall picture of the universally recognized aesthetics displayed in the festive women’s outfits in Macedonia in the 19th century. Bridal costumes worn in the area of Dolni Polog were distinctive for the great number of varied garments they comprised. The costume, consisting of a *fusta*, a kind of undershirt; a *bunda*, a thicker undergarment; chemise; tunic; vest and other garments, was abundantly decorated with embroidery. It was also richly embellished with jewellery and accessorized with distinctive headdress. Even the headdress included more than one article: a fez made of red baize, a hair band called a *votus* adorned with strings of coins as well as a transparent silk scarf decorated with embroidery, fringes and sequins.","type":"Folk costume and jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","provenance":"Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Costume; accessories; headdress; fez; wedding; marriage"]},"077c68fe-2e6b-58e1-8e7b-c457e2fe3a33":{"name":"Belt of *monistra* – tiny beads","short_description":"Unlike the metal jewellery worn in towns, which was produced by goldsmiths, jewellery and other articles of adornment from rural areas were made by women themselves, mostly of canvas, *monistra* (tiny beads in varied colours) and by use of the fruits of the nature, flowers, etc.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"Beginning of the 20th century","location":"Skopje","provenance":"v. Rashtak, Skopska Blatija","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Monistra – tiny beads in different colours; costume; accessories"],"materials":["Canvas, cotton thread, tiny beads - *monistra*"]},"07cdf5ca-173b-58b3-98fd-a1ff89450b73":{"name":"Boy's Vest","description":"This boy's vest, displayed at Tiraz, features a back panel crafted from traditional Syrian-made striped saya silk. Worn specifically during a circumcision ceremony, the festive garment is heavily embellished with an assortment of coins from various currencies, origins, and geographic regions. The vest originates from the Hebron villages and dates back to approximately 1930.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1930","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Clothing; Dress; Children; Silk; Ceremony"],"materials":["Silk, Coins"]},"07fa4973-f69d-57f4-8e6d-caeb88f75252":{"name":"Belt with buckles","short_description":"Buckles were the most prominent articles of adornment worn by Macedonian women. They were also the most frequently worn pieces of jewellery, having been an inevitable element of folk costumes in all parts of Macedonia. Combining functionality and aesthetics, buckles were also considered to play a protective role. The diverse shapes – round, rectangular, leaf-shaped, etc., as well as the exquisite style of their decorating, show the remarkable skill and talent of goldsmiths producing them. These buckles consist of two slightly concave round plates joined with a little round piece used for fastening. They are adorned with decorative stones and decorated with geometric patterns applied by hammering. The belt is made of cotton fabric decorated with geometric and floral patterns by application of silver and gold-wrapped thread and braids.","type":"Article of adornment","holder":"Museum of Macedonia","dates":"End of 19th – early 20th century","location":"Skopje","dimensions":"Belt: 88 x 7.5 cm, buckles: 27 x 12 cm","provenance":"V. Bardovci near Skopje","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Buckles; srma; costume; accessories; fashion"],"materials":["Cotton fabric, *srma* – silver and gold-wrapped thread, braids. Buckles: silver, hammering, decorative stones"]},"08314c51-a88c-51cd-93da-fc641ebafef3":{"name":"Coat (*Anterija*)","short_description":"Starting in the late fifteenth century, modern day Albania belonged to the Ottoman Empire for more than four hundred years. The traditional clothing there is thus very strongly influenced by the Ottomans, as is seen in this floor-length coat. The neck is cut round and the overlong sleeves are slit at the bottom. The garment is fastened in the middle by 41 ornamentally trimmed metal buttons reaching to the waist. Richly ornamental embroidery in appliqué technique cover the coat. The lining consists of a vertically striped *ikat*.","type":"Albanian coat, garment, costume","holder":"MAK – Museum of Applied Arts","dates":"19th century","location":"Vienna","dimensions":"H: 115cm, W: 178cm","provenance":"Ottoman empire, modern day Albania","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-94607","author":"Martina Dax","keywords":["Costume; Ottoman costume; coat; embroidery; Ottoman Balkans"],"materials":["Silk, gold lamella; Velvet, coached embroidery, gold buttons"]},"085d1bb8-7770-5c15-929d-7644cdd9063f":{"name":"Headdress.","description":"The Palestinians of Hebron and the surrounding villages call this type of cap an *araqiyeh*. It is circular with a pointed centre and elaborately embroidered with red and black cross-stitched geometric decoration. Attached to the back of the cap are silver Ottoman coins. The two multicoloured hair-bands (*laffayef*), together with the thin black ribbons fixed to either side of the cap, are modern replacements. This type of headdress has been worn in the Hebron area from the late AH 13th century / AD late 19th century to the present day. During the British mandate in Palestine, the hair-bands (which were used for tying up the hair into a round bun that rested on the back of the neck) were much longer and were made of plaited woollen thread. This headdress was made for everyday use.","short_description":"The Palestinian women of Hebron and the surrounding villages call this type of headdress an *araqiyeh*. They use the multicoloured hair-bands (*laffayef*) to tie up the hair into a round bun that rests on the back of the neck. The Ottoman coins are for decoration and a symbol of affluence.","type":"Ottoman Headgear, gems, textile","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira late 13th century / AD late 19th century (before 1940).","location":"Glasgow, Scotland","dimensions":"(All sizes approximate) hair-bands: length 70 cm, width 10; cap: diameter 20 cm; ribbons: length 30 cm.","method_for_datation":"Artistic analysis: the cross-stitched pattern is typically Palestinian. The shape of the cap is of the type worn by Hebron women; the Ottoman coins confirm that the cap was made and first used in the early AH 14th / late 19th century.","provenance":"Hebron, Palestine.","obtention":"Donation to Glasgow Museums in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman, or under the British Mandate","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Traditional costumes; embroidery; geometric decoration; coinage; coin; numismatics; jewellery; women; daily life"],"materials":["Embroidered cloth with ribbons and coins."]},"0b5fcd9e-c601-56fc-a163-574f42dfce20":{"name":"Cape of the Infante Don Felipe.","description":"Almost semi-circular cape belonging to the Infante Don Felipe; one of the most representative pieces of the 13th century. Most of it is kept in the National Archaeological Museum. When restored in 1997, the known fragments (I, V, D and J in Madrid and the Cooper Union Museum for the Arts in New York) were added to others kept in the Victoria and Albert Museum in London, the Museums of the Chamber of Commerce and Industry of Lyons, the Art Institute of Chicago and the Royal Museums of Art and History in Brussels, as well as a small fragment in the National Archaeological Museum itself (inventory no. 51016). The fabric is made of blue, natural, red and yellow silk with gold thread, woven in taquete and decorated with taffeta-weave stitches on a foundation warp over the crossing of the foundation weave and other wefts, resulting in a matt fabric that appears fully woven with defined edges. The piece is decorated with knotwork with simplified knots, eight-pointed stars, quatrefoils and plant arabesques both on the inside and the intermediate spaces. The edges are finished with ornamental epigraphic bands with the word *baraka*, 'happiness' repeated in *kufic* characters from left to right and vice versa consecutively.","short_description":"This silk cape with golden threads and Arabic inscriptions was found in the tomb of the Infante Don Felipe, who chose to be buried wearing it, evidence of the esteem in which the Christian aristocracy held such Andalusian-style fabrics.","type":"Textile, garment, cape, silk","holder":"National Archaeological Museum.","initial_owner":"Infante Don Felipe (d. 1274).","dates":"13th century, before 1274, the year in which the Infante died.","location":"Madrid","dimensions":"Height 147 cm, width 293 cm.","method_for_datation":"The Infante is known to have died in 1274 and he was buried with the cape.","method_for_provenance":"The cape was found in the tomb.","provenance":"Tomb of the Templar church of Villalcazar de Sirga, Palencia, Spain.","obtention":"The piece was assigned to the National Archaeological Museum as part of the organisation of the Royal Natural History Museum collection in 1867.","bibliography":"Amador de los Ríos, R., “Restos del Traje del Infante Don Felipe”, *Museo Español de Antigüedades*, Vol. IX, Madrid, \\[1879?\\], pp.101–26.  \nSánchez Trujillano, M. T., “Catálogo de los Tejidos Medievales del Museo Arqueológico Nacional.”, *Boletín del Museo Arqueológico Nacional*, IV, Madrid, 1986, p.105, no. 4.  \nSantos Rodríguez, R. M. de los and Suárez Smith, C., “Informe Técnico Sobre los Trabajos de Conservación y Restauración de la Capa del Infante Don Felipe (s. XIII)”, *Boletín del Museo Arqueológico Nacional*, XV, Madrid, 1997,pp.231–9.  \nTorres Balbás, L., *Arte Almohade, Arte Nazarí, Arte Mudéjar*, *Ars Hispaniae*, Vol. IV, Madrid, 1949, pp.61 and 201.","dynasty":"Mudéjar","linkcatalogs":"IAM_ES_EN_001","author":"Ángela Franco","copy_editor":"Rosalía Aller","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["Cape; silk; brocade; Mudéjar; Palencia; costume"],"materials":["Silk, gold; brocatelle."]},"0cc82bad-3c43-57b4-a06b-eee73296523f":{"name":"Jana o’ Narr Dress","description":"Dress with wide sleeves and made of white cotton and silk with red, green, and thin, dark blue stripes. The chest panel has striped Kashmir fabric with wavy edges. The neck and shoulders have additional silk cloth and braid work surrounding the chest panel. The sleeves have silk fabric (“bird’s tongue”) in addition to the original cotton fabric colour. The front and back panels have no embroidery work, and the border is done in wavy needlework. This dress is handmade by the women of Tubas (in the Nablus district) for special occasions and weddings. Traditional Palestinian costumes reflect complex social systems that express the owners’ social status, wealth, region and origins through different designs and decorative elements. In this case, both married and single women can wear this dress, but it is usually worn by the wealthy class of women because the fabric is very expensive and not easy to obtain. Wearing this dress is a visual statement that the owner of the dress is from the upper class of society.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 150cm, Width: 160cm","place_of_production":"Tubas","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Tubas","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"0db9b6f4-876c-52ec-9ce4-b7a1827400e3":{"name":"Coat (*Attila*) for a commander of the Macedonian reform-gendarmerie","short_description":"According to the agreements at Mürzsteg in 1903 between Austrian Emperor Francis Joseph I and the Tsar of Russian, the international community was sending police officers into the region of Macedonia in order to support and modernize the Macedonian police force. These officers submitted to the orders of the Sultan as the supreme commander of the Imperial Ottoman Army. Against the will of Russia, all international police officers wore a uniform in the Ottoman style: an *attila* like the one seen here. The official headwear was supposed to be the typical local fez, but officers from Austria, Russia and France adopted instead a *Kalpak* made of fur.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"c. 1910","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Macedonia; war; warfare; military object; military wear; Ottoman army"]},"0eb45a82-3f02-52db-8222-86625075ccdf":{"name":"Bridal coat (*Klashenik*)","short_description":"A *klashenik* is a kind of over-garment women used to wear in winter. It is split in the front and made of thick woollen broadcloth called *klashna*. This piece is long to the hips. It is adorned with red braids along the hems. It is also decorated with embroidery of geometric patterns on the sleeves and at the breasts. Every ethnic area in Macedonia had distinct style of traditional costume, yet all of them show undeniable influence of Oriental art.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"68 x 111 cm","provenance":"Debarski Drimkol","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["klashenik; broad cloth; textile; embroidery; geometric patterns; geometric motifs; costume; wedding; marriage"],"materials":["Thick woollen fabric, twill-weave, embroidery with *srma* and decoration with wool braids"]},"11568132-d5af-54cf-9a3f-f663abfb4f5b":{"name":"Winter jacket","short_description":"Sleeveless jacket made of woollen fabric of red and black stripes, decorated with floral motifs of orange and purple colour with couching in silk threads on the shoulders and the bottom. This object illustrates the variegated population composition of the Jordanian territory in the late 19th and early 20th centuries, influenced by the local economy. The main activities were trade and crafts that influenced population movements and the coexistence of various local and foreign communities.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 28cm, bottom circumference 113 cm","provenance":"Bethlehem","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Jacket; floral motifs; silk threads"],"materials":["Wool, cotton and silk; hand weaving and hand embroidered"]},"123265a3-960f-5c76-9487-14f718823b74":{"name":"*Termeh* panel","short_description":"Very popular both in the Eastern world and in Europe, ‘Kashmir shawls’ (Pers. *termeh*) were produced not only in northern India but also in Iran, mostly in Kerman. *Termeh* panels, embroidered with metal thread (in the *sermeh duzi* technique) and occasionally with pearls, were treasured family possessions handed down from generation to generation. When used as wedding gifts they included inscriptions of good wishes to the bride and groom. This sumptuous *termeh* panel features scrolling vines and grapes embroidered with silver strips on the wool ground decorated with *botehs*. Various alternating metal strips and a profusion of pearls enhance the highly suggestive tactile quality of this exquisite embroidery.","type":"Embroidery","holder":"The National Museum of Art of Romania","dates":"Hegira late 13th – early 14th century / AD late 19th century","location":"Bucharest","dimensions":"Length: 66cm, Width: 46cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Iran","obtention":"Purchased by the Museum in 1959.","bibliography":"Dunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 46, no. 16.","dynasty":"Qajar","author":"Mircea Dunca","keywords":["Embroidery, termeh"],"materials":["Wool, silk braid, embroidery with silver strips, pearls"]},"1313c11f-d35a-5fba-85ac-6b580ca2b754":{"name":"Headdress ornament","short_description":"A headdress ornament with the portrait of Fath Ali Shah (1797-1834) in painted enamel. It is shaped as a half-shaped moon combined by the rising sun that was the emblem of the Persian order of honour founded by the Shah in 1807. The bejewelled imperial crown refers to later oil paintings of him, since in the early years of his reign he is usually portrayed in the traditional royal turban topped by an aigrette.","type":"Jewellery","holder":"Benaki Museum","dates":"Hegira 1211-1249 / AD 1797-1834","location":"Athens","dimensions":"Height 7 cm","provenance":"Iran","dynasty":"Qajar","keywords":["Headdress ornament; Iran; Fath Ali Shah; Gold; costume"],"materials":["Gold, gems, pearls, painted enamel"]},"14df710b-1ecd-5f46-9a55-9c8986e98145":{"name":"Fragment of golden lampas with capture scene","short_description":"Silk figured fabrics (patterns of which included images of people) were at the peak of the Safavid court fashion. A remarkable example of the type is this fragment of a golden lampas depicting a scene of captivity. One of the most technologically sophisticated and costly fabrics in Iran, the golden lampas provided up to 10 silk threads of different colours in the pattern. The inclusion of threads wrapped in gold or silver foil suggest that the fabric could be produced in *karkhane* – imperial workshops.  \nThe fragment is one of the two largest pieces among seven dispersed parts of a very costly man’s robe that probably belonged to some member of the Iranian Shah family. The scene featured on the lampas has long aroused great interest among researchers. Around a tree (sycamore or maple), where a large fairy bird is sitting on the branch, rides a horseman leading a prisoner. A little child sits behind the rider. Above the people a rooster flies towards a tree.  \nThe horseman is depicted in the characteristic Safavid outfit of the AD 16th century: a turban is wound around a tall Taj cap, the number of turban bangs symbolizes 12 righteous Shi‘ite imams.  \nThe idea to treat the scene as a political manifesto of the victorious campaigns of Shah Tahmasp I to Georgia (1540, 1553) was complemented by alternative *Sufi* interpretation of the subject. The scene of captivity was seen as an allegory of man on his spiritual path to God. Thus the horseman stands for the Teacher who leads the Disciple (captive) through the complex ways of learning towards a divine truth personified by the mythical ancient Iranian bird, Simurg (fairy bird).","type":"Textile","holder":"The Khanenko Museum","owner":"The Khanenko Museum","dates":"AD 16th century","location":"Kyiv","dimensions":"Length: 109cm, Width: 34cm","method_for_datation":"Stylistic analysis by Leon Guzalian (examination, 1955); Galina Lasikova (2003).","method_for_provenance":"Ассording to the entry in the Old Museum Inventory Register (1919-1940).","provenance":"Iran","obtention":"Purchased by Bohdan and Varvara Khanenkos. Donated by Varvara Khanenko in 1918, nationalised by Bolshevik regime in 1919.","bibliography":"Bier, Carol (ed), *Woven from the Soul, Spun from the Heart: Textile Arts of Safavid and Qajar Iran, 16th–19th Centuries*, exhibition catalogue, Washington, D.C.: Textile Museum, 1987.  \nBilenko, H. and Rudyck (Rudyk), H., *Oriental Collection*, guidebook, Kyiv: The Khanenko Museum, 2005.  \nLasikova, Galina, \"“The bird’s language” on the Safavid khil’at with capture imagery in Khanenkivski Chytannya\", in *Proceedings of the International Museum Conference*, Kyiv: The Khanenko Museum, 2003.  \nRudyk, H. (ed), *Charisma of Iran. Persian art of 12th–19th centuries from museum collections of Ukraine*, Kyiv: The Khanenko Museum, 2017.  \nThompson, Jon and Canby, Sheila, R. (eds), *Hunt for Paradise: Court Arts of Safavid Iran 1501–1576*, Milan: Skira, 2003.","dynasty":"Safavid","author":"Antonina Makarevych, Hanna Rudyk","copy_editor":"Janice Medina","keywords":["Golden lampas; Iran; Safavid"],"materials":["Silk, metal-wrapped thread; lampas weaving"]},"15610349-3f4b-5d20-bbb1-76ff1816ce04":{"name":"Kaftan","short_description":"Originally worn by a prince or a boyar, the present kaftan was turned at some point into an ecclesiastical cope and preserved as such at the Cozia Monastery (in southwestern Romania), where it was discovered in 1864. By the mid-1950s it was transferred to the Museum, and was later reconstituted into its original form. The long, loose garment with long sleeves is lavishly decorated with eight-petalled rosettes set against a red ground. Each rosette encircles a lotus flower. In between rosettes, a design of delicate scrolls with tiny wild roses.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 145cm (on the back)","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Partial return (1956) of the Romanian treasure sent to Russia for safekeeping during World War I.","bibliography":"Lăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 125-126, cat. no. 48.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 32, cat. no. 3, fig. 8-10.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Kaftan; çatma"],"materials":["Voided silk velvet brocaded with silver-gilt thread (*çatma*)"]},"178d2db5-fbc1-5e5a-8ce8-245dc22c7cea":{"name":"Arabian *bisht*","short_description":"Arabian *bisht* made from black cloth and gold thread.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume; fashion"],"materials":["Wool, gold threads"]},"193a9a89-b61a-5343-bfe6-6a9ba668f8c4":{"name":"Pair of belt buckles","short_description":"Two tear-shaped buckles fitted with a hook and eye, each decorated on one side with vegetal and floral details on a green velvet ground. The finely worked decorative designs enclose a motif which reiterates the tear shape of the buckles, embroidered with pearls and an emerald at its centre.","type":"Accessory","holder":"The National Museum of Art of Romania","dates":"Hegira 1203 – 1222 / AD 1789­ – 1807","location":"Bucharest","dimensions":"Length: 22cm","method_for_datation":"*Tughra* of Sultan Selim III","method_for_provenance":"*Tughra*; stylistic analysis","provenance":"Ottoman Empire","obtention":"Former royal collection, Peleş Castle, Sinaia. Transferred to the Museum in 1948.","bibliography":"Tănăsoiu, C., *Podoabe din trecut. Colecţia de paftale a Muzeului Naţional de Artă al României*, Bucharest: National Museum of Art of Romania, 2015: 103, no. 200.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Belt buckles"],"materials":["Silver-gilt, green velvet, embroidery with silver and silver-gilt thread, pearls, emerald"]},"19c733fc-08e0-52fa-a832-d08a38cebc5d":{"name":"*Tiraz* textile fragment from an *ikat* shawl","short_description":"Striped textiles from Yemen were famous in medieval times throughout the Islamic world. They were made in the *ikat* technique, in which cotton warp threads were bundled together and resist-dyed before being arranged on the loom to form striped lozenge patterns. The regularity of the weave and the fineness of the cotton threads of this *tiraz* attest to its status as a luxury object. The gilded inscription in a highly stylised floriated and interlaced *kufic* script includes the line “Dominion belongs to Him \\[God\\].”","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira second half 3rd–early 4th century / AD late 9th–early 10th century","location":"New York","dimensions":"Textile: L: 58.4cm, W: 40.6cm; Mount: L: 69.9cm, W: 53.3cm, D: 2.2cm, Wt: 8lbs, 3.6kg","provenance":"Yemen","obtention":"Gift of George D. Pratt, 1929  \nFormer owner: George D. Pratt, New York (until 1929; gifted to MMA)","bibliography":"Ali, Wijdan, *The Arab Contribution to Islamic Art : From the Seventh to the Fifteenth Centuries*, Jordan: The Royal Society of Fine Arts Jordan, 1999: 110, ill. fig. 62 (b/w).  \nEkhtiar, Maryam, Canby, Sheila R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 5, 52, no. 29, ill. 52 (colour).  \nEkhtiar, Maryam, *How to Read Islamic Calligraphy*, New York: The Metropolitan Museum of Art, 2018: 122–23, no. 32, ill.  \nEttinghausen, Richard (ed), *The Arts of Islam. Masterpieces from The Metropolitan Museum of Art New York*, Berlin: Staatliche Museen Preußischer Kulturbesitz Berlin, 1981: 56–57, no. 15, ill. 57 (b/w).  \nSchimmel, Annemarie, \"Islamic Calligraphy\", *Metropolitan Museum of Art Bulletin. New Series*, 50/1 (Summer 1992): 14, ill. fig. 16 (colour).  \nWelch, Stuart Cary, *The Islamic World. Vol. 11*, New York: The Metropolitan Museum of Art, 1987: 27, ill. fig. 15 (colour).","dynasty":"Ziyadid","copyright":"The Metropolitan Museum of Art, Gift of George D. Pratt, 1929","keywords":["Ziyadid; Yemen; cotton; textile; tiraz; ikat-dyed; inscription; Arabic inscription; dress; factory; painted; pseudo inscriptions; textile fragment; fragment; tiraz fabric; warp; cloth; clothing"],"materials":["Cotton, ink, and gold; plain weave, resist-dyed (ikat), painted. Inscription: black ink and gold leaf; painted."]},"1a45e8a0-c447-57b3-a5e2-1167b070b291":{"name":"Jacket.","description":"The short jacket with long sleeves is made of red velvet and displays rich decoration. Silver braid covers the seams and border the neckline, the cuffs and all other edges. In addition, the borders are highlighted by a broad strip of patterned fabric. Parts of the shoulders and the sleeves are embroidered. The braid on the shoulders is flanked by tendrils. The upper parts of the sleeves show stylised scrollwork from which, in contrast, stylised sprays of flowers and leaves emerge. The jacket is closed by a row of 16 buttons. Inside, the jacket is lined with printed cotton showing a pattern of strips.","short_description":"Short jacket with long sleeves made of red velvet, lined with printed cotton. It is richly embroidered with scrollwork, sprays of flowers and leaves.","type":"Velvet, cotton, embroidery, metal thread, costume","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Width 150 cm.","method_for_datation":"Metal thread embroidery was the preferred technique for Ottoman urban pieces of the 13th / 19th century.","method_for_provenance":"High-quality Ottoman metal-thread embroideries are products of the professional workshops of Istanbul and Bursa.","provenance":"Turkey, possibly Istanbul or Bursa.","obtention":"Purchased from the collection of F. R. Martin in 1898.","bibliography":"Johnstone, P., *Turkish Embroidery*, Victoria and Albert Museum, London, 1985.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.  \nTher, U., *Floral Messages: From Ottoman Court Embroideries to Anatolian Trousseau Chests*, Bremen, 1993.  \n*Türkische Kunst und Kultur aus Osmanischer Zeit*, Museum für Kunsthandwerk Frankfurt, Exhibition catalogue, Vol. 2, Recklinghausen, 1985.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Embroidery; clothing; costume"],"materials":["Velvet, printed cotton, gold metal thread; needlework, embroidery."]},"1b9107ef-851d-52ee-bc3e-ab6407fccbb8":{"name":"Sarong","short_description":"The harmonious marriage of the iridescent colours in Malay textiles is perhaps best seen in examples of finely woven *kain limar*. The single weft-ikat cloth, also known as *kain lemar* or *kain limau*, is principally produced in the state of Terengganu and Kelantan on the East Coast of the Malay Peninsula. While these cloths are now associated with the Sultanate of Terengganu, in the past they were also part of royal ceremonial costume in the Riau and Lingga archipelago, which lie between the Malay Peninsula and southern Sumatra.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1300-1400 / c. AD 1900-2000","location":"Kuala Lumpur","dimensions":"103 x 210cm","provenance":"Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *The Message & The Monsoon: Islamic Art of Southeast Asia*, Kuala Lumpur: IAMM Publications, 2005: 95.","materials":["Silk weft ikat with supplementary weft metal threads"]},"1bf2807f-b480-5653-a4f4-e5a1183a5629":{"name":"Dura'ah coat","short_description":"Druze, Galilee. Most of this coat, apart from the brown cotton sleeves, is made from luxury fabrics imported from Syria or Europe: red satin and panels of  blue and silver brocade, which are attached with large red running stitches. The cord edging shows Ottoman influence.","type":"Textile","holder":"The British Museum","dates":"Late 19th – early 20th century","location":"London","provenance":"Levant","keywords":["costume; cotton; silk; silk trade; Syria"]},"1c5f02d2-2470-50be-8d9d-69e9381c662f":{"name":"Clogs","alternate_name":"Nanule (Tr. *nalın*)","description":"*Nanule* – clogs (Tr. *nalın*) are a major category of Ottoman footwear, worn both by men and women. They were carved from a single piece of hardwood, such as walnut, beech, boxwood or ash, held on the foot by a leather strap and usually decorated with mother-of-pearl inlay or metal plaques. The wooden soles of the clogs have two high wedges, as they were designed for use on wet floors in the hamam – a Turkish bath. The height of the clogs also protected the foot from the heat generated by underfloor heating in the bath.  \n  \nThese clogs, from the Museum of Applied Art in Belgrade (a.n. TC-265 (1924), are made of wood. They have flared wedges, the back one expanded at the rear. The toe of the sole is square, and the heel is pointed. The soles and wedges are inlaid with mother-of-pearl and metal wire. The inlay design features mother-of-pearl triangles set within metal wire frames. The leather straps are covered with purple velvet and embroidered with vegetable motifs in couched supported technique, using metal thread and spangles. The clogs had an important place in the shared dress and living culture of the urban population in the Ottoman Balkans, which had diverse confessional and ethnic backgrounds.","type":"Dress","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","initial_owner":"Ljuba Ivanović (1882–1945)","dates":"AH late 13th / AD late 19th century","location":"Belgrade","dimensions":"Length: 23cm, Height: 7cm","place_of_production":"Kosovo","method_for_datation":"By stylistic and comparative analysis with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Ottoman Empire","obtention":"The item is a part of the collection of Serbian painter and engraver Ljuba Ivanović (1882–1945). The collection was purchased by the Museum of Applied Art in Belgrade in 1951 and comprises 3,116 items, bearing witness to the early modern and modern visual culture of the Balkans: urban and folk dress,  jewelry, metalwork, casting molds and tools, items carved in wood, horn, and mother-of-pearl, wood-carved and painted icons, etc. The items were collected in the field, mostly during the interwar period.","bibliography":"Maskareli, D., *Fashion in Modern Serbia*, Belgrade: Museum of Applied Art, 2019: cat. no. 18.  \n  \nMaskareli, D., “Tradicija i moda: ženska obuća iz XIX i s početka XX veka u kolekciji Muzeja primenjene umetnosti u Beogradu”, *Journal 9 (2013): 93--101.  \n  \nStojanović, D., *Gradska nošnja u Srbiji tokom XIX i početkom XX veka*, Belgrade: Museum of Applied Art, 1980: cat. no. 378.  \n  \nTadić, M., “Od kućnog dvorišta do hamama, sedefli nanule”, *Journal*, 4/5 (2008/2009): 19--31.  \n  \nVitković-Žikić, M., *Artistic Embroidery in Serbia 1804–1904*, Belgrade: Prosveta, 1994: cat. No. 64.*","dynasty":"Ottomans","author":"Draginja Maskareli","copy_editor":"Zeina Al Amad","keywords":["nanule, clogs, hamam, dress, Balkans"],"materials":["Wood, mother-of-pearl, metal wire, leather, silk, metal thread, spangles; inlay, velvet, embroidery"]},"1cd784d6-18b3-56c5-be73-779aee36490e":{"name":"Widow’s Dress from Bir al-Sabe","description":"A dress for widowed women only, from Bir al-Sabe. This dress displays heavy embroidery work on the chest panel, similar to a *qalayed* (necklace) motif. The embroidery of this dress is less festive and detailed and adorned with few birds or flower motifs. The neck and shoulders are embroidered on each side and display orange *hirmizi* needlework with few flower shapes. The sleeves show varied embroidery designs, while the *banayeq* (side panels) and the front and back panels show heavy embroidery work in blue with cypress tree and feather motifs, along with talismans on the top of the side panels. This dress has a very unusual and interesting feature; at the bottom of the dress (*dyara*) there is thick blue embroidery, but the dress is devoid of embroidery in the middle. This design feature holds deep social meaning, denoting that the owner of the dress is a widowed, unmarried woman who does not intend to marry again. On the other hand, if the woman fills the gap in the middle with embroidery, this added embellishment is a declaration of her intention to marry again.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 134cm, Width: 121cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"1f0eaf20-2956-56be-9d41-aa6ed59baf58":{"name":"Robe for a man or a child","short_description":"The outside of the upper garment (*gaba*) is made of a purple silk changeant, whilst its cuffs are lined on the inside with a Persian wool fabric with a characteristic striped pattern. Since the cuffs are usually turned inside out, this creates a pleasant colour contrast. European printed fabric was used to make the lining, as was often the case during the latter 19th century.  \n  \nThe *gaba* is a traditional outer garment whose shape has changed little over the centuries. The upper part is close-fitting, while the lower part is flared and sometimes has side slits.  \n  \nThis robe was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Heigth: 119cm, Width: 169cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran","obtention":"Gift from descendants of Emil Alpiger","bibliography":"Langer, Axel, “Manteaux dʼhomme, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 362-363.  \nLanger, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Silk changeant, embroidery, lining: wool fabric (*termeh*), printed cotton (European manufacture)"]},"1f14a324-c1e9-5296-b0e9-2ac16800da16":{"name":"Old wooden slippers","short_description":"Slippers made out of wood that was usually worn for comfort.","type":"Costume; accessories","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Wood; accessories; shoes; costume"],"materials":["Wood"]},"2065193b-8c2b-5f0c-9ce1-122837e27dc7":{"name":"Woman’s robe (*entari*)","short_description":"Traditional Ottoman clothing was designed to conceal the figure, which explains the use of several superimposed garments. On the other hand, these multiple layers emphasized the great variety of fabrics, the striking colour contrasts, and the rich texture of the embroidered pieces. The *entari* is typical for the Ottoman female dress: ankle-length or shorter, generally open down the front, it has long, narrow sleeves slit at the elbow to reveal the embroidered areas, as well as the colours and decoration on the sleeves of the garment underneath. Dense silk embroidery covers the entire surface of this *entari*. The floral patterns and the architectural details are stylistically similar to the rich decoration on certain embroideries of daily use dating from the same period.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira late 12th – early 13th century / AD late 18th century","location":"Bucharest","dimensions":"Height: 140cm","method_for_datation":"Stylistic analysis","method_for_provenance":"Stylistic analysis","provenance":"Turkey","obtention":"Purchased by the Museum in 1970.","bibliography":"*Arta iraniană în colecţiile din Republica Socialistă România*, Bucharest: Muzeul de Artă al Republicii Socialiste România, 1971: 42, cat. no. 119, fig. 37.  \nBeldescu, A., *Broderii turceşti*, Bucharest: National Museum of Art of Romania, 1997: 19, cat. no. 4.  \nDunca, M., *Islamic Art at the National Museum of Art of Romania*, Bucharest: National Museum of Art of Romania, 2015: 58, no. 20.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Entari"],"materials":["Wool embroidered with silk, silver-gilt thread and strips, sequins"]},"21d264d1-3d1b-5ec6-b7d4-e5b54eaaed68":{"name":"*Bindallı entari*","short_description":"The attire of Ottoman women included dresses for the outdoors and the indoors. Starting from early 19th century, dresses called *üçetek* (dress with three skirts) and *dörtetek* (dress with four skirts) became fashionable. As relations with Europe increased, women in Istanbul started to use imported European textiles for their new dresses. This *entari* (dress) is made of purple velvet embroidered in the *bindallı* (dress that has embroidered flowers on the branches) style with garlands and flowers in vases in the *dival* (gold or silver embroidery on velvet) technique using silver-gilt thread. It has a short front opening, round neck and fitted sleeves. The skirt is widened by triangular gores and is longer at the back.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"H (front): 128 c, h (back): 146 cm, sleeves: 49 cm","copy_editor":"Daniel de la Vega","keywords":["fashion, traditional dress, textile"],"materials":["Velvet, silver-gilt thread"]},"22b59916-1001-5666-873e-2d7a62f3d991":{"name":"*Keswa kabbous *(wedding outfit)**","short_description":"Worn by the bride during the wedding ceremony, the keswa kabous el-Jaraq weighs more than ten kilograms. It consists of a large, billowing pair of trousers secured at the waist by a tekka (similar to a ribbon), with a matching top, short enough to leave the waist uncovered, both made of silk taffeta. Its air of great wealth and elegance comes particularly from the contrast between the floral motifs, embroidered with a flat silver thread, and the sequins, also sewn on with a gold and silver thread. When worn by a seated bride, the trousers resemble a large hoop-skirt, connected to a low-necked bodice, which together give the impression of being a robe de cour (grand habit). The upper section of these trousers, hemmed at the waist but open at the front, consists of almost four metres of fabric, and the legs alone have a circumference of one and a half metres and are a metre long. The end of the legs is hemmed with some robust percale fabric, which contains the hemming and rises up the leg to create an even larger swell around the ankle.","type":"Textiles; dress","holder":"Office de l’Artisanat de Tunis","dates":"19th–20th century","location":"Tunis","provenance":"Nabeul","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Wedding outfit; embroidery with silver thread."],"materials":["Emroidered satin"]},"2363b57a-3e83-58d6-add7-b8e17a845595":{"name":"Belt elements","short_description":"Composed of a central rosette, eight bars and two finials, these belt elements are decorated with domes and granulation designs. Several features compare with Iranian pieces including the box construction and the minute granulation covering completely most of the domes. An early date is supported by the conspicuous absence of openwork filigree used in Fatimid jewellery. Similar belt elements were found in the Bekaa valley in Lebanon, in a hoard of Mamluk and other later jewellery.","type":"Belt elements, gold","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"Height 5.5 cm  \nLength 27 cm","provenance":"Iraq, said to have come from Samarra","dynasty":"Abbasid","keywords":["Belt; Abbasid; Gold"],"materials":["Gold"]},"23e1371d-e17b-5b84-a037-47dc18e8eb2f":{"name":"*Qittan*","short_description":"A very rare piece purchased from Sheikh Sa\\`ud in 2002. This was his personal *thawb* and he said he found wearing it very relaxing. Called *qittan*, which means 'cord', the piece is embroidered around the neck up until the ends of sleeves, with silk thread. It also contains silk ball buttons.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume; silk; embroidery; thawb"],"materials":["Cotton"]},"23edfc09-0c9b-59bb-960f-61e8838f93b3":{"name":"Shoes","description":"White and blue satin shoes. They are flat and have a sharply raised toecap. The sole is made of leather. The surface is partially covered in yellow silk; they are adorned with gold sequins and a yellow tassel.","type":"Costume; accessories","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1855","location":"Madrid","dimensions":"Height 5 cm, Length 27,2 cm, Width 6,3 cm","author":"Elena Vázquez","copy_editor":"Anne Dowell","keywords":["Costume; oriental shape; commerce"],"materials":["Silk, leather, metal; tanning, satin"]},"2648874b-264b-5142-94b8-f20ea33a01b4":{"name":"Fan","description":"Historical fans were popular accessories in the second half of the 19th century, especially those commemorating important public events such as North Africans wars. These everyday objects as fans would serve as tools to disseminate political or social ideas. The employment of lithography applied to the leaf tells us of the propaganda use of the engraving and its application to the decorative arts. This fan is an example of it, because it shows the Spanish army helping the people from the villages in Spanish territory of North Africa (Morocco).","type":"Personal ornaments; Fashion complements","holder":"National Museum of Romanticism","dates":"c. 1860","location":"Madrid","dimensions":"27 x 49 cm","author":"Mercedes Rodríguez Collado","copy_editor":"Anne Dowell","keywords":["Accesories; Propaganda; Spain; Morocco"],"materials":["Double paper-leaf printed; ribs: mother-of-pearl; fretwork, gilt, carved, lithography, painted"]},"26bb48d2-0468-5e95-b709-f3f74817bef6":{"name":"Man's trousers (*Chakshiri*)","short_description":"There used to be around fifty diverse styles of folk costumes worn in different ethnic areas throughout Macedonia in the 19th century and in the early 20th century. Among the most prominent were the costumes of Gorni Polog. Unlike the diverse and numerous women’s garments, men’s outfits were much simpler and rather unified. These men's trousers of white canvas are decorated plainly with black braids.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"102 x 42 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["ethnic regions; costume"],"materials":["Klashna – twill-weave woollen fabric"]},"274e910c-7ec1-5f20-8460-292341da7d08":{"name":"Headdress","short_description":"Three silver chains formed into a hat with beaded frontispiece decorated with coins. On the back, a long fabric with gold and silver Ottoman and Venice coins. Silver jewellery was the most common, because only rich people could afford gold jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. The Jordanian economy relied on trades and crafts and new waves of people started to come to Jordan and began to settle for these purposes. This object is an example of how traditional fashion reflected the variegated population composition of Jordan in the late 19th and early 20th centuries. It is also an example of local personal attire, fashion, costumes and rites.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"1911","location":"Amman","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver chains; coins; decorated; Ottoman coins; Venice coins"]},"279e1f50-df40-5f44-a5e0-e9a46ddf29b7":{"name":"Bridal coat (*Klashenik*)","short_description":"A *klashenik* is a kind of over-garment in varying lengths and split on the front made of thick woollen broadcloth called *klashna*. This knee-length piece comes from the Veles Region. It is abundantly adorned with embroidery above the lower hem and at the breasts. Embroidery was an inevitable part of decorating the majority of Macedonian folk costumes. The exquisite, meticulously executed embroidery applied on this tunic makes it a real work of art.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"100 x 64 cm","provenance":"Veles Region, Mijaks","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["klashenik; broad cloth; textile; embroidery; costume; wedding; marriage"],"materials":["Thick twill-weave woollen fabric decorated with braids"]},"29f9716b-3b17-5ea5-b1e6-06de5e5b0e3e":{"name":"*Funda* (pin)","short_description":"Over the course of the centuries-long existence of Macedonia in the shadow of the Ottoman Empire there was apparent reflection of Oriental-Islamic influences in its arts and crafts. This also applies to the jewellery of Macedonians and all other ethnic communities. In the east of Macedonia, young women and brides within the Vlach population used to wear exquisite articles of adornment in the area of the temples. This type of jewellery was called *funda*. It was usually in trapezoid or semi-oval shape. *Funda* was made in filigree technique richly adorned with lace and tiny silver coins.","type":"Article of adorrnment; jewellery","holder":"Museum of Macedonia","dates":"End of 19th – early 20th century","location":"Skopje","dimensions":"15 x 17 cm","provenance":"V. Sofilari near Shtip","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["decorative pin; funda; filigree; coin; coinage; currency; numismatics; silver; wedding; marriage; fashion; costume"]},"2a7ae5f9-624f-523e-9ba6-163799cfc234":{"name":"Silk lampas robe","short_description":"This monumental silk lampas robe from Sogdiana, carbon dated to the seventh to eighth century, has raised theories regarding its role and function. In religious context, this silk fabric was known to wrap religious text or relics, and bodies for burial purposes. In diplomatic relation, the weft fabric functioned as diplomatic gifts, or tailored into costumes for government officials. This silk robe presents us an image of the luxurious textiles traded between China, Central Asia and Persia.  \nThe Sassanians used to weave their own designs on silk - elaborate repeating motifs of heraldic animal and human elements with interlocking plant enclosed within a pearl-like roundel - which achieved popularity in Central Asia. The Sogdians are known to weave motifs specific to their target market by appealing to ethnic and culture, religious purposes or the ruling elite. By the eighth century, Sassanian motifs were brought into being as both imported goods and locally-produced reproduction especially from Sogdiana.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 1st-2nd century/ AD 7th-8th century","location":"Kuala Lumpur","dimensions":"143 x 263cm","provenance":"Central Asia","bibliography":"Watt, J. C. Y., *When Silk Was Gold : Central Asian and Chinese Textiles*, New York: Metropolitan Museum of Art in cooperation with the Cleveland Museum of Art, 1997. Kadoi, Y., *Islamic Chinoiserie: the Art of Mongol Iran*, Edinburgh: Edinburgh University Press, 2009. Rees, B.R., Jervis, M.E., *Lampas: a new approach to Greek*, Oxford: Blackwell, 1970.","dynasty":"Umayyad","materials":["Stitched and woven with fine red, green, blue and cream silk threads"]},"2d85c81f-8fff-5170-9719-df9f41dbd763":{"name":"Socks (*Chorapi*)","short_description":"In the 18th, 19th and early 20th centuries, all garments for the entire family were made by women themselves. They used to weave all the fabrics, except for the broadcloth, as well as to cut and sew the clothes, decorate them by embroidery and apply varied ornaments for embellishing. Women also used to knit the socks to match the outfit. These men’s socks belong to the set of traditional men’s costume from the Gorni Polog area. They are knitted from black wool and *srma* (silver and gold-wrapped threads). They have been additionally decorated with embroidered floral patterns in different colours.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"54 - 20 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["home-made attire; knitting; silver; gold; embroidery; floral decoration; costume"],"materials":["Knitted of wool and silver and gold-wrapped threads. Decoration with embroidery of varied wool"]},"2e2c6f60-7eec-5d13-9b2d-03e45b5cd72a":{"name":"*Burqu\\` rayyasi*","short_description":"Face mask (also known in Arabic as *batula*) decorated with small embossed gold discs all around the forehead and sides. There are two matching gold clasps on each side of the forehead.","type":"Costume; accessories","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Gold; mask; facemask; costume; accessories"],"materials":["Calico, gold, golden silk cord"]},"2e61e3f7-50c6-567e-8d2c-022e0356b93e":{"name":"Uniform-coat and fez of an officer of the Austro-Hungarian infantry from Bosnia-Herzegovina","short_description":"The terms of the Congress of Berlin (1878) placed the two Ottoman provinces of Bosnia and Herzegovina under the direct administration of Austro-Hungarian Empire. Troops under the command of general (*Feldzeugmeister*) Joseph Philippovich von Philippsberg (1818–1889) occupied both regions, which became – by annexation – integral parts of the empire in 1908. In 1882, the Austro-Hungarian Army began recruiting local troops from the provinces, which provided great military value, especially during World War I.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Bosnia; Austrian army; Ottoman army; war; warfare; military wear"],"materials":["Textile"]},"2f43e6b1-762a-5338-b352-7d38a498d393":{"name":"Insignia with the Portrait of Muhammad Shah Qajar (r. 1834–48)","short_description":"This lavishly embellished portrait of Muhammad Shah Qajar with its fine enamelling and diamond-set turban ornament, arm bands and collar, offers an exquisite example of the skill of the royal Qajar artists during his reign. The *nasta’liq* inscription within the two medallions read: Al-Sultan ibn Sultan, Al-Sultan Muhammad Shah Qajar.","type":"Jewellery","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1235-40 / c. AD 1835-40","location":"Kuala Lumpur","dimensions":"10 x 8cm","provenance":"Iran","obtention":"Swiss private collection","bibliography":"Islamic Arts Museum Malaysia, *Symbols Of Power And Beauty: The collection of the Islamic Arts Museum Malaysia*, Kuala Lumpur: IAMM Publications, 2015.","dynasty":"Qajar","materials":["Gold and diamond; granulation, soldering, hinges, rivet, stone setting, enamelling, bending, handwritten on the enamel surface"]},"2f8b920a-ec65-5c26-a6f7-a26f55c2895e":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child’s collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall design of eight-pointed stars set in staggered rows on a crimson ground.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The so-called *kemha* costumes were designed to emphasise the imperial status of members of the court, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Height 75 cm, width 72.14 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been made in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.268–9, fig. 200 (for discussion about this fragment and other Ottoman silks).  \n*Türkische Kunst und Kultur aus osmanischer Zeit*’, exhibition catalogue, Recklinghausen, 1985, p.227, cat. nos. 4/1 and 4/2 (for discussion about this fragment and related textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"2f953756-84c0-5583-addd-4a04b14f482f":{"name":"Shirt","description":"White linen shirt, long and flared sleeves ruffled long fist, also shirred boat neckline and wedge in the armpits and on the skirt. On the neckline, sleeves and cuffs, bands embroidered with black wool based geometric, vegetable and rampant lions.","type":"Costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"Late 19th century","location":"Madrid","dimensions":"Width 77 cm, Height 76 cm","provenance":"Alosno, Huelva, Andalucía","author":"Mª Antonia Herradón","copy_editor":"Anne Dowell","keywords":["Traditional costume; geometric decoration; Spain"],"materials":["Linen, wool; taffeta, embroidery needle-lace"]},"30f8c92a-d056-538d-835c-8f96181283c0":{"name":"Ikhdari Dress (*Malaq*)","description":"This *malaq* dress originates in the Al-Khadir area of Bethlehem District, where women embroider it by hand. It is worn only by brides for their wedding day. This dress is made with *Abu Warda* fabric. It has a traditional *malaq* chest panel of flower pot motifs, bordered by two pieces of blue velvet fabric with a bird embroidered on them. The neck and shoulders are made of red fabric. The sleeves are made with silk *hirmizi* cloth in addition to the original fabric of the dress and are embroidered with a Bethlehem clock and a bird. The *banayeq* (side panels) are embroidered with clock and floral motifs in addition to multiple crosses. Traditional Palestinian costumes are characterized by strong emphasis on decoration and colour and are designed from the finest and most expensive fabrics, as shown by this dress.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 148cm, Width: 138cm","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bethlehem","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","workshop":"Bethlehem","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"324db717-f88f-51eb-8d77-e05946d136f3":{"name":"Headdress ornament.","description":"Made up of a nickel silver-plate disc with metal chains, Ottoman coins, charms and beads, this headdress ornament would have been worn as part of a bridal outfit, fixed to the top of a bonnet made of embroidered fabric, and shaped to fit the head. One of the charms is a French medal of Saint Joseph, and the other is the Hand of Fatima. The coins, except for one Spanish coin that shows the name of King Phillip V of Spain, are Ottoman, dated between AH 1180 and 1260 (AD 1766–1844). The coins in such headdresses had two functions, one simply about decoration, and the other as an indicator of the bride's wealth; her social status and the value of her dowry. The presence of the Christian saint's medal centred in the front section of the disk draws attention to the probability that this headdress may have belonged to a Christian bride! In Palestine, which is full of intermingling Christian and Muslim villages, this headdress is a good example of the cultural diversity of the Ottoman Middle East. Other European coins popular in Middle Eastern jewellery include coins depicting the Austrian Empress Maria Theresa.  \n  \nThe brides of Ramallah (a predominantly Christian town) would have worn headdresses such as this one for their wedding celebrations. A woman would be free to either add more coins or to take some off for personal use, for home improvements for example. Many of these headdresses were passed down through generations, and when gold coins came into fashion, many of the silver coins were replaced.","short_description":"A Christian saint’s medal attached to the front of this ornament reveals that it belonged to an Arab Christian bride from the Ottoman period in Palestine. It would have been worn as part of the bridal outfit of a lady from Ramallah. The silver coins are Ottoman from between AH 1180 and 1260 (AD 1766–1844).","type":"Ottoman jewellery; metalwork","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"Hegira 13th century / AD 19th century.","location":"Glasgow, Scotland","dimensions":"Diameter (of disk) 13.5 cm; depth (of disk, convex) 3 cm; length of short chains 12 cm; length of long chains 28.5 cm.","method_for_datation":"Stylistic analysis and dating of the Ottoman coinage used on the headdress of between AH 1180 and 1260 (AD 1766–1844).","provenance":"Ramallah, Palestine.","obtention":"Donated to the Museum in 1987.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.","dynasty":"Ottoman","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Women; coinage; coin; numismatics; Jewellery; costume; traditional costume; marriage; daily life"],"materials":["Nickel silver-plate with metal chains and coins, and glass and stone beads."]},"3385951b-c80c-5d8e-8659-f32b8e5ee6a7":{"name":"Bridal coat","short_description":"Analysis of the evolution path of traditional costumes in the Republic of Macedonia have shown apparent influences of the Old Slav, Old Balkan, Byzantine and Turkish-Oriental cultures. This piece of traditional overcoat is an exquisite example of the application of *srma* – gold and silver-wrapped thread used widely in the Oriental handicraft of decorating garments. A *gornik* is a sleeveless upper garment made of white broadcloth called *klashna*. It has false sleeves hanging on the back. They are actually strips of white broadcloth richly adorned with pompoms of fluffy red wool, silver thread braids, a silver twisted ribbon, red baize, a silver string, sequins and beads. The lower part of the back is decorated in the same manner. Its rims and seams are also decorated with red and black braids.","type":"Folk costume","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","provenance":"V. Jedoarce, Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["upper garment; broad cloth; costume; textile; accessories; wedding; marriage"],"materials":["Klashna – thick woollen fabric adorned with balze, silver and gold-wrapped thread, silver string, sequins, beads and pompons of wool"]},"35b20a3e-5a46-57c7-a113-1241acad6004":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall floral design with superposed horizontal rows of alternating circular flowers and fleshy, feathered blossoms. The design is set against a deep crimson ground.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or sandukas.  \nThis fragment forms part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"The lampas-weave technique of this kaftan fragment was adopted by Ottoman weavers in the AH late 9th or early 10th / AD late 15th or early 16th centuries, possibly via Syria. An early Ottoman centre of silk manufacture was Bursa, but in the 10th-/ 16th-century court workshops were also set up in the Ottoman capital Istanbul.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Height 67.2 cm, width 73.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been made in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.292–3, fig. 271 (for discussion about this fragment and other Ottoman silks).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"37e2e07b-6aee-5702-9f00-62cab1ad8938":{"name":"Embroidered neck shirt","description":"Square piece of a neck shirt. In a cream tabby or plain ground the decoration is embroidered with black wool. The motifs are geometrical, floral and vegetal.","type":"Costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"19th century","location":"Madrid","dimensions":"Length 55 cm, Width 53 cm","provenance":"Lagartera, Toledo, Castilla la Mancha","author":"Mª Antonia Herradón","copy_editor":"Anne Dowell","keywords":["Traditional costume; geometric decoration; Spain"],"materials":["Linen, wool; taffeta, embroidered"]},"3a20e143-6e36-5c47-8630-b7694a01419b":{"name":"Jubbeh","short_description":"A 'Jubbeh'.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal; Clothes; Tradition; Fashion; Silk"],"materials":["The original was made of cotton and satin"]},"3a2530bf-22b3-5651-bacc-f8a748c678a1":{"name":"Headdress","short_description":"A rectangular piece of cotton cloth embroidered with cross-stitching forming a bonnet with a line of 70 gold coins (*ghawasi*) sewn together on the front, with two pieces of cloth on the top sides with silver Ottoman coins and red stuffed velvet pursed from the back side with 7 silver Ottoman coins. The silver coins were used as money and as jewellery given by the groom to the bride, thus being an indication of his financial status. This object reflects the variegated population composition of Jordan in the late 19th and early 20th centuries. It illustrates common elements and traditions in the area in fashion, costumes and social rites. There were no political boundaries at that period between the Jordanian and Palestinians territories. Some cities were like twins because of their close proximity and the exchange of trade goods and business.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Palestine, Ramallah","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["cotton; embroidered; gold coins; Ottoman coins"],"materials":["Gold, silver, cotton fabric, silk; casting; hand embroidered"]},"3a71d542-5e72-54c9-808c-51df8069dd8b":{"name":"Ikhdari Dress (*Malaq*)","description":"*Malaq* dress made of *Abu Warda* fabric and *Ikhdari* fabric with green, burgundy, orange and black stripes. The dress has a chest panel embroidered with the image of a vase (the traditional chest panel of a *malaq* garment) and is adorned with two pieces of blue velvet embroidered with a bird. The sleeves are wide, made of *Hormozi* silk fabric, with an *Al-Talhami* clock shape and embellished with a bird motif. Embroidery on the chest panel resembles the traditional stitch of *malaq* dress with floral motifs, while the collar on the neck and shoulders is made with pink cloth and connected to the chest panel by a line of russet velveteen trim. The front of the dress shows the original fabric colors without embroidery, while the back panel shows four horizontal stripes of the fabric. The *banayeq* (side panels) are of silk cloth and are connected to the dress by *manajel* (thick braid work connecting the dress parts). The bottom sections of the *banayeq* are adorned with simple floral motif embroidery and some crosses. This dress is worn by women for weddings and other special occasions.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 140cm, Width: 137cm","place_of_production":"Al-Khadir","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Al-Khadir","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","translator":"Balqees Nakhlah","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"3ab9503a-ce96-572b-920f-f71d81fadf1c":{"name":"Jacket","short_description":"This small circumcision jacket from old Algiers is made of velvet from Gênes. It is decorated with a palm-leaf pattern and an acorn hanging between each pair of leaves. The sleeves and the edges of the jacket are decorated with a criss-cross pattern.","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","translator":"Flaminia Baldwin"},"40cc028f-a362-5724-b6be-dad14e9c2277":{"name":"*Dagla zabun*","short_description":"Men’s ceremonial coat style gown. Full-length A-line coat made from fine cream wool that was embroidered prior to being cut. It is likely that the coat was made from embroidered Kashmiri shawls decorated on corners and edges. Materials are cream twill, weave wool fabric, polychrome wool, embroidery threads, brown cotton knit braid, and 2 knotted brown silk buttons. This type of un-dyed wool is very fine, and we have only one. When this type of coat came back in to popularity, this specific design and color never appeared again. It is very rare. Lined with un-dyed silk in a natural color. There is a slit on the side for a pocket.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Embroidery; costume; silk"],"materials":["Cream twill, weave wool fabric, polychrome wool, embroidery threads, brown cotton knit braid, knotted brown silk buttons."]},"4160c0f6-fb41-5587-96d2-e482623adff8":{"name":"Shoes","description":"Purple velvet flat slippers, with leather soles in their natural colour lined with blue leather. The blade is decorated with floral and geometric motifs in enhancement embroidery of gold metallic thread.","type":"Costume accessories","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1860","location":"Madrid","dimensions":"Height 6,5 cm, Length 26 cm, Width 10 cm","author":"Elena Vázquez","copy_editor":"Anne Dowell","keywords":["Costume; oriental shape; commerce"],"materials":["Silk, leather, metal; tanning, velvet, embroidery"]},"418d5f13-426c-5a27-b41a-2628f935f8f4":{"name":"Talismanic Shirt","short_description":"A rich display of calligraphy covers this garment belonging to a group of magic objects called Islamic Talismanic shirts. Sewn from cream-colored cotton, the caftan is adorned with blue and red ink as well as liquidized gold.  \n  \nThe Qur’an refers to Prophet Yusuf wearing a similar protective shirt, written to have restored sight in Yusuf’s father, Yacub. In Turkey, sultans would gear up with this robe for battles as spiritual and bulletproof armour.  \n  \nThis example from 17th century Turkey shimmers with Qur’anic verses in *naskh* and *ruqqa* calligraphy. The verses include the *Surat al-Fatiha* (opening chapter of the Qur’an), *Ayat al-Kursi* (the Throne Verse), the *Surat Yasin* against evil sorcery, and the verse “Help from God and a speedy victory” from Surat al-Saff. The squares emphasize Mohammed and Allah in *kufic* script. Prayers enrich the magical shirt in bilateral symmetry. Furthermore, the first four caliphs and ninety-nine beautiful names of God appear within the fabric. Additional amuletic signs hide in plain sight, obscured in magical shapes and the science of letters (*ilm al huruf*). As one of the most efficacious inscriptions, the beautiful names of God may each represent a letter, planet, a day and an angel.  \n  \nPredominantly from India, Iran and Turkey between the 14th and 17th centuries, the wearer embodies the caftan’s healing power. The textile functions as a vehicle for the interaction of the body and sacred script, simultaneously blessing and protecting the person reading, touching or wearing the jacket. When gifted, the talismanic shirt amplifies the connection between the gift-giver and recipient.","type":"Costumes and accessories","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"17th century","location":"Shahaniya","dimensions":"Length: 106cm, Width: 88cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery, calligraphy style and pattern.","provenance":"Turkey","obtention":"Purchase","bibliography":"Al-Saleh, Y., “Amulets and Talismans from the Islamic World”, *Heilbrunn Timeline of Art History*, (2000).  \nAnetshofer, H., \"The Hero Dons a Talismanic Shirt for Battle: Magical Objects Aiding the Warrior in a Turkish Epic Romance\", *Journal of Near Eastern Studies*, 77 : 2 (2018): 175–193.  \nMuravchick, R. E., \"God is the Best Guardian: Islamic Talismanic Shirts from the Gunpowder Empires\", *Publicly Accessible Penn Dissertations 1380*, (2014).  \nMuravchick, R. E., \"Objectifying the Occult: Studying an Islamic Talismanic Shirt as an Embodied Object,\" *Arabica*, 64 : 3–4 (2017): 673–693.  \nNazanin Hedayat Munroe, \"Wrapped Up: Talismanic Garments in Early Modern Islamic Culture\", *Journal of Textile Design Research and Practice*, 7 : 1 (2019): 4–24.  \nPorter, V., Saif, L., and Savage-Smith, E., \"Medieval Islamic Amulets, Talismans, and Magic\", *A Companion to Islamic Art and Architecture*, 1 (2017): 521–557.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Turkey; Ottoman; Talisman; Magic; Amulet; Caftan; Clothing"],"materials":["Cotton; sewing"]},"42b5c7f1-cc74-5b88-8ab4-25e33352b53f":{"name":"Gilet","short_description":"This bodice (*frimla*) was worn by young Algerian women. The back is decorated with an interlaced pattern, emerging from a stylised vase. Young Muslim and Jewish girls wore this gilet.","type":"Fabric","holder":"Musée Public National des Arts et Traditions Populaires","location":"Algiers","translator":"Flaminia Baldwin","keywords":["Fabric"],"materials":["Fabric and silver thread"]},"44156a31-6bfc-5a44-9e81-6e02ec39aee7":{"name":"Jacket","short_description":"This short men's jacket is embroidered on the two front panels, with a decoration consisting of curls, all ending in a hook shape and bordered by a floral motif emerging from a stylised vase. The open, elbow-length sleeves are decorated with geometric motifs. The sleeves are secured by small, mother-of-pearl buttons. This formal jacket was worn for important ceremonies.","holder":"Musée Public National des Arts et Traditions Populaires","dates":"Late 19th century","location":"Algiers","translator":"Flaminia Baldwin","keywords":["Fashion; traditional"],"materials":["Cotton and braiding"]},"44836d48-50be-5459-bb62-c61172746432":{"name":"Festive women's dress from Ma'an","description":"The most vibrant costumes in Jordan originate from Ma'an, a historic crossroads for traders and pilgrims travelling to Mecca for the Hajj. This festive women's dress, distinguished by its striking combination of colours and textiles, is constructed from striped cashmere saya fabric and Syrian ikat in a bold zigzag pattern.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1925","location":"Amman","dimensions":"Height: 158 cm; width: 138 cm","place_of_production":"Ma'an, Jordan","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Textile, Clothing; Hajj; Pilgrimage; Tradition"],"materials":["Silk"]},"482b2fe7-2ab8-521c-aeb6-542db13d4285":{"name":"Chasuble","description":"The background is made of red silk velvet embroidered with different silver threads. The white silver stitches blocking the metallic threads create many different surface motifs of different heights, and flat areas thanks to a light padding.  \nMost likely manufactured in Bologna, this vestment has a common decorative scheme especially evident in the chasuble. It is divided in three by a central rich bush of acanthus interlaced with the instruments of the Passion of Christ forming the main decorative feature. Great inflorescences alternate with the crown of thorns, the cock and the glove. They build a sort of central axis from which depart wide branches linked by delicate nets and vine shoots. The vestment is clearly indebted to models made in Rome in the age of Pope Benedict XIV, such as the ones donated to the Cathedral of San Pietro in Bologna. This is evident in the use of the silver thread as a reflective surface. The ample motif extended on a flat surface and the symmetrical disposition of the main shoots lead to Emilian decorative schemes and patterns. The colour red of the vestment and the symbols of the Passion might suggest a use connected with the feast of the Exaltation of the Cross or the Invention of the Cross, the sacrifice of Christ might also be generally referred to martyrdom.  \nThe high quality of the work was recognized in 1900 when the vestment was sent to the exhibition of sacred art held in Bologna, in the church of San Francesco. In 1926 this same vestment was photographed by the local Soprintendenza in one of the first campaigns documenting church heritage.","short_description":"The red background of the chasuble is divided by silver lace in fields. Two leaf garlands curl against a net ground; the sides are marked with a garland pattern in front of a net ground. The central pole springs from an acanthus bush holding the instruments of the Passion of Christ in its spires. Veil, burse, stole and maniple are embroidered using the most decorative patterns from the design.","type":"Liturgical garment (Vestment) consisting in chasuble, stole, maniple, chalice veil and burse","holder":"Parish church of San Giovanni Battista","dates":"Mid eighteenth century","location":"Minerbio, Bologna, Emilia-Romagna","dimensions":"343x152 cm","place_of_production":"Bologna (?)","bibliography":"Gatti, A. *Mostra d'Arte Sacra in San Francesco di Bologna* (exhibition catalogue), Bologna, 1900, p. 51, n. 30.  \n*Mistero e Immagine. L'Eucaristia nell'arte dal XVI al XVIII secolo* (exhibition catalogue) (eds. S. Baviera  and J. Bentini), Milan, 1997, p. 262, p. 264.  \nMajoli, L. “Una campagna fotografica del 1926 per il catalogo: la Chiesa di San Giovani Battista di Minerbio”, *Quaderni di Palazzo Pepoli Campogrande:* 5, 1998, pp. 12-19.","workshop":"Late Baroque","copyright":"Copyright image: Archivio fotografico della Soprintendenza per il Patrimonio storico artistico di Bologna, su concessione del Ministero per i Beni culturali.","author":"Lorenzo Lorenzini","translator":"Antonella Mampieri","translation_copy_editor":"Lisa Kelman","keywords":["Liturgy; Passion of Christ; liturgical vestment; vegetal decoration; embroidery; vine tendrils decoration"],"materials":["Velvet embroidered in silk thread"]},"4910bd38-cc21-5b54-81dc-f3e7ee09ef0a":{"name":"Qaftan","short_description":"The lavish garments previously worn by Lebanese emirs and *shaykhs* were swapped in the 19th century for more sombre items, such as this Qaftan.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Costume; Fashion; Clothes; Tradition"],"materials":["The original was made of silk, velour, cashmere"]},"49567841-9478-56f0-9dd2-ff37377f69f1":{"name":"Womanʼs jacket","short_description":"After 1873, Iranian women of the upper classes wore a short skirt imitating the French *tutu* worn by ballet dancers. Called *shalitah*, this little skirt was combined with a small jacket, kept above the waist so as not to spoil the puffy effect of the *shalitah*, with long sleeves worn over a thin shirt.  \n  \nAs was customary at the time, the outer fabric is a Persian *qalamkar*, a printed fabric that is intricately handmade, whist in contrast, cheap European printed cotton fabrics was used, as was convention, for the lining. However, the two fabrics were not combined at random, and it is clear from the intriguing contrast that much attention was given to the choice of these two patterns. In this particular case, the contrast between the lively, handmade pattern and its machine-made counterpart is especially striking.  \n  \nThis jacket was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 55cm, Width: 206cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran, Isfahan","obtention":"Gift of descendants of Emil Alpiger","bibliography":"Langer, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.  \nLanger, Axel, “Vestes de femmes, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 364-365.  \nNabholz-Kartaschoff, Marie-Louise and Langer, Axel, *Pfauen, Blüten & Zypressen. Persische Textilien der Qajaren-Zeit (1788-1925)*, Zurich: Museum Rietberg, 2005: esp. 114-125.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (*qalamkar*), lining: printed cotton (European manufacture), brass, silk threads"]},"4b1cc99c-bdcc-51e9-bf03-770c80101277":{"name":"Men's coat (*Mintan*)","short_description":"There used to be around fifty diverse styles of folk costumes worn in different ethnic areas throughout Macedonia in the 19th century and in the early 20th century. Among the most prominent were the costumes of Gorni Polog. Unlike the diverse and numerous women’s garments, men’s outfits were much simpler and rather unified. This upper garment called a *mintan* is of plain cut. It is made of silk in a striped pattern. Its only decorations are pieces of black cloth applied to the sleeves.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"62 x 44 cm","provenance":"Gorni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["men's costume; costume"],"materials":["Silk *aladza* decorated with silk cords"]},"4b852956-5f21-5509-913e-4ba87cf57f09":{"name":"Gilet","short_description":"Golden embroidery graces the Ottoman vest in floral and circle arrangements resembling lotus buds. The glossy threads and red gemstones highlight the elegance of the cream-colored silk called *yelek*.  \n  \nAcross centuries, the traditional costumes remain unisex. This jacket may be worn by children as an inner vest or an overcoat with layers of elaborate garments meeting the requirements of Muslim modesty and the desire for luxury.  \n  \nWhile Ottomans adopted shorter jackets from Europe, Turkish attire entered Western fashion in the 19th century. Pieces like this *yelek* appeared at masquerade balls in Britain and became widespread in fashion magazines as trendy clothing restricted to women’s wear. Their influence still permeates today’s runways.","type":"Costumes and accessories","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 36.5cm, Width: 33cm","method_for_datation":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","method_for_provenance":"The date and origin were established in research-based comparison from an examination of material, embroidery and pattern.","provenance":"Turkey","obtention":"Purchase","bibliography":"Inal, O., \"Women’s Fashions in Transition: Ottoman Borderlands and the Anglo-Ottoman Exchange of Costumes\" *Journal of World History*, 22 : 2 (2011): 243–272.  \nJirousek, C., \"The transition to mass fashion system dress in the later Ottoman Empire\", in Diane M. Spivey (ed), *Consumption Studies and the History of the Ottoman Empire, 1550–1922: An Introduction*, New York: State University of New York Press, 2000: 76–77.  \nVryzidis, N., \"Ottoman textiles and Greek clerical vestments: Prolegomena on a neglected aspect of ecclesiastical material culture\". *Byzantine and Modern Greek Studies*, 42 : 1 (2018): 92–114.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Janice Medina","keywords":["Ottoman; Turkey; Costume; Vest; Gilet; Yelek"],"materials":["Silk, gold thread, silver thread; embroidery"]},"4cb2c7b0-e6c5-5421-ba04-8e3b26cad183":{"name":"Purse","description":"Miser’s purses, also known as ring or string purses, were very popular feminine accessories during the 19th century and even the first decades of the following century. The Cerralbo Museum has a small collection of these kinds of pieces, souvenirs from Istanbul. This Turkish and colourful beadwork one, with its traditional geometric pattern and the promise of a fashionable outfit, would have surely delighted any lady.","type":"Costume","holder":"Cerralbo Museum","dates":"Late 19th century","location":"Madrid","dimensions":"47 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Textiles; women; Turkey"],"materials":["Beadwork"]},"522f2144-3034-5e4d-9bc3-6ef8c6f5ecd0":{"name":"Veil","short_description":"Three natural cotton and linen fabrics sewn and decorated with cross-stitch with embroidered folkloric patterns (known as “cypress trees”, “amulets”, “keys”, “saw” and “Shuayb teeth”). They are mainly in red with some green colour; a small linen fringe dangles from two sides. The veil was an essential piece of women’s dress. Girls started preparing their trousseau (clothes, shawls, and other belongings collected for marriage) at the age of ten. Married women had various embroidered costumes worn for special occasions. As the economy of the Jordanian territory in the late 19th century-early 20th century relied on trades and crafts, new waves of traders and artisans started to arrive and to settle. Thus, traditional costumes reflect a variegated population composition, demographic changes, personal attire and local rites.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 173 cm, width 118 cm","provenance":"Palestine, Ashdod and Hebron villages","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Linen fabric; natural cotton; embroidered patterns"],"materials":["Linen, silk; hand weaving, hand embroidered, natural dyes"]},"523bb921-1fd6-50c1-866d-04687585ebaa":{"name":"Headscarf","short_description":"High quality silk fabrics from Tunisia woven with inwoven silver  \nand goldthreads were already admired at the London World’s Fair in 1851. In Tunisia, these girdles, sashes, head-cloths or shawls were reserved for the well-to-do. Specialists, organised into guilds since the Middle Ages, dye and weave the imported raw silk. After 1900, the wholesale import of cheap, industrially produced textiles drove the Tunisian silk production out of the market.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Second half of the 19th century","location":"Vienna","dimensions":"H: 71cm, W: 71cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Tunis","obtention":"At the turn of the 19th century, parts of the inventory of collections of the Austrian Museum of Trade (established 1874) gradually found their way to the ethnographic department of the Imperial and Royal Court Museum of Natural History (later, Museum of Ethnology, today Weltmuseum Wien). In 1925 the Austrian Museum of Trade was dissolved.","materials":["Silk, fine silver thread"]},"531f2f47-2ae4-509e-a2e9-99d2a1ea93da":{"name":"Ornament from a Janissary’s cap","short_description":"The military supremacy that had helped make the Ottomans a world power was largely based on the highly disciplined Janissary corps – crack infantry troops. As a part of their uniform, the Janissaries wore a distinctive felt hat somewhat like a stocking cap in appearance, known as a *börk*, to which was affixed just above the forehead an ornament such as this rare silver gilt example. The slightly concave device, decorated with delicately worked geometric designs, would have held an insignia demonstrating the Janissary's loyalty to the Sultan–possibly a feather or even a spoon, signifying that it was the ruler who provided him with his daily soup.","type":"Costumes","holder":"Los Angeles County Museum of Art (LACMA)","dates":"Hegira 11th century / AD 17th century","location":"Los Angeles","dimensions":"25.6 x 9.5cm","method_for_datation":"The decoration of this object, including eight- and six-pointed stars against a scrolling background, is identical to janissary hat ornaments captured from the Ottomans after the Battle of Vienna in 1683, establishing a probable terminus ante quem (e.g., Museum of Karlsruhe, Baden Germany).","method_for_provenance":"The same type of ornament is represented attached to the distinctive Ottoman military hat in paintings, lithographs and photographs of Ottoman janissaries; the hat with ornament carved in stone forms the upper part of janissary tombstones, while a few actual hats have survived with their ornaments (e.g., Museum of Karlsruhe, Baden, Germany).","provenance":"Turkey","obtention":"Collection of Maan Z. Madina (1926-2013), New York, until 2002 (sold to); LACMA, The Madina Collection of Islamic Art, gift of Camilla Chandler Frost.","bibliography":"Jenkins, Marilyn, “Mamluk Jewelry: Influences and Echoes”, *Muqarnas*, 5 (1988): 36, 38, figs. 16a, 16b.  \nKomaroff, Linda, *Islamic Art at the Los Angeles County Museum of Art*, Rev. ed., Los Angeles: Museum Associates, 2005: 49, fig. 47.  \nKomaroff, Linda, *Lo Terrenal y lo divino: Arte islámico siglos VII al XIX Colección del Museo de Arte del Condado de Los Angeles*, Santiago, Chile: Centro Cultural La Moneda, 2015: 150, 212.  \nKomaroff, Linda, *Beauty and Identity: Islamic Art from the Los Angeles County Museum of Art*, Los Angeles: Los Angeles County Museum of Art, 2016: 200.","dynasty":"Ottoman","author":"LACMA Staff","keywords":["Military object; metalwork; geometric decoration; Ottoman army; costume; Janissaries; devşirme; military wear"],"materials":["Silver, gilt, decorated with flattened wire and granulation"]},"54310c6d-87ca-585e-b552-bcb1c5951fe3":{"name":"Dress","short_description":"This dress of al-Druze (Druse) women is made of a long grey with green and silver brocade, pursed narrow sleeves, wide, open square shaped chest, pursed at the middle and wide at the bottom with ruffles and a cotton liner. This object illustrates the variegated social composition and demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation. The traditional Druse and other Jordanian costumes were influenced by the local trade and economic activities: as illustrated in this case, they were often made of silk textiles, produced in Syria and traded to Jordan and Palestine.","type":"Costume; clothing","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Height 99 cm","provenance":"Eastern Jordan (al-Azraq) al-Druz tribes","author":"Huda Kilani","keywords":["Brocade dress; ruffles; cotton liner"],"materials":["Silk, cotton; hand woven Syrian silk fabric (brocade)"]},"54ee640a-4e1d-59a5-ba23-f9a85bf4e010":{"name":"Gilet","short_description":"This velvet bolero, known as a *frimla* has an embroidered front. It was typically worn over a silk shirt. Young Muslim and Jewish girls wore this gilet.","type":"Velvet","holder":"Musée Public National des Arts et Traditions Populaires","location":"Algiers","translator":"Flaminia Baldwin","materials":["Velvet and silver thread"]},"557a3c2b-e69e-533d-a2c9-d263db2c8d12":{"name":"Woman's *entari*","short_description":"*Entari*s were worn over thin silk shifts and baggy *shalvar* trousers and were held at the waist by a sash or belt. They could be worn open or buttoned above the waist. Several *entari*s, made of different fabrics, usually with contrasting colours, were often layered on top of one another. They were more often than not made of luxurious silk striped or brocaded fabrics and trimmed with fine braid or *oya* needlework.","type":"Textile","holder":"The British Museum","dates":"Late 19th century","location":"London","provenance":"Levant","keywords":["costume; women; silk"]},"56bae231-ad09-5568-8e83-1f1aa7115444":{"name":"Buckles (*Pafti*)","short_description":"Buckles were distinctive articles of adornment used throughout the centuries by Macedonian women. They were the most frequently worn and most exquisite articles of adornment in Macedonian women’s folk attire. Buckles used to be adorned with stylized geometric and floral patterns, the artistic effect having been emphasized by the application of decorative stones, filigree ornaments, gold-plating, pearls, mother-of-pearl, corals, chains and other embellishments. This outstanding set of buckles in leaf shapes is decorated with pearls and semi-precious stones, by application of the technique of \"live\" gold-plating.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"28 x 10 cm","provenance":"Skopje","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Buckles; live gold-plating; wedding; marriage; accessories; costume"],"materials":["Silver, filigree, granulation. Decoration with semi-precious stones, pearls and live gold plating"]},"5714f381-6e11-56d5-9801-fef85803c128":{"name":"Wedding dress","short_description":"Long black dress, wide at the bottom with narrow sleeves, rounded neck and open chest. Silk linen appliqué, hand embroidery with cross-stitch on the sides, back panel, chest, and sleeves with embroidered folkloric patterns. On the chest: necklace, cypress tree. Side: ivy, amulets, “feathers”. Front: small cypress tree on silk. Back: ivy, cypress tree, pillows, pasha tents. Sleeve: ivy, feather, triangle (amulets). Palestinian women's costumes varied according to each Palestinian city and geographical area. Costumes in the mountain regions were different from those of coastal and desert areas, and had a distinguished embroidery. This costume represents village style. Girls started preparing their trousseau (clothes, shawls and other belongings they collected for their marriage) at the age of ten. Married women's costumes were heavily embroidered. Palestinian weavers used traditional spinning processes using manual spindles to prepare the cotton and linen threads imported from Egypt. Ashkelon city weavers used light vertical hand looms (*Majdalawi* looms) to produce linen fabrics, while silk fabrics were spindled and woven in Syria.","type":"Clothing; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 142 cm, bottom circumference 153 cm","provenance":"(Beit Dajan) near Jaffa – Palestine","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Dress; hand embroidery; patterns"],"materials":["Linen and silk; hand woven and hand embroidered"]},"58b8041e-0838-56a2-b0b3-2369a498e868":{"name":"Belt.","description":"This type of long brocade silk belt, or *lampas*, woven on a draw-loom in the workshops of Fez, appeared in the early AH 12th / AD 18th century. Worn on top of a kaftan by aristocratic and middle-class women, it was wrapped several times around the waist. Folded in half, it could be used on either side. This piece is narrow and flexible like the older examples. On a red background, brocade decoration consisting of five differently coloured motifs inspired by the decorative Moroccan-Andalusian repertoire of is embellished with elements borrowed from Persian and Ottoman art: geometric knotwork whose interstices are decorated with flowers, fleurons and palms, ovoid motifs reminiscent of the fruit of the citrus tree *tronjia*, and friezes of arcades decorated with flowers similar to the designs found on wall hangings. These motifs appear on their own or combined in repetitive alternating transverse bands.  \nThe two ends of the belt are decorated with several stylised hands and eight-pointed stars, or Solomon's seals, considered in esoteric Moroccan tradition to be prophylactic symbols. Between the large motifs that make up the main decoration of the fabric and the two ends of the belt, a narrow band decorated with small tulips arranged head-to-foot is the mark of the workshop.  \nThe long cords that finish the belt are knotted at the front to keep it around the waist.","short_description":"This sort of long silk-brocade belt would have been worn above a kaftan by the wives of important dignitaries and the bourgeoisie. It would have been wrapped around the waist several times and could be worn either way around.","type":"Belt, silk","holder":"Museum of the Udayas.","dates":"Hegira 12th-13th centuries / AD 18th–19th centuries.","location":"Rabat.","dimensions":"Length 135 cm, width 32 cm.","method_for_datation":"By its decoration, the length and width of the belt and the flexibility of the fabric.","method_for_provenance":"According to the studies carried out on the subject and the work of historians, brocade workshops were set up in Fez from the Marinid era until the early 20th century.","provenance":"Fez, Morocco.","obtention":"Purchased.","bibliography":"Golvin, L., 'Les métiers à la tire des fabricants de brocarts de Fès', *Hespéris*, 1950, 1st & 3rd quarters, pp.37-48.  \nVogel, L., *Soieries marocaines, les ceintures de Fès*, Paris, 1920.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["geometric decoration; floral decoration; architectural decoration; women; costume; amulet; talisman"],"materials":["Silk brocade woven on a draw-loom."]},"593969dc-7368-5182-961d-c81a464474fc":{"name":"Bridal headdress (*Kiska*)","short_description":"Hairpins and other articles of adornment worn on the head were inevitable elements of Macedonian women's attire in the 19th century and at the beginning of the 20th century. This distinctive decorative pin – *kiska* – was used for supporting the hat or scarf. This type of jewellery also conveyed a symbolic meaning and served an apotropaic purpose in addition to its decorative function. The pear-shaped ornament was made by application of filigree and granulation techniques. It is adorned with pellets and decorative stones in varied colours. Tiny coins are suspended on chains at the bottom of the ornament.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"13 x 4 cm","provenance":"Srtushko Pole","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Decorative pin; kiska; apotropaic intention; amulet; talisman; coin; coinage; currency; numismatics; wedding; marriage"],"materials":["Gilt silver, filigree, granulation"]},"59e106e1-b0a2-5505-af4e-7abfde04a90a":{"name":"Belt","short_description":"Leather belt embellished with silver pieces decorated in niello with patterns and symbols at the end. Two silver rosette buckles at the end form a locking mechanism. This is an object produced by Circassian craftsmen. The immigration of the Circassians to the Ottoman Empire started in the middle of 19th century and continued until 1900. The Circassian communities migrated mostly to the eastern Arab countries, with which they had spiritual and religious links. They brought with them their traditional activities, crafts and decorative patterns. All these elements soon mingled with the local Arab society and became part of the social and economic landscape of the Arab countries.","type":"Clothing ornament; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Length 78 cm, width 3.5 cm","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Leather; belt; embellished; niello; rosette buckles; silver"],"materials":["Leather, silver; cutting, casting"]},"5d9fc24f-9c51-56b2-a925-33389c038005":{"name":"Paper crown for *Maulid an-Nabi*","short_description":"In Egypt, houses are festively decorated for the Prophet's birthday, the *Maulid an-Nabi*, and the mosques are brightly lit. Jugglers, fire-swallowers and dancing Sufis fill the streets and squares of Cairo. Processions snake through the streets. Children are treated to carousel rides. Merchants appear and sell a variety of figures made out of sugar, wrapped with coloured paper; that are particularly popular with children. Another hit amongst the children is a birthday crown, made out of cardboard, printed tissue paper and wire, on the forehead of which is displayed a paper image, cut out of a newspaper, of an *ʿud* (lute) player, or a famous star from film and television. Gifts given at the festival of *Maulid* are made of ephemeral, perishable materials such as paper. These are small works of art full of poetry and definite meaning. *Ephemera* are intended for shortterm use as they are unsuitable for prolonged use in daily life.","type":"Religion","holder":"Weltmuseum Wien","dates":"Before 1976","location":"Vienna","dimensions":"Diameter: 17cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Egypt, Cairo","obtention":"Catalog entry: \"Purchased from Dr. Peter W. Schienerl, Kairo, 1976.\"","bibliography":"Steinmann, Axel, \"Ephemera\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 212-213.","materials":["Cardboard, paper, pigment, wire"]},"5ea5b8ab-9f07-5718-8f32-a6c53d04b318":{"name":"Tunic.","description":"This tunic is dyed black. It has a rounded collar and half-length sleeves. The garment opens at the back and can only be donned by first putting the hand into the sleeves. It was probably made for a child and is similar in design to contemporary Coptic clothing. The embroidery occurs where the sleeves join the body and is different on each side.  \nThe right-hand band has a red background on which yellow lines form geometric shapes. These are interspersed with medallion shapes containing stylised vegetable, floral and animal motifs, some could be hares.  \nIn the left-hand band the colours are more varied and the motifs are animal; mainly hares and dogs in blue, green and black. The background is yellow. The two bands are framed with pious inscriptions in angular *kufic* lettering embroidered in silk. Although they are damaged and almost illegible, we can read;  \n'Lasting blessings \\[…\\] sovereignty is with God'.","short_description":"The shape of this linen tunic, dyed black and undoubtedly intended for a child, is reminiscent of Coptic clothes. Each sleeve is decorated around the shoulders slightly differently from the other with plant and floral elements mixed with stylised zoomorphic motifs.","type":"Costumes, wool","holder":"Bardo Museum.","dates":"Hegira 3rd–4th centuries / AD 9th–10th centuries.","location":"Tunis.","dimensions":"Length 70 cm, width 50 cm to 70 cm; 120 cm (with sleeves).","method_for_datation":"Tunics dating from the High Muslim era are rare, and this limits our dating criteria. However, based on the decoration and the type of script, we can date this object fairly accurately from the 3rd–4th / 9th–10th centuries.","method_for_provenance":"Stylistic analysis.","provenance":"Egypt(?)","obtention":"This garment was bought from an antique dealership in Cairo in 1958 by H. H. Abdelwahab, former Director of the National Institute of Art and Archaeology. He donated it to the Bardo Museum in 1962.","bibliography":"Skik, K., *Musée du Bardo, département musulman*, Tunis, 1974, p.16, fig. 6.","dynasty":"Abbasid","author":"Mourad Rammah","copy_editor":"Margot Cortez","translator":"David Ash","translation_copy_editor":"Mandi Gomez","keywords":["Textiles; figurative decoration; costume"],"materials":["Linen embroidered in wool."]},"5f89dbe5-9c2a-5bd5-873c-3b29fca4dd90":{"name":"Coronation mantle","short_description":"The precious mantle embroidered with gold, pearls and cloisonné-enamelled plaques was part of the set of robes used at the coronations of the kings and emperors of the Holy Roman Empire. The semicircular edge of the mantle is decorated with a gold-embroidered *kufic* inscription. It reveals that the mantle was produced in AH 528/ AD 1133/34 during the reign of the Norman king Roger II of Sicily (AD 1095–1154) in the royal workshops in Palermo where among others Arabic artisans worked.  \nAncient motifs are depicted on the surface of the semicircular mantle: to both sides of a palm-tree (representing the tree of life) a lion triumph over a camel, which has a saddle and bridle and has thus been domesticated.","type":"Mantle","holder":"Kunsthistorisches Museum","dates":"AD 1133/1134","location":"Vienna","dimensions":"Height: 146cm, Width: 345cm","method_for_datation":"Art historical and historical analysis (style criticism, archive and inventory research)","method_for_provenance":"Archive and inventory research","provenance":"Italy","obtention":"Made for king Roger II of Sicily as part of the Norman treasure transferred by heritage to the Hohenstaufen and finally used as coronation mantle of the kings and emperors of the Holy Roman Empire.","bibliography":"Bauer, Rotraud, \"Der Mantel Rogers II. und die siculo-normannischen Gewänder aus den königlichen Hofwerkstätten in Palermo“, in Wilfred Seipel (ed), *Nobiles Officinae. Die königlichen Hofwerkstätten zu Palermo zur Zeit der Normannen und Staufer im 12. und 13. Jahrhundert. Ausstellungskatalog (Kunsthistorisches Museum Wien)*, Milan/Vienna: Kunsthistorisches Museum, 2004: 115–123.  \nSchmitz-von Ledebur, Katja, \"Die Krönungsgewänder aus den palermitanischen Hofwerkstätten – zu den jüngsten epigraphischen und naturwissenschaftlichen Untersuchungen“, in Annemarie Stauffer (ed), *Textile Kostbarkeiten staufischer Herrscher. Werkstätten – Bilder – Funktionen. Tagungsband zum internationalen Kolloquium im Rahmen der Ausstellung „Die Staufer und Italien“ am 20. und 21. Januar 2011 in den Reiss-Engelhorn- Museen Mannheim, Studien zur internationalen Architektur- und Kunstgeschichte 99*, Petersberg: Imhof, 2014: 12–25.  \nSeipel, Wilfred (ed), *Masterpieces of the Secular Treasury*, Milan/Vienna: Kunsthistorisches Museum, 2008: 58–60.","dynasty":"Palermo, royal workshop","author":"Katja Schmitz-von Ledebur","copy_editor":"Liz Cooper","keywords":["Siculo-Norman; textile; embroidery; workshop; royal manufacture; figurative decoration; tree of life; Sicily; Roger II"],"materials":["Samite, silk, gold, pearls, enamel, filigree, precious stones, tablet weave"]},"5f944369-bc84-59f2-a3a6-21c5dda0f6fe":{"name":"Wooden clogs","short_description":"Wooden clogs such as these have a long history in the Middle East, emerging before the Middle Ages and remaining popular for centuries to come. They were made of a variety of woods, including walnut, apricot, willow, poplar, or beech. The wood was cut into wedge shapes then moulded around the foot of the wearer. Excess wood was then shaved off, the heel attached, and the wood painted and polished. Leather girdles in a variety of colours were fixed to the heel with special nails and the wood would often be decorated with mosaics of bone or seashells organised in geometric or floral patterns. Clogs were designed to be comfortable and resistant to water, and thus were usually worn at home, particularly by women. These shoes have a higher heel than usual and would be worn by brides so that they would appear taller than the other girls in the *hammam* (Turkish baths).","type":"Woodwork; shoes","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Shoes; Woodwork; Fashion"],"materials":["Wood, leather, bone, seashell"]},"5f958fd8-3a2a-50d4-a26a-9ea8b55e677e":{"name":"Gilet","short_description":"Men's sleeveless gilet, embroidered with gold thread.","type":"Velvet; silk; gold thread","holder":"Musée Public National des Antiquités","dates":"19th century","location":"Algiers","dimensions":"61 cm x 58 cm","provenance":"Algiers","author":"Houria Cherid","translator":"Flaminia Baldwin","keywords":["Traditional dress"],"materials":["Embroidered velvet"]},"602e2e1a-614b-533b-b171-c2a7bb60bc72":{"name":"Bridal apron","short_description":"Belts, sashes and aprons were unavoidable accessories of folk costumes in all areas of Macedonia. This sash was made of white hand-woven cotton cloth, which was decorated at the front with embroidery of pink wool, silver-wrapped thread, silver string, sequins and multi-coloured beads. It has a hook and a loop on the ends for fastening. The apron was made in the technique of plain-weave. The warp of cotton and the weft of red wool and silver and gold-wrapped threads was embellished with sequins – *svetlinke* – and beads. The apron has two strips on the left and right sides woven and decorated in the same manner with shells and coins suspended at the bottom.","type":"Traditional clothing and adornment","holder":"Museum of Macedonia","dates":"End of the19th – beginning of the 20th century","location":"Skopje","dimensions":"40 x 40 cm","provenance":"V. Setole, Dolni Polog","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Plain weave; warp; weft; sequins; sash; costume; accessories; textile; shell; coin; coinage; currency; numismatics; wedding; marriage"],"materials":["Plain weave of cotton warp and weft consisting of wool and silver and gold wrapped thread. Decoration with sequins – *svetlinke*, *puloi*, and beads"]},"60c41d82-4ce0-5ec0-9037-67792716aba8":{"name":"Tunic (*'aba'a*)","description":"Aba or man’s robe is inspired in the North African ones. It is made in cream velvet with a stencilled decoration related with Safavid motifs. This kind of garment that Fortuny discovered in his travels for North Africa is related to Spanish Muslim “aljubas” of the Medieval Spain.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1910 – c. 1915","location":"Madrid","dimensions":"Height 125 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes; Design; North African influence; Spanish Muslim influence"],"materials":["Silk, velvet"],"artist":"Mariano Fortuny y Madrazo"},"6131fb50-04d3-542e-b078-c6c43dfd4c0a":{"name":"Chasuble (Mass vestment for the Catholic liturgy) made of decorative velvet and silk weave","short_description":"The chasuble is a *pasticcio* consisting of an older Italian decorative velvet and a chasuble cross of Ottoman silk. The latter silk has a pattern of large lancet ovals filled with tulips, pinks and floral scrolls, a decoration typical of Ottoman silk weaving of the time. This combination of textiles for a chasuble demonstrates that there were no reservations about using a textile from Islamic regions for the Christian liturgy on account of its impressive appearance.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"Velvet: 15th century;  \nSilk: 2nd half of the 16th century","location":"Vienna","dimensions":"H: 104cm, W: 64cm","provenance":"Velvet: Italy;  \nSilk: Ottoman Empire, Bursa","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97542","author":"Martina Dax","keywords":["Velvet; Ottoman Silk; Textile; trade; liturgical vestment; floral decoration; tulip"],"materials":["Silk; Velvet broché; Lampas broché, lancé"]},"61764374-5c01-519a-9a4b-13fb610fdbda":{"name":"Wedding tunic in Andalusian style","short_description":"Simply tailored wedding tunics have been seen in mosaics from the Roman period. The special character of this splendid costume, however, lies less in its cut, which is standard for all wedding attire in Tunisia, but in its sophisticated decoration, which reveals Andalusian influence. Typical for this tunic, made in Raf Raf on the north coast of Tunisia, is the extensive central stripe embroidered in gold and silver and decorated with sequins. A defensive hand serves as protective symbol.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1913","location":"Vienna","dimensions":"H: 132cm, W: 108cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Tunisia, Raf Raf","obtention":"Catalog entry: \"Collected by and purchased from  Maria Countess Drohojowska from Zakopane (Galicia), 1913.\"","bibliography":"Janata, Alfred, \"Nordafrika, Vorder- und Zentralasien\", in Das Museum für Völkerkunde in Wien (ed), *Das Museum für Völkerkunde in Wien (Mit Beiträgen von Hans Manndorff, Christian F. Feest, Armand Duchâteau, Alfred Janata, Kurt Binder, Heide Theisen, Hanns Peter, Peter Kann)*, Salzburg and Vienna: Residenz Verlag, 1980: 70-93.","materials":["Silk, cotton, gold and silver threads, sequins"]},"61ff0f1e-695e-5970-a8a9-44151ef0e284":{"name":"Traditional peasant attire","short_description":"Peasants and ordinary people's clothes did not change much over the centuries. It generally consisted of a shorter, narrower and darker coloured pair of baggy *shirwal* trousers for winter, and another pair in a lighter beige or khaki colour for the summer. This was paired with a cotton shirt or vest, called a *sudriye*, and a short embroidered *abaya*. A *keffiye*, a large scarf made of white cotton, was worn on the head with a *lebbede* or *'agal* on top.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Shirwal; Clothes; Traditions; Keffiye; Colour"],"materials":["The costumes were made of cotton and silk"]},"6358ef7b-3436-5d35-ad94-2c51478ff9e5":{"name":"Womanʼs jacket","short_description":"After 1873, Iranian women of the upper classes wore a short skirt imitating the French *tutu* worn by ballet dancers. Called *shalitah*, this little skirt was combined with a small jacket, kept above the waist so as not to spoil the puffy effect of the *shalitah*, with long sleeves worn over a thin shirt.  \n  \nAs was customary at the time, the outer fabric is a Persian *qalamkar*, a printed fabric that is intricately handmade, whist in contrast, cheap European printed cotton fabrics was used, as was convention, for the lining. However, the two fabrics were not combined at random, and it is clear from the intriguing contrast that much attention was given to the choice of these two patterns. The ogival lattice structure that dominates the Persian print enjoyed a long tradition in Ottoman, Indian and Persian textile design and was even known in the West.  \n  \nThis jacket was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 53cm, Width: 207cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran, Isfahan","obtention":"Gift of descendants of Emil Alpiger","bibliography":"Langer, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.  \nLanger, Axel, “Vestes de femmes, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 364-365.  \nNabholz-Kartaschoff, Marie-Louise and Langer, Axel, *Pfauen, Blüten & Zypressen. Persische Textilien der Qajaren-Zeit (1788-1925)*, Zurich: Museum Rietberg, 2005: esp. 114-125.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (*qalamkar*), lining: printed cotton (European manufacture), brass, silk threads"]},"65b12078-9fc9-543e-94fd-9274d0e1813b":{"name":"Cloak belonging to Sheikh Muhammad al-Khalili.","description":"A cloak ('*Aba'a*) or outer garment composed of small pieces (approximately 3 cm x 3 cm) sewn together. The pieces consist of woven silk and cotton stitched together with woollen thread. The background, in the form of polygons, is made up from interchanging colours that include yellow, red, green and black. The polygons are arranged within rectangles tightly woven in an elongated form, which would have made the wearer (Sheikh Muhammad al-Khalili) seem taller in stature than he was in reality. The woven section at the back of the garment between the shoulders is square, containing a circle of polygons arranged in circles, which become smaller by degrees as they move towards the centre of the circle. This gives the back of the cloak great depth and splendour. Two facing triangular sections in the corners of the square are red, while the two other corners are black. The garment has half sleeves finished with a band of green silk. This mode of outer garment was inspired by the asceticism and the piety of its wearer. It is made from very small pieces of cloth to make it appear as if it was woven from pieces of fabric. The Sheikh's cloak is considered a rarity, having survived in a complete state and in such beautiful condition.  \nSheikh Muhammad al-Khalili was among the scholars of *fiqh* (Islamic Jurisprudence) in Jerusalem and one of the most important personalities of Palestine at the time. In view of his distinctive position he was buried in the Madrasa al-Ashrafiyya located at the western wall of the Haram al-Sharif. This honour was bestowed on a select group which did not exceed 10 Islamic personalities over the course of history. Sheikh al-Khalili was renowned for wearing this cloak which was preserved for more than two centuries in his burial chamber until it was transferred to the Islamic Museum.","short_description":"The cloak of a scholar of *fiqh* (Islamic jurisprudence) and one of the most important personalities of Palestine in the AH 12th / AD 18th century. It covered his tomb. It is woven from small polygonal pieces in cotton and silk. The coat has half sleeves. This garment is a rare example to have survived almost completely intact.","type":"Silk, cotton , wool","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"Sheikh Muhammad bin Muhammad Sharaf al-Din Khalili (d. AH 1146 / AD 1734).","dates":"Before hegira 1146 / AD 1734, during the lifetime of the original owner.","location":"Jerusalem","dimensions":"Length 145 cm, width 90 cm.","method_for_datation":"The garment is dated based on when the owner died.","method_for_provenance":"Silk was woven during this period in different regions of Syria and Palestine. It is not possible to be precise about where this garment was produced.","provenance":"Palestine or Syria.","obtention":"The garment was spread out close to the tomb of the Shaikh Muhammad al-Khalili in the floor level of Madrasa al-Ashrafiyya; it was then transferred at an unknown date to the Islamic Museum.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001; IAM_PA_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Silk; wool; garment; coat; cotton; textile; costume"],"materials":["Polychrome silk and cotton woven together with woollen threads."]},"65ef6d27-a41c-53d2-98a2-dab87b965982":{"name":"Boot","short_description":"The leg of each boot is decorated with floral and geometrical designs cut into the leather and then pressed up or out from the inside to appear in relief like repoussé work. Dyed dark brown, these details are set off by the punched yellow-brown leather of the boots.","type":"Clothing","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Height: 60cm","method_for_datation":"Arthistorical and historical analysis, archival and inventory research","method_for_provenance":"Probably Ambras Castle AD  1596; 1875 Ambr. Sammlg., XV, 78a, S. 320; 1869 aus Ambras (Verz. d. Tauschobjekte Nr. 64)","provenance":"Turkey?","obtention":"Collection Ambras Castle","bibliography":"Sandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.  \nScheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.  \nSeipel, Wilfried (ed), *Dracula. Woiwode und Vampir*, exh. cat., Wien: Kunsthistorisches Museum, 2008.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["Ottoman army; military object; costume; floral decoration; geometric decoration; military wear"],"materials":["Leather, gold, bronze, silver"]},"665fead3-3926-5df0-ac85-fe2c13fabcb2":{"name":"*Bisht muqassab*","short_description":"A clothing article, made out of cotton, worn during weddings.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume; bedouin; marriage; wedding"],"materials":["Cotton"]},"69944391-4804-5b5b-96e7-56b15185e288":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the front of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall design of undulating vines and floral detail in subtle gold and greenish-brown hues, set against a cream-coloured background.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"This fragment once formed the front of a child's collarless and short-sleeved kaftan cut with a straight waist and bell-shaped skirt. Made from silk brocade material woven at the imperial manufactures at Bursa or Istanbul, it would have been worn by a junior member of the Imperial Ottoman household.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 72 cm, width 73.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["kemha; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"6b0278dc-5b28-55d6-9771-7558446e7713":{"name":"Silk 'Limar' Sarong","short_description":"Silk *limar* sarong predominantly purple & red. The central compartment is adorned floral chain patterns with a panel adorned with a motif of confronted bamboo shoots & flowers.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"108.5 x 105cm","provenance":"Possibly Terengganu, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 52-53.","dynasty":"Terengganu Sultanate"},"6b03ecfa-3333-5fb8-b1a6-fd52388b653a":{"name":"Textile fragment.","description":"This is a fragment from a shawl or turban made from fine linen and decorated with a wide band of delicately woven vegetal decoration in green, blue and yellow silk. In the lower portion of this band, is a line of inscription in *kufic* script woven in brown silk that reads: 'In the name of God, the Blessings of God on Abd Allah al-Amin Muhammad, Commander of the Faithful, may God grant him a long life, who has commissioned the production of this in the *tiraz al-'amma* \\[…\\] Egypt at the hands of al-Fadl bin al-Rabi', a supporter of the Commander of the Faithful'.This is considered to be the oldest woven silk inscription on linen. In the Islamic-period a shawl or turban, such as the one from which this fragment comes, was usually decorated at both ends by a decorative band next to which was a band of inscription, and then a thin strip; the shawl or turban would have been finished with a fringe.  \nThis piece was made in *tiraz al-'amma* (the public workshop). Beside the public *tiraz,* there were textile establishments which were set up by the caliphs to produce garments and textiles for the caliph and his entourage; these were called *tiraz al-khasa* (exclusive workshops). Some of the fine *tiraz al-'amma* textiles, indicate that these were commissioned when needed by the caliphs alongside *tiraz al-khasa*. The storehouses of the Abbasid Caliph, Muhammad al-Amin (r. AH 193–8 / AD 809–13) were filled with clothes, hangings and carpets, to the point where it took al-Fadl ibn Rabi' four months to complete the inventory of the contents of these treasuries, demonstrating the great interest that this caliph took in a variety of apparel, turbans and coverings.","short_description":"This fragment bears the name of the Abbasid Caliph al-Amin Muhammad and is considered to be the oldest woven silk inscription on linen. The Fatimids established many government textile factories called *Tiraz*. Some specialised in making textiles for the caliph and his court; others were allocated for the general public.","type":"Textile, linen","holder":"Museum of Islamic Art","initial_owner":"Abbasid Caliph, Muhammad al-Amin.","dates":"Hegira 193–8 / AD 809–13.","location":"Cairo","dimensions":"Length 80 cm, width 18 cm.","method_for_datation":"The textile is dated based on the mention of the Abbasid caliph, Muhammad al-Amin and his follower al-Fadl ibn al-Rabi' in the inscription band which embellishes this textile fragment.","method_for_provenance":"It is thought that Fustat is the most likely place of production in view of the fact that Egypt is mentioned as the place of manufacture in the inscription band.","provenance":"Fustat, Egypt.","obtention":"This piece was bought in 1903, from an antiquities dealer, Paul Philip.","bibliography":"Baker, P. L., *Islamic Textiles,* London, 1995.  \nHassan, Z. M., *Al-Fan al-Islami fi Masr \\[Islamic Art in Egypt\\],* Cairo, 1935.  \nMarzuq, Muhammad Abd al-Aziz, *Al-Funun al-Zukhrufiya al-Islamiya fi Masr qabl 'asr al-Fatimiyyin \\[Islamic Decorative Arts in Egypt before the Fatimids\\],* Cairo, 1974.  \nMaher M. S., *Al-Nasij al-Islami \\[Islamic Textiles\\],* Cairo, 1977.  \nRizq, A. M., *Marakiz al Sina'a fi Masr al Islamiya \\[Industrial Centres in Islamic Egypt\\],* Cairo, 1989.  \nSelim, Muhammad Abbas Muhammad, *Mansujat al-Tiraz fi al-'Asr al-Abbasi \\[Tiraz Textiles in the Abbasid Period\\],* MA Thesis, Cairo, 1995.","dynasty":"Abbasid","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Silk; kufic script; vegetal decoration; tiraz; linen; textile; costume; workshop"],"materials":["Linen, decorated with woven silk."]},"6b90a9c0-f193-55c4-9a03-d29b7b481484":{"name":"*Kiswah* Belt","short_description":"Religious leaders in the Muslim world would commission the crafting of the *Kiswah* - the cover of the Kaaba - including key components such this belt embellished in gold and silver thread. Craftsmen embroider Qur’anic verses and words of protective value to provide a generous offering to the house of God. This belt was manufactured in Egypt.  \n  \nOnce a new veil is bestowed upon the cubic building, the previous cover is broken up beneath the new *Kiswah* and donated to individuals and institutions such as museums to honor the yearly tradition.","type":"Religious relic","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"19th century","location":"Shahaniya","dimensions":"Length: 648cm, Width: 91.5cm","place_of_production":"Egypt","method_for_datation":"The date and origin were established in a comparison of colour and calligraphy of other Kiswas.","method_for_provenance":"The Kiswa covers the Kaaba in Mecca, Saudi Arabia.","provenance":"Mecca, Kingdom of Saudi Arabia","obtention":"Gift","bibliography":"Alashari, D. M., Hamzah, A. R., and Marni, N., \"The Aesthetics and Greatness of the Kiswah of the Kaaba in the Saudi Era\", *Umran-International Journal of Islamic and Civilizational Studies*, 8 : 1 (2021).  \nAlhazmi, N. H., *Maintenance as Spectacle: Imagery of the Ka’ba’s Cleaning and Kiswa*, Doctoral dissertation, Ohio University, 2021.","dynasty":"Ottoman","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Kiswa; Kaaba; Mecca; Saudi Arabia Belt"],"materials":["Silk, cotton, gold, silver; embroidery"]},"6d50fc9a-40d7-5903-b14d-ddd9bf5e5e84":{"name":"Jacket","short_description":"Yusuf Bey Karam's military uniform. It is made of red velvet and embroidered with a yellow gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Embroidery; Needlework; Handmade"],"materials":["Embroidery; velvet"]},"6e335928-9fa2-5b6f-93cb-9088b371f464":{"name":"*Zabun*","short_description":"The *zabun* is similar to a European coat and the Turkish *qaftan* (a European inspired coat). It is speculated that it first arrived in the eastern part of Saudi Arabia through the Hajj, at the time of the Turkish empire, and later became popular in Qatar and Bahrayn. The *zabun* is made out of fine Indian Kashmiri brown wool with intricate embroidery. Decoration: made of light brown wool embroidered with *boteh* design, motif across the coat – paisley, Islamic decorative arts. Imitated because the shape is Kashmiri, shaped like cashew nut, pronounced ‘Gazorah.’ Colours are red, yellow, and edges are lined with metal silk thread – round neck opening. Narrow Nehru collar, or Chinese collar is known in Qatar. Buttons are handmade metal balls down the front. It is worn with the *thawb ishlahat*.","type":"Costume","holder":"National Museum of Qatar","dates":"19th century","location":"Doha","keywords":["Costume; fashion; thawb; boteh; coat"],"materials":["Brown wool"]},"6f8705b6-8b55-55ab-a02e-52dedab4e4de":{"name":"Long-sleeve women's coat (*Mintan*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. A *mintan* is a short upper garment worn over the tunic. This piece is made of red silk. It is decorated with braids and cords of *srma* – gold-wrapped thread applied on the hems and over the front.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"33 x 83 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Mintan; srma; silk; silver; costume; Yörük community; nomads; Turkish; marriage; wedding"],"materials":["Decoration with braids and cords of gold wrapped thread"]},"701d0273-bf02-5200-8f32-6dab9287106b":{"name":"Bridal apron jewellery (*Mangura*)","short_description":"The influences of Eastern art in Macedonia were largely expressed in the jewellery of the 19th century through the so-called Levantine Baroque style. This piece preserves evidence of the exceptional diversity of the jewellery. Worn on the apron, it also shows that articles of adornment used to be applied on many different items of clothing. A *mangura* consists of a string of tiny beads adorned with ornaments. The larger central pendant has been made in the filigree technique and embellished with decorative stones. It is flanked by minor ornaments decorated by perforation.","type":"Traditional jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"67,5 cm","provenance":"Ohrid region","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Mangura; filigree; perforation; silver; costume; accessories; wedding; marriage"],"materials":["Silver, silver alloy, tiny beads, hammering, casting, filigree, perforation"]},"703b6c7e-f4d6-51d7-9caa-1fade8284326":{"name":"Bejewelled ivory belts.","description":"Two ivory belts, one comprising five large plaques with oval medallions, and the other four large plaques with round medallions, attached to each other with groups of small conjoined rectangular pieces. All are decorated in multiple layers. The surfaces are decorated with finely engraved spiralling tendrils and flower motifs, their lines filled with black mastic. The second layer of decoration includes gold flowers with rubies and turquoises at their centres, connected to tendrils with golden leaves. The background is concealed under the all-pervasive decoration, and the base materials are outshone by the ostentatiously encrusted stones. The deeply inlaid flowers in gilded settings, and the technique of decoration in multiple layers, reflect the courtly art of jewellery during the reign of Süleyman the Magnificent (r. AH 926–74 / AD 1520–66).  \n  \nThe organisations of court artists and artisans (called the Ehl-i Hiref) were founded in the reign of Bayezid II (r. AH 886–918 / AD 1481–1512) and these organisations served as a school for all fields of Ottoman art. The number of artists at work in the palace can be followed from the books of salaries, which were kept regularly beginning in the reign of Süleyman the Magnificent.  \n  \nA popular accessory for both men and women, belts were used to enrich and decorate a costume, secured around the waist. They bore a ritual meaning as well. Promotion to a certain rank was completed with the ceremony of girding on a belt. This custom, known from professional guilds was important for the sultans as well, and it was emphasised by placing a belt on the cenotaphs of deceased sultans and courtiers. In the Ottoman period, belts were produced from precious textiles and embroidered with silver and gold threads. Carved and ornamented belts made from metal plaques fitted side by side exhibit high standards of craftsmanship. While women's belts were elaborately decorated, those worn by men were fairly plain.","short_description":"In the Ottoman period, belts were used not only as accessories for women's and men's costumes, but were also palatial awards given for promotion to a higher rank or for remarkable professional accomplishments in a 'belt girding' ceremony.","type":"Ivory, gold, emerald, ruby","holder":"Museum of Turkish and Islamic Arts.","dates":"Hegira, first half of the 10th century / AD 16th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 65.5 cm, width 4.5 cm.","method_for_datation":"Decorative motifs and stylistic features date the belts to the first half of the 10th / 16th century. The general character of this period is best reflected by works decorated with precious stones.","obtention":"The belts were transferred to the museum in 1914 from the tomb of Sultan Selim II (r. AH 974–82 / AD 1566–74) in Istanbul.","bibliography":"ölçer, N., *et al, Museum of Turkish and Islamic Art*, Istanbul, 2002, p.261.  \n  \nRoxburgh, D. J. (ed), *Turks: A Journey of a Thousand Years, 600–1600*, London, 2005, p.453.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Alev Özay","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Belt; ivory; costume; floral motifs; precious gems"],"materials":["Ivory, gold, mastic, turquoise, ruby, emerald, engraving."]},"70de6de0-cb62-5e26-a637-a4597cda72ee":{"name":"*Turban* cap","short_description":"This felt hat may be a typical head-covering worn by Turkish brides. The bridal headdress (*külah*) was always red and, depending on the bride's social status, decorated with silver and gold thread and small metal plaques. A veil (*duvak*) was attached to the tip of the hat with a jewelled pin.","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century (?) / AD 16th century (?)","location":"Vienna","dimensions":"Height: 49.5cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 6","provenance":"Turkey?","obtention":"Collection of Ambras castle","bibliography":"Sandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.  \nScheicher, Elisabeth et al. (eds), *Kunsthistorisches Museum Sammlungen Schloss Ambras. Die Kunstkammer*, Innsbruck: Kunsthistorisches Museum, 1977.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["Costume; fashion; clothes; women; marriage; wedding; textile; cap; hat; ottoman empire"],"materials":["Felt"]},"7145d9d7-3f20-55d9-a385-486cd31761ab":{"name":"Women's pants (*Don*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. In general terms, the traditional outfit of Yoruk women in Macedonia is distinguished with exceptional colouring and application of varied elements in all articles of clothing. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. This piece of trousers shows decoration of embroidery with geometric patterns applied on the lower front part of the trousers.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"73 x 56 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["costume; embroidery; geometric patterns; geometric motifs; Yörük community; nomads; Turkish; marriage; wedding"],"materials":["White canvas decorated with embroidery og varied wool, as well as silver and gold wrapped thread"]},"714736c9-97a7-5e87-b9d2-fc5d38aed09f":{"name":"Thirty belts","short_description":"Belts like these were traditionally given to a bride by her parents, and were worn for the marriage ceremony. The belts are made of silver, and each one is carved with its tribe's traditional design. The bride would wear the belt of her own tribe during the ceremony as a sign of belonging. These belts date to the 19th century.","type":"Personal ornament; metalwork","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","provenance":"Turkey","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Accessories; Silver; Metalwork"],"materials":["Silver"]},"73c04230-63e1-510e-98c5-207e053e23cf":{"name":"Chaplet of an Ottoman dervish","short_description":"The Austro-Hungarian troops who joined the Ottoman forces in 1915 performed their service very close to the Allies, but were never put under the administrative control of the Ottoman Empire, as the German soldiers were. Souvenirs of this very exotic mission during World War I were in high demand and were brought back to Austria after the end of the war.","type":"Stonework","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Sufi; Bosnia; Sufi Hadschi Loja; religious object; souvenirs; war; warfare"]},"73e736ab-49ec-5eea-8f27-af65046fe133":{"name":"Headdress","short_description":"A silver circular disk with filigree work and prominent dome above; chains dangling with triple petal and filigree work at the end; placed on the top of a high hat worn by al-Druze (Druse) women. Silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated social composition and the demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Diameter 16,5 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver; prominent dome; disk; al- Druz women"],"materials":["Silver; casting, filigree, hammering"]},"77e732d5-caee-5472-847f-63e657f1353d":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense overall design of eight-pointed stars in staggered rows. Each star contains a central motif, consisting of eight tulip heads issuing from a central rosette. Tri-lobed arabesque extensions enhance the stars at the top and bottom. This type of pattern is also found in Ottoman velvets.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Royal child kaftans were among the products made in the Imperial Ottoman silk weaving centres at Bursa and Istanbul. The silk brocadecostumes were designed to emphasise the imperial status of the sultan and his family, even in death when such garments were often draped over imperial cenotaphs or *sandukas*.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 73.7 cm, width 63.7 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp21–3, pp.268–9, fig. 201 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"77fc77a2-454c-58fa-aa16-959029610bb1":{"name":"Women's tunic (*Gomlek*)","short_description":"The enclave of the Turkish Yoruk community in Macedonia living in the mountain villages of Dojran – Valandovo and Radovish – and the Shtip region is a genuine treasure of tangible and intangible heritage that adds to the diversity of traditional culture in Macedonia. In general terms, the traditional outfit of Yoruk women in Macedonia is distinguished with exceptional colouring and application of varied elements in all articles of clothing. This bridal attire preserves some of the traditions in clothing and embellishment of Yoruk women in Macedonia in the 19th century and the early 20th century. The tunic is made of white canvas and modestly decorated by embroidery of two short vertical strips above the lower hem.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","dimensions":"100 x 60 cm","provenance":"Radovish Region – Yoruk Turks","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Yörük community; nomads; Turkish; tunic; costume; embroidery; wedding; marriage"],"materials":["White canvas decorated with embroidery og varied wool, as well as silver and gold wrapped thread"]},"77fcfe50-ba2c-54a4-8cbb-d6153c293443":{"name":"Child's robe","short_description":"Cloths with the *shahada* imprinted on it were reserved for special use and considered appropriate to be handled only by those who were pure, including children who had not reached puberty. This lampas child’s robe is made of fabric which is woven with chevrons and adorned with inscriptions which include *shahada* and Qur’anic verses. The inscriptions on the robe are written in cream against the crimson ground. Lampas cloth was also frequently used as cenotaph cover and as talismanic garments.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"c. Hegira 1200 / c. AD 1800","location":"Kuala Lumpur","dimensions":"49 x 97cm","provenance":"Turkey","bibliography":"Islamic Arts Museum Malaysia, *Al-Kalima*, Kuala Lumpur: IAMM Publications, 2003: 49.  \nIslamic Arts Museum Malaysia, *Mightier than the Sword*, Kuala Lumpur: IAMM Publications, 2004: 193-195. Islamic Arts Museum Malaysia, *The Message & The Monsoon: Islamic Art of Southeast Asia*, Kuala Lumpur: IAMM Publications, 2005: 136.","dynasty":"Ottoman","materials":["Made from a cenotaph cover, silk lampas"]},"7821de49-1833-5656-935a-de7859fecc1b":{"name":"Jacket","short_description":"Yusuf Bey Karam's jacket, probably worn during the winter months. It is made of dark blue wool, with floral patterns embroidered in black thread and bordered by a black ribbon. The lining is made of a mustard-coloured fabric.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art; Embroidery; Needlework; Handmade"],"materials":["Embroidery; wool"]},"79528dd8-b305-5d0a-99c2-94a3c8d75553":{"name":"Clogs","alternate_name":"*Nanule* (Tr. *nalın*)","description":"*Nanule* (Tr. *nalın*) – clogs from the Museum of Applied Art in Belgrade (a.n. TC-283 (1942)), are made of wood. They have a slightly flared front wedge and a concave back wedge. The toe of the sole is square, and the heel is round. The sole is decorated with intarsia of leaf-shaped medallions with carved vegetal motifs, while along the edges runs a frame of inlaid mother-of-pearl rhombi. The wedges are adorned with carved geometrical motifs. The leather straps that hold the clog on the foot are plain. The clogs were used in the hamam, and belong to the shared dress and living culture of the urban population in the Ottoman Balkans, which had diverse confessional and ethnic backgrounds.","type":"Clothing","holder":"Museum of Applied Art","owner":"Museum of Applied Art, Belgrade","dates":"AH late 13th / AD Late 19th century","location":"Belgrade, Serbia","dimensions":"Length: 23cm, Height: 7cm","place_of_production":"Kosovo","method_for_datation":"By stylistic and comparative analisys with related material.","method_for_provenance":"Research and documentary evidence.","provenance":"Ottoman Empire","obtention":"Purchased in 1956.","bibliography":"Maskareli, D., (2013), 'Tradicija i moda: ženska obuća iz XIX i s početka XX veka u kolekciji Muzeja primenjene umetnosti u Beogradu', *Journal 9 (2013): 93--101.  \n  \nStojanović, D., *(1980), Gradska nošnja u Srbiji tokom XIX i početkom XX veka*, Belgrade: Museum of Applied Art, 1980: cat. nNo. 378.  \n  \nTadić, M., “Od kućnog dvorišta do hamama, sedefli nanule”, *Journal*, 4/5 (2008/2009): 19--31.*","dynasty":"Ottomans","author":"Draginja Maskareli","copy_editor":"Zeina Al Amad","keywords":["nanule, clogs, hamam, Turkish bath, dress, Balkans"],"materials":["Wood, mother-of-pearl, leather; inlay, intarsia, carving"]},"79fded3c-fc12-5fa3-bff4-6820a231b3e4":{"name":"Marriage shawl","short_description":"This loose marriage shawl is decorated with various symbols of fertility. Two large rectangles of red wool are sewn together, and their joining seam is ornately decorated with gold embroidery. The decorations are spread out across the whole cloth, forming a strip of finely woven motifs in the centre, which is surrounded by various traditional figures and patterns. The human figures are characteristic of the (often enigmatic) decorative arts of the towns of El Jem and Ouerdanine, and feature here in addition to the more common motifs such as the fish, the hand, disks, circles, diamonds, crescents, the dove and the camel.","type":"Textiles; dress; embroidery","holder":"Musée des Arts et Traditions Populaires","dates":"19th–20th century","location":"Tunis","dimensions":"H. 454 cm, l. 120 cm","provenance":"El Jem","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Fertility symbols"],"materials":["Emroidered wool"]},"7c5b0aa9-383a-5b52-bc5a-91c986d3c9eb":{"name":"Toiletries","short_description":"In the 19th century the wealthy families of Tunis invented the notion of the knastrou l'aroussa (marriage basket) as a mark of their wealth. Made of engraved or watermarked silver, this basket would contain various toiletries for the bride: a perfume sprinkler (mrach), a khol phial with applicator for the eyes (mokhala), a round or rectangular-framed mirror with engraved floral motifs, and a knife and plate for henna. A pair of clogs (qobqabs) made of wood and covered in silver worn by the bride. As a traditional bath (hammam) was the bride's first event on her wedding day, all her toiletries were set out ready for her, with a series of tools for exfoliation, depilation, application of a clay face mask, and more.","type":"Silver","holder":"Musée des Arts et Traditions Populaires","dates":"19th–20th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Engraved silver; watermarks"],"materials":["Silver plated metal"]},"7f2fed78-da3c-5a60-9d84-6fa3d3fadd64":{"name":"*Kain panjang* (Shoulder or hip cloth)","short_description":"Ceremonial shoulder or hip cloth, predominantly maroon, featuring *pucuk rebung lawi ayam* (bamboo shoot with cockerel's tail) and *bunga rumput* (grass flower) motif.  \n  \nClick [here](https://www.youtube.com/watch?v=QRi5sCkwpgY) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"224 x 89.7cm","provenance":"East Coast, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 60-61.","dynasty":"Malay Sultanate","materials":["Silk *limar* with *songket*"]},"7f865df5-a1bf-51f2-943d-4a9bec647c8f":{"name":"Dress","short_description":"This long dress or *djebba* is made of brocade and has a breast plate on the front. The low-cut sleeves are bordered by a golden ribbon. Jewish women from Constantine wore this long dress, whereas Muslim women wore a slightly shorter one. Although the decoration of the Constantine dress is completely different today, the shape and cut has not changed.","type":"Brocade","holder":"Musée Public National des Arts et Traditions Populaires","dates":"19th century","location":"Algiers","dimensions":"1.41 cm","translator":"Flaminia Baldwin","keywords":["Fashion; Jewish; dress"],"materials":["Brocade and lace trimmings"]},"80deca91-898b-5c5f-bbd8-e342f80ead7f":{"name":"Burqa - Face Cover","short_description":"A rare example of a traditional accessory that adorns nomadic women during special occasions such as weddings, the decorated veil remains a source of honour and identity for Bedouins. It is found across the Middle East, especially in Egypt’s Sinai region, southern Palestine, and the Tabuk region of north-western Saudi Arabia. The veil reflects the shared material culture and long-standing historical interactions across Sinai, the southern Levant, and north-western Arabia.  \n  \nShells, colourful beads and over 350 gold and silver coins adorn this burgundy veil, revealing only the eyes while the burgundy fabric masks the nose, mouth and neck. In a shiny coat of feathers, the coins aim to reflect ill intent, with the Maria Theresa thaler as a central display of wealth and status. Triangle and diamond shapes embody amulet-like powers in thoughtful cross-stitching and beadwork. As a final touch, cowrie shells defend against the evil eye and enhance fertility through their suggestive resemblance.","type":"Costume; Accessory","holder":"FBQ Museum","owner":"Sheikh Faisal Bin Qassim Al Thani","dates":"20th century","location":"Shahaniya","dimensions":"Length: 39cm, Width: 37.5cm","method_for_datation":"The date and origin were derived from an examination of material and technique in a research comparison with similar objects.","method_for_provenance":"The date and origin were derived from an examination of material and technique in a research comparison with similar objects.","provenance":"Sinai, Egypt","obtention":"Purchase","bibliography":"Abu-Rabia, A., \"The Evil Eye and Cultural Beliefs among the Bedouin Tribes of the Negev, Middle East\", *Folklore*, 116 : 3 (2005): 241-254.  \nBille, M., *Being Bedouin Around Petra: Life at a World Heritage Site in the Twenty-First Century*, New York / Oxford: Berghahn Books, 2019.  \nHeller J.,\"Magic, Status and Money\", in Joseph Heller (ed), *Sea Snails*, Cham: Springer, 2015.  \nKawar, W. K., \"The Traditional Palestinian Costume\", *Journal of Palestine Studies*, 10 : 1 (1980): 118-129.  \nRansom, M., *Silver Treasures from the Land of Sheba: Regional Yemeni Jewelry*, Cairo / New York: American University in Cairo Press, 2014.","author":"Sarah Schroeder","copy_editor":"Valerie Pulsifer","keywords":["Textile; Palestine; Bedouin; Coins; Burqa"],"materials":["Textile, copper, silver, ivory, shell, plastic"]},"83550dcd-d5fe-53bf-ba81-33534dbf86ed":{"name":"Lace skirt","short_description":"Skirt of light pink lace with black flowers, pursed from the middle, worn over a woman’s dress. This object illustrates the variegated population composition of Jordan in the late 19th and early 20th centuries, the various local costumes and rites, fashion and personal attire. This skirt was used by al-Druze women in Jordan. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Lace; skirt"],"materials":["Lace; machine weaving"]},"84d4fca3-e4d2-596e-bea2-0a5eda7a5ccf":{"name":"Traditional dress for a *shaykh* or *shaykha*","short_description":"Featured here is the traditional dress for the *shaykh* and *shaykha* of the Keserwan district. The *kubran* is an embroidered jacket (with or without sleeves) made of silk or velvet. The *gumbaz* is a long dress or coat embroidered with gold or silver and sometimes adorned with semi-precious jewels. It consisted of three panels and was split on either side of the body, beginning from the hip area. Other components of this traditional attire were a *mentiene* (blouse), the *shirwal* baggy trousers, a velvet or satin cape with gold or silver embroidery, and a long belt called a *shamle* or *zunnar* made of silk or cashmere depending on the season, and which was wrapped around the waist or hips.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Clothes; Tradition; Luxury; Fashion"],"materials":["The original were made of silk, velvet, gemstones, cashmere, satin, gold, silver"]},"8965ef4e-0491-5348-8ff0-02681f79580f":{"name":"Woman’s court robe (*conteş*)","short_description":"This *seraser* silk was discovered in the latter half of the nineteenth century in a monastery located in the historical region of Oltenia (southwestern Romania), probably at Bistriţa, where it was preserved as an ecclesiastical cope. A hundred years later, following ample restoration undertaken at the Museum, it regained its original form, namely that of a woman’s court robe. It can be assumed that the robe had been donated to the monastery by a boyar’s family, which testifies to the wealth and refinement of the Romanian aristocracy in the sixteenth century, given the fact that *seraser* silk was by far the most precious Ottoman textile, covered ‘from end to end’ with silver and silver-gilt thread. The robe features a design of large palmette garlands, outlined with green silk, each of which encloses a circular motif and a crescent. Between the garlands, circular motifs surrounding a star.","type":"Costume","holder":"The National Museum of Art of Romania","dates":"Hegira 10th century / AD 16th century","location":"Bucharest","dimensions":"Height: 151cm (from collar to hem on the back)","method_for_datation":"Stylistic analysis, comparison with related objects; technique","method_for_provenance":"Stylistic analysis","provenance":"Bursa or Istanbul, Turkey","obtention":"Transferred from the collection of the Commission on Historical Monuments in 1949.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W. and Tezcan, H., *Ipek. Imperial Ottoman Silks and Velvets*, London: Azimuth Editions, 2001: 259, fig. 179.  \nLăzărescu, A., *Arta Ţării Româneşti în secolele XIV-XVI*, Bucharest: National Museum of Art of Romania, 2001: 127-128, cat. no. 49.  \nNicolescu, C., *Costumul de curte în Ţările Române (sec. XIV-XVIII)*, Bucharest: National Museum of Art of Romania, 1970: 35, cat. no. 4, fig. 11-14.","dynasty":"Ottoman","author":"Mircea Dunca","keywords":["Seraser"],"materials":["Woven silk, silver and silver-gilt thread"]},"89881283-d829-5946-bd7c-505438d8c8c0":{"name":"Costume for Cleopatra in the Ballets Russes production of *Cléopâtre*, 1918","short_description":"The sets and many costumes for the 1909 *Cleopatre* were destroyed in a fire during the company’s 1917 South American tour, so painter Sonia Delaunay was commissioned to fashion new costumes for the principals. The artist’s palette of brilliant color, graphic design, and combination of textures resulted in costumes markedly different from the originals. Cleopatra’s luminous dress, reflecting the abstract forms in Sonia Delaunay’s paintings, as well as aspects of fashionable dress of the period, remains one of her most significant creations for the theatre.","type":"Costume; costume for theatre","holder":"Los Angeles County Museum of Art (LACMA)","dates":"1918","location":"Los Angeles","author":"Kaye Spilker","keywords":["Clothing; theatre; dance; fashion; abstract decoration; exoticism; textile; painting; coreography; abstract art; avant-garde"],"materials":["Silk, sequins, mirror, beads, wool yarn, metallic thread braid, lamé"],"artist":"Sonia Terk Delaunay (born Russia, active France, 1885-1979)"},"8b0ba994-910a-52d0-99bb-c869a430a235":{"name":"Woman’s dress (*entari*)","short_description":"The floor-length overcoat, flaring below, has a low, lancet-oval décolleté. The fineness of workmanship indicates a production in the context of the Court. The sleeves are overlong, slit below and lined with embroidered top fabric. The dress is fastened in the middle more or less to the waist with twelve ornamentally trimmed buttons. The tambour embroidery includes floral scrolls and bunches of flowers as well as miniature architectural motifs and birds.","type":"Ottoman dress, silk, cotton, embroidery, garment","holder":"MAK – Museum of Applied Arts","dates":"18th – 19th century","location":"Vienna","dimensions":"H: 136.5cm, W: 197cm","provenance":"Ottoman empire, Anatolia","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-95627","author":"Martina Dax","keywords":["women; costume; Ottoman costume; dress; workshop; Floral decoration"],"materials":["Silk, cotton; Embroidery"]},"8c4076d1-62c9-5729-a3d5-d8c91345437b":{"name":"Bridal headdress","description":"An example of coin-adorned accessories from Palestine dating to the early twentieth century, this bridal headdress originates from the villages of the Jaffa area. The coins incorporated into bridal ornaments symbolised part of the bride’s dowry, traditionally gifted by the groom’s family and considered her personal property, which she could keep and use according to her wishes. The embroidered motifs and techniques featured on the headdress are characteristic of the Jaffa region’s village dress traditions and are also found on women’s garments from the area.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","dates":"ca. 1930","location":"Amman","dimensions":"Height: 48 cm; width 32cm","place_of_production":"Jaffa villages, Palestine","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Accessory; Wedding; Marriage; Ceremony; Ornamentation"],"materials":["Cotton, silk, coins"]},"8d188108-655f-550e-b130-a0eb24f32b9c":{"name":"Headdress","short_description":"Three bands of silver (800) chain fitted around the sides and over the crown of the head; 1/4 Ottoman coins (*barah*s) are fixed in the inner section of the band. This kind of jewellery was part of the dowry the groom gave to the bride. Dowries consisted mostly of silver jewellery because only the rich could afford gold jewellery. Thus, the financial status of the groom was highlighted by the jewellery he could give as a dowry and by the use of coins as pieces of jewellery for his wife.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Northern Jordan, (Irbid, Ajlun, Ramtha)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver chain; Ottoman coins"],"materials":["Silver; casting, welding"]},"901912af-e2dd-5692-a2e7-be09e9e75334":{"name":"'Abaya-style dress","description":"This ‘abaya style dress incorporates a variety of fabrics sourced from all over the world brought together into a vibrant yet harmonious piece.   Colourful Indian and Southeast Asian textiles in the form of silk ikats and brocaded sari borders sit alongside embroidered suzani panels from Central Asia and plain coloured textiles sourced in the United Kingdom or the Middle East.  Designed by Thea Porter for Thea Porter Couture, this garment harked exoticism.  In line with fashion trends of the 1970s, designers such as Porter looked to Middle Eastern, South Asian and Central Asian textiles for inspiration, incorporating them into their designs. Such bright textiles with their vibrant colour combinations, textures, and bold patterns spoke to notions of travel to exotic destination, highlighted exposure to different cultures, and in an era of synthetic fibres, placed emphasis on natural materials and the handmade.  Born in Jerusalem but having lived in Damascus and Beirut, Porter introduced her Western clientèle to voluminous Arab-style over-garments such as ‘abayas and thawbs.    Her loose shapes and her innate understanding and choice of fabrics appealed to many with Porter being credited with bringing the bohemian look to London catwalks.","type":"Dress","holder":"British Museum","dates":"1970-1977","location":"London","dimensions":"Length: 155cm, Width: 227cm","obtention":"Gift of Venetia Porter in memory of Thea Porter (formerly in the collection of Honor Frost).","bibliography":"Fahmida, Suleman, *Textiles of the Middle East and Central Asia:The fabric of Life*, London: Thames and Hudson in collaboration with the British Museum, 2017: 19.","artist_birthdate":"1927","artist_birthplace":"Jerusalem","artist_deathdate":"2000","artist_deathplace":"London","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_2016-6045-1"},"922e411d-1b69-5d14-ac14-e76be57376fa":{"name":"Kaftan.","description":"A woman's garment, rectangular in shape, widening slightly towards the top and open at the front with long, wide sleeves. Braided conical buttons fasten the garment at the top.  \nThe word 'kaftan' was originally Persian and was adopted by the Ottomans to describe their emperor's dress. It would have been introduced in Morocco by the Sa'did king 'Abd al-Malik (r. AH 984–6 / AD 1576–8), who had lived in Algiers and Istanbul and would have borrowed the word from the Turks. Adopted firstly by the dignitaries and women of the palace, kaftans became fashionable among the middle classes from the late AH 10th / AD 17th century, if the accounts of European travellers are to be believed. Each of the large towns had a particular variation of this type of costume, which would have been covered with a light tunic. Its shape and decoration tell us that this kaftan is from Tetouan. It would not have been hidden under a tunic and would have been worn above a bolero made in the same way and in the same material. Embroidered with gold thread, gold braids and frogging, its arborescent decoration is reminiscent of the designs on the dresses and boleros of Ottoman women in Algeria.","short_description":"This woman's garment is rectangular and slightly opened at the front. It would have been worn above a bolero, and the braided buttons fastened the top of the garment. Its gold thread and gold braiding decoration would have been inspired by the clothes worn by Ottoman women in Algiers.","type":"Costume, textile","holder":"Museum of the Udayas.","dates":"Hegira 13th century / AD 19th century.","location":"Rabat.","dimensions":"Length 140 cm, top width 145 cm, bottom width 100 cm.","method_for_datation":"This type of kaftan was produced only in Tetouan and was worn only by middle-class women in the north of Morocco.","method_for_provenance":"This type of kaftan was no longer worn at the beginning of the 20th century.","provenance":"Tetouan, Morocco.","obtention":"Purchased.","bibliography":"Besancenot, J., *Costumes et types du Maroc*, Paris, 1940.  \n  \nDiouri, Z., El Idrissi, A., Khlifi, F.Z., and Ait M'barek, S., *[Le caftan marocain](https://images.museumwnf.org/hi_res/thematic_gallery/thg_galleries/47/related_content/27/en/1.pdf)*, Rabat: Foundation Nationale des Musées, 2025.  \n  \nLemprière, G., *Voyage dans l'Empire du Maroc et le Royaume de Fès, fait pendant les années 1790 et 1791*, Paris, 1801.  \n  \nMiège, J.-L., Benaboud, M., Erzini N., *Tétouan, ville andalouse marocaine*, Paris, 1996.  \n  \nPidou de Saint-Olon, F. *Relation de l'Empire de Maroc où l'on voit la situation du pays…*, Paris, 1694.","dynasty":"'Alawid","linkcatalogs":"IAM_MA_EN_001","author":"Naima El Khatib-Boujibar","copy_editor":"Margot Cortez","translator":"Laurence Nunny","translation_copy_editor":"Monica Allen","keywords":["geometric decoration; floral decoration; costume; women"],"materials":["Velvet, gold embroidery, frogging."]},"92c6732e-264e-56fc-b2bd-43a71e310d3b":{"name":"Traditional dress worn by the Emir of the Chouf district","short_description":"This was the formal dress of the Emir of the Chouf district. It consists of traditional *shirwal* trousers and a silk jacket with embroidered patterns.","type":"Drawing; clothes; dress; costume","holder":"Papou Lahoud Couture","dates":"19th century (costume); contemporary drawing","location":"Beirut","provenance":"Lebanon","author":"Jeff El-Msanne, Hassan El Masri, Remy Nader","copy_editor":"Flaminia Baldwin","keywords":["Fashion; Design; Clothes; Tradition"],"materials":["The original was made of silk and cashmere"]},"92dacff0-b9ed-51f4-8929-313eefaa5ba9":{"name":"Coat of a bedouin collected during the Expedition of the Austrian Ship Pola under the command of Paul von Pott to explore the Red Sea","short_description":"This Bedouin shirt from Palmyra, Syria was collected by an Austrian officer named Karl Alexander Anselm Freiherr von Hügel. He left the army in 1824 and organized a long voyage, which took him from France to the Near East. He first visited Syria and Palestine, then reached Mumbai, India in 1832. From 1832 to 1836 he travelled widely in India, until he returned to Europe.","type":"Costume","holder":"Kunsthistorisches Museum, Weltmuseum","dates":"1839","location":"Vienna","dimensions":"Length 293 cm, Width 63 cm","copy_editor":"Daniel de la Vega","keywords":["Palmyra; Syria; Palestine; Bedouins; textile; exploration; travel; traveller"],"materials":["Cotton"]},"94c59dc9-5032-599d-bcf3-18eec377e4fa":{"name":"Velvet embroidered kaftan","short_description":"This purple velvet kaftan is decorated with gold and silver braided trimmings and embroidered with silver and golden metal thread. It is fitted with mid-length sleeves embellished with a large \"lyonnais\" ribbon. The chest is covered by a large breastplate, split into two symmetrical halves, and adorned with large buttons of gold lace. The embroidery on the breastplate features two peacocks facing, on each side, a bowl with floral motifs. The kaftan is lined with a pale blue satinette on the outer rims with a pattern of swallows' wings sewn on. The kaftan, a particularly lavish item in the 19th century, was typically worn for marriage ceremonies, usually with calf-length trousers.","type":"Textiles; dress; embroidery","holder":"Musée des Arts et Traditions Populaires","dates":"19th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Kaftan; braided trimmings"],"materials":["Velvet fabric, braided trimmings, silver thread with white and gold"]},"9543dd9a-7bf0-51dd-86f0-064bea14a470":{"name":"Asbe woman's headdress","description":"Traditional Jordanian headpieces worn across northern and central Jordan, crafted from richly patterned fabric woven in Syria using the brocade technique. The headpiece is worn wrapped around the head and placed on top, traditionally appearing in black or red.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1935","location":"Amman","dimensions":"Height: 125 cm and 147 cm; width: 125 cm and 138 cm","place_of_production":"Central Jordan (Salt,  Karak, Jordan Valley)","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Clothing; Brocade; Textile; weave; silk"],"materials":["Silk, metal"]},"9729e384-0aab-59c6-bb73-2a5621d81218":{"name":"Bridal headdress (*Tepelak* – tas)","short_description":"Jewellery worn on the head included diverse types of metal articles which served to support the hat or scarf and also had an apotropaic function in addition to their decorative one. Especially noteworthy head-pieces were *tepelaks*. These are headdresses of round form, sometimes slightly concave, abundantly adorned with chains, smaller or larger silver coins and with *trepkas* (tiny ornaments in diverse forms – round, leaf-shaped, rectangular, heart-shaped, etc.). *Tepelaks* used to be worn everywhere in Macedonia, particularly in the Kumanovo, Skopje, Gostivar and Gevgelija regions, as well as within Vlachs. This piece of bridal *tepelak-tas* was made by application of filigree technique. It is abundantly decorated with coins suspended on tiny chains.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"Diameter 16 cm","provenance":"Mavrovsko Pole","artist_deathdate":"","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Head-dress; tepelak; coin; coinage; currency; numismatics; tughra; marriage; wedding; fashion; costume"],"materials":["Gilt silver, casting, filigree, adornment with small coins"]},"97603dc7-78b0-567d-995d-706683438f46":{"name":"Wedding dress","short_description":"The main fabric of this wedding dress is linen with silk selvedge stripes, with red and yellow taffeta inserts in the sleeves and skirt; the chest panel is couched with gilt cord and yellow, green and purple silk cord, and filled with multi-coloured stain and herringbone stitches. Palestinian weavers used manual spindles to prepare the cotton and linen threads imported from Egypt. Ashkelon weavers used light vertical hand looms (*Majdalawi* looms) to produce linen fabrics, while silk fabrics were spindled, died and woven in Syria. The Jordanian economy in the late 19th and early 20th centuries relied on trade and crafts; new waves of people started to come to Jordan to participate in those industries. This object shows the diverse population composition of Jordan at that time, through personal attire, fashion, local costumes and rites.","type":"Clothing; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 145 cm, bottom circumference 94 cm","provenance":"Palestine, Bethlehem area","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Silk; linen"],"materials":["Linen with silk; hand weaving, hand embroidered, natural dyes"]},"98c3852e-4d88-54fc-b204-73d1b0245994":{"name":"Fan","description":"This fan was used by the Queen Maria Cristina of Spain and showed that the influence of the Orientalism or Neo-Mudéjar style had arrived in lace design. This lace has pointed arches and interlacing decoration very similar to Arab patterns.","type":"Accessories","holder":"National Museum of Decorative Arts","dates":"1905-1910","location":"Madrid","dimensions":"26,5 x 52 cm","provenance":"Portugal/possibly Belgium (lace)","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Orientalism; Applied Arts"],"materials":["Lace and tortoiseshell; diamonds and pearls"],"artist":"Leitao"},"9a135c4c-830c-5fdd-a5e6-61129754ecfd":{"name":"Bridal breast jewellery (*Chaprag*)","short_description":"This exquisite article called a *chaprag* shows the exceptional skill and inventiveness of the unknown goldsmith, who makes each piece of jewellery a virtual work of art in itself. The *chaprag* is a breast ornament consisting of a round plate and tiny chains. It is executed in filigree technique and adorned with decorative stones. Besides its decorative function, it was applied for the purpose of fastening the cleavage of the tunic. It was characteristic of the Ohrid-Prespa region, that is, the areas of Ohridsko Pole, Strushko Pole and Debarski Drimkol.","type":"Traditional jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"33 cm","provenance":"Struga","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Breast ornament; coin; coinage; currency; numismatics; accessories; costume; wedding; marriage"],"materials":["Filigree, combined technique"]},"9aa9bf06-9414-5502-8c25-a49ce6269462":{"name":"Belt","short_description":"A Circassian belt with 15 silver and niello-decorated buckles connected together to form the belt; there is a rosette shape at the end with locking mechanism and three dangling silver tassels. This belt, together with the dagger, was an accessory forming the traditional male Circassian dress. The Circassians used to carry daggers which were an essential part of the national dress. The immigration of the Circassians to the Ottoman Empire started in the middle of 19th century and continued until 1900. The Circassian communities migrated mostly to the eastern Arab countries with which they had spiritual and religious links.","type":"Clothing ornament; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Length 80.5 cm","provenance":"Caucasus","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["silver; niello; rosette; belt"],"materials":["Silver with niello; casting"]},"9b44d0ac-222b-523a-ae62-0176f671ccfa":{"name":"Waistcoat.","description":"The waistcoat is made of green velvet and displays rich decoration. Silver braid borders all the edges. In addition, the neckline and each side of the double row of buttons are highlighted by a broad strip of patterned fabric. The green velvet is symmetrically embroidered with a design that includes elements of European rococo. The waistcoat is closed by two rows of 17 buttons. Inside, the waistcoat is lined with printed cotton showing flowers within squares.","short_description":"Waistcoat made of green velvet lined with printed cotton and closed by two rows of 17 buttons. Its embroidery shows European influence.","type":"Velvet, cotton, embroidery, metal thread, costume","holder":"Museum of Mediterranean and Near Eastern Antiquities (Medelhavsmuseet).","owner":"National Museum of Fine Arts, Stockholm. In order to reorganise the expanding collections, the main part of the Islamic collection has been on permanent loan to the Museum of Mediterranean and Near Eastern Antiquities since 1982.","dates":"Hegira 13th century / AD 19th century.","location":"Stockholm","dimensions":"Length 37 cm.","method_for_datation":"Metal thread embroidery was the preferred technique for Ottoman urban pieces of the 13th / 19th century frequently showing European influence in their designs.","method_for_provenance":"High-quality Ottoman metal-thread embroideries are products of the professional workshops of Istanbul and Bursa.","provenance":"Istanbul or Bursa, Turkey.","obtention":"Purchased from the collection of F. R. Martin in 1898.","bibliography":"Johnstone, P., *Turkish Embroidery*, Victoria and Albert Museum, London, 1985.  \nTaylor, R., *Ottoman Embroidery*, London, 1993.  \nTher, U., *Floral Messages: From Ottoman Court Embroideries to Anatolian Trousseau Chests*, Bremen, 1993.  \n*Türkische Kunst und Kultur aus Osmanischer Zeit*, Museum für Kunsthandwerk Frankfurt, Exhibition catalogue, Vol. 2, Recklinghausen, 1985.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Embroidery; clothing; costume"],"materials":["Velvet, printed cotton, gold metal thread; needlework, embroidery."]},"9b83a66c-2937-5afb-80f5-4db5f45d441b":{"name":"Slippers","description":"The slippers are handcrafted and embroidered by hand, their unique creation emphasizing their value. This type of footwear demonstrates the influence of oriental art in the technical work of 19th century European artisans, and the great fascination with the objects coming from the East that refer to the luxurious craftsmanship of these countries.","type":"Personal ornaments; Fashion complements","holder":"National Museum of Romanticism","dates":"19th century","location":"Madrid","dimensions":"21,5 x 10 x 4 cm","author":"Mercedes Rodríguez Collado","copy_editor":"Anne Dowell","keywords":["Shoes; Silk; Turkish fashion"],"materials":["Silk, metallic thread, leather; velvet, sewn, embroidered, tanning"]},"9c6f1f64-15f3-5d35-93ad-16dc50cc2b9f":{"name":"Coat","description":"Coat in green velvet completely decorated in flowers and leaves in gold with the stencil technique. It is lined with a silk and has a green velvet belt.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1914 – c. 1930","location":"Madrid","dimensions":"Height 104 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Turkish influence; Costume; Design"],"materials":["Silk, velvet"],"artist":"Mariano Fortuny y Madrazo"},"9d7d8f95-c69d-5158-8fc8-44463428b5eb":{"name":"Shapeable cloak","description":"From the 1970s to the 1990s, important figures in fashion like Ursula Rodel, Ruth Grüninger, Hannes Bühler, Ida Gut, and Dorothee Vogel influenced the Swiss designer Christa de Carouge whose work represented a new departure for Swiss fashion. Japan also inspired her, and she created pieces that became a part of the women who wore them — which is especially true in the case of this cloak. Its silk fabric combined with copper wire allowed the wearer to shape it with her hands to create an object in the form she desired.","type":"Cloak","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1994","location":"Zurich","dimensions":"H: 113cm","method_for_datation":"Information by the Designer","provenance":"Switzerland, Zurich","obtention":"Bought in 1994","workshop":"Jakob Schlaepfer AG, St. Gallen","keywords":["Shapeable; Coat; Silk; Christa de Carouge; Zurich"],"materials":["Silk, copper wire"]},"9e27b5b2-30a6-5252-a26a-4aac66765be3":{"name":"Silk coat","short_description":"The coat is made of two patterned textiles. The first, a fine late-Sasanian samite with a design of roundels enclosing a peacock in profile, is used mainly around the edges (textile A). The second, a samite of medium quality with a design of roundels enclosing a peacock presented frontally, forms the principal parts of the coat and was most probably made by Iranian weavers working in China (textile B). The lining, which survives mostly in the sleeves, is a purplish-brown self-patterned tabby silk of Chinese origin, (textile C). Its design is based on overlapping ovals enclosing a seated ruler, paired animals or birds and a fantastic animal, perhaps a dragon. In addition, two plain tabby fabrics are used as a facing inside the extremities of the coat and an interlining for the collar. Alterations to the coat appear to have involved adding the second samite, textile B, so that it became the its principal textile.  \nAlthough these precious samites have been cut up into much smaller pieces than should have been necessary, this kind of garment construction is evidently a common feature among finds from Dulan, the site from which the coat almost certainly comes.  \n**Additions to dating**  \nTextile A  \nC-14 dating: AD 533–615 (87.4% probability). Because of its evolved design, the actual date must be closer to the end of this range.  \nTextile B  \nC-14 dating: two date ranges, AD 430–93 and AD 530–96 (95.4% probability). The actual date is more likely to be at the upper end of the second range, close to 600 AD.  \nTextile C  \nThe approximate date of this lining silk can be estimated as c. 600 AD, because a yellow fragment with the same weave and design was found in a tomb at Astana, near Turfan, with documents dating between AD 541–622.","type":"Textile; coat; long-sleeved coat; silk; samite (*samit*)","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"Around 600 AD  \nFor further details refer to the description","location":"London","dimensions":"L: 148cm, W: 216cm (sleeves outstretched)","method_for_datation":"Dates are based on C-14 tests. Provenance is based on comparisons with excavated material.","provenance":"Iran and China","bibliography":"Granger-Taylor, H., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[Title in preparation / forthcoming\\]","dynasty":"Sassanid","keywords":["Iran; China; Sasanid; textile; bird; dragon;  tabby weave; silk"],"materials":["Five different silk textiles: two samites, a self-patterned tabby and two plain tabbies"]},"9f475267-426c-5190-b0b3-f114b5dfce94":{"name":"Embroidered Safavid coat","short_description":"The voluminous men’s coat reaching half way down the thighs is embroidered with a pattern of figures, cypresses, blossoming trees and small ponds. Enthroned men under baldachins are each flanked by a guard with bow and arrow and a woman carrying a peacock. Comparable motifs on textiles and in sixteenth-century miniatures show that the elaborately designed type of garment was widespread. Similar exquisite articles of clothing served as gifts of the rulers to their retinue and were usually not intended for daily use.","type":"Safavid Iranian embroidered jacket","holder":"MAK – Museum of Applied Arts","dates":"c. 1600","location":"Vienna","dimensions":"H: 117cm, W: 207cm","provenance":"Iran","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-94636","author":"Martina Dax","keywords":["Embroidery; Safawid; silk; linen; cotton; textile; floral decoration; figurative decoration; court life; costume"],"materials":["Silk, linen, cotton; Embroidery"]},"9f97dfd5-8a30-53f7-9503-d00f973c94b8":{"name":"Jacket","short_description":"Yusuf Bey Karam's formal jacket, which he wore for his welcome ceremony in exile. It is made of pure black wool with floral patterns embroidered in golden thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"1860s","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral decoration; Embroidery; Needlework; Handmade"],"materials":["Embroidery; wool"]},"9ff5077e-cf93-5273-8105-87762d317700":{"name":"*Ihram* belt","short_description":"This *ihram* belt would have been worn by a male pilgrim, and used for carrying valuables while performing the Hajj rites. The *ihram* garment for men consists of two pieces of unstitched white cloth. One cloth (the *rida’*) is worn around the upper body while the other (the *izar*) would be worn wrapped around the lower body. This belt would have been worn around the waist on top of the *izar*. The inscription upon the belt wishes the wearer good health.  \nAs well as referring to ritual clothing, *ihram* also donates a state of mind in which a Muslim must enter in order to embark on Hajj. During this period, pilgrims must adhere to certain rules, for instance men and women are both forbidden from killing animals, uprooting trees, or cutting their nails or hair.","type":"Belt; clothing; money; *ihram*","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"118x8cm","method_for_datation":"Provenance and date are based on stylistic grounds","provenance":"Turkey","dynasty":"Ottoman","author":"Qaisra Khan","keywords":["Belt; Clothing; Hajj; Hijaz; Holy place; Ka'ba; Medina; Mosque; Pilgrimage; Prayer; Prophet Muhammad; Religion; Travel; Mecca"],"materials":["Leather, silk and linen with metal fittings"]},"a21ee902-973e-5d31-8729-1620d2b89aae":{"name":"Kaftan.","description":"The red caftan with its wide sleeves is part of the costume of an Algerian woman. The fine, shiny silk shows a floral pattern of large blossoms and leaves. The gold-thread embroidery of the neckline and on both sides of the buttons is the only additional ornamentation. The sparing but effective use of the gold thread and the contrast of the colours emphasise the precious character of this garment.  \nTogether with headdress and shoes, this kaftan was part of a large gift presented by Ali Pasha of Algiers to the Swedish king in AH 1144 / AD 1731 in connection with the peace treaty between Sweden and Algeria.","short_description":"The red caftan with its wide sleeves is part of the costume of an Algerian woman. The fine, shiny silk shows a floral pattern of large blossoms and leaves. The gold-thread embroidery of the neckline and on both sides of the buttons is the only additional ornamentation. The sparing but effective use of the gold thread and the contrast of the colours emphasise the precious character of this garment.  \nTogether with headdress and shoes, this kaftan was part of a large gift presented by Ali Pasha of Algiers to the Swedish king in AH 1144 / AD 1731 in connection with the peace treaty between Sweden and Algeria.","type":"Ottoman costumes, Silk, linen, gold","holder":"Royal Armoury (Livrustkammaren).","initial_owner":"Ali Pasha, Dey of Algiers.","dates":"in the years before Hegira 1144 / AD 1731.","location":"Stockholm","dimensions":"Length 125 cm, width 79 cm.","method_for_datation":"The kaftan was given as a present in 1144/ 1731. It is likely that it was made in the years before.","method_for_provenance":"According to the former owner, Ali Pasha, who was Dey of Algiers.","provenance":"Algeria.","obtention":"As a royal museum the Royal Armoury houses gifts presented to the Swedish kings.","bibliography":"Royal Armoury, *Gåvor från Österland*, cat. no. 87, Stockholm, 2001.","dynasty":"Ottoman","author":"Friederike Voigt","copy_editor":"Monica Allen","keywords":["Textile; embroidery; costume; women; diplomatic gifts"],"materials":["Silk, linen, gold thread; embroidery."]},"a2ba32a3-7747-5b54-b011-e71d3a84e08c":{"name":"Dress","description":"Pink silk twill dress lined with cotton, long-sleeved and high-waisted. The neckline is round in the front and triangle-shaped in the back. The upper bodice area is boned. Both breasts are marked with a U-shaped pleating. The skirt is soberly straight in front but it gains volume towards the back, ending in a short trail. The dress is fastened with invisible hooks at the back and adorned with buttons covered in the same silk fabric. The lower end presents a wide multi-coloured paisley frieze; each drop is composed of minute woven flowers. This elegant dress is a late variation of Empire dresses; the slender high-waisted silhouette is the same, but the fabric is thicker, the neckline has turned more modest and the long sleeves go down to cover part of the hands.","type":"Costume; Fashion","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1810","location":"Madrid","dimensions":"Width 38 cm, Height (front) 121 cm, Height (back) 112 cm, Sleeve length 61 cm, Diameter 233 cm","author":"Irene Seco","copy_editor":"Anne Dowell","keywords":["Costume; geometric decoration; commerce; Empire dress; 19th century"],"materials":["Silk, cotton, metal, bone; taffeta, twill, boning"]},"a2f41b51-30af-503a-a290-05cb553751f2":{"name":"Part of a veil","short_description":"Five lines of gold ¼ Ottoman lira and other type of coins sewn together on a piece of cloth; such pieces were usually affixed above the nose on the veils, *burqu'*, of women of Beer Sheba. Fashion, local costumes and rites in the territories of Jordan and Palestine show identical elements, as this veil illustrates. It is one of the many examples of jewellery made with Ottoman coins to decorate veils and dresses. Jewellery was an important accessory for married women because pieces of jewellery constituted part of the dowry their husbands gave them for marriage. Jewellery was also a symbol of financial prestige: the more precious it was, the richer the husband’s family. Silver jewellery was the most common because only rich people could afford gold jewellery.","type":"Clothing ornaments; dress; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","provenance":"South Palestine (Beer Sheba)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Gold; Ottoman coins; above the nose; piece of cloth"],"materials":["Gold, cotton; casting weaving, sewn"]},"a399cdfb-dda0-5b17-89ab-56d6fc1c5bcb":{"name":"A *chādri* grill","short_description":"This grill dates from the early 20th century. It is embroidered with flowers, with the names of Allah, Muhammad, Fatima, Hasan and Husayn, and with the Muslim declaration of belief.  \nIn 1997, the religious police decreed all women in Afghanistan must wear the *chādri* in public. This brought about a significant change for women. Women who were improperly covered outside their home were punished severely, along with their family elders, or risked being beaten in public by Taliban militiamen. In present-day Europe, migrant communities’ legitimate demands for equal representation of their religious values and symbols has aroused a counter-discourse, mainly led by populist politicians, against the cultural and religious demands of pluralism. Due to the increasing presence of Islam in the public sphere the *chādri* and other items of Islamic/Islamist women’s clothing are no longer seen as a mere signs of subservience but have shifted to become symbols of terrorism.","type":"Clothing; religion","holder":"Weltmuseum Wien","dates":"1900-1920","location":"Vienna","dimensions":"H: 36cm, W: 23cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Central Afghanistan; Hazara","obtention":"Catalog entry: \"Purchased from the Amsterdambased dealer in ethnographica, Saskia Wessel, 1982.\"","bibliography":"Steinmann, Axel, *Afghanistan, exhibition catalogue*, Vienna: Museum für Völkerkunde, 2003: 63.  \nSteinmann, Axel, \"Gesichtsgitter für einen Ganzkörperschleier\", in Sylvia Ferino-Pagden (ed), *Wir sind Maske, exhibition catalogue*, Milan: Silvana Editoiriale and Vienna/ Kunsthistorisches Museum Wien, 2009: cat. no. 11.15, 128-129.  \nSteinmann, Axel, \"A chādri grill\", in Anne-Marie Bouttiaux and Anna Seiderer (eds), *Fetisch Modernity, exhibition catalogue*, Tervuren: Royal Museum for Central Africa, 2011: 116.","materials":["Cotton"]},"a46e6bab-37d1-5f3c-a753-4f870c27eaf0":{"name":"Babouches [slippers] given to the King of Italy by an Ambassador from Morocco visiting Italy in 1890","short_description":"In 1890, the Sultan of Morocco sent Hagi El Maati el Mazamizi as an ambassador to Italy. The Ambassador landed in Naples on June 7th and arrived by train in Rome on June 13th. At the railway station he was received by the Mayor or Rome, the Prefect, and other authorities. A military band was playing and military men in high uniform were paraded in the station to greet the Ambassador.  \nOutside the station, three of the King’s gala carriages were waiting for the Ambassador and a military unit was paraded in his honour. Some carabinieri in high uniform escorted the Ambassador to the hotel.  \nHagi El Maati el Mazamizi presented the King with gifts, including some superb horses that the King immensely appreciated. The King presented the Ambassador with a magnificent small gold and diamond box and a hunting rifle and gave gold watches to the members of his escort.","type":"Babouches","holder":"National Museum of Prehistory and Ethnography","dates":"Late 19th century","location":"Rome","author":"Vito Lattanzi, Giulia Barrera","copy_editor":"Anne Dowell","materials":["Velvet; gold embroidery; leather"]},"a69264a8-566e-5e69-9661-65f4191695c9":{"name":"Gold-embroidered, velvet Waistcoat","short_description":"In the context of rising nationalisms, traditional costume played an important role, both in Europe and – to a lesser extent – in the Middle East.This long waistcoat is made of purple velvet with printed cotton lining. It carries extensive embroidery executed in gold-coloured metal thread, highlighting in particular the collar, the edges of the garment and the side pockets. Further ornamentation enhances the back. In the context of rising nationalisms, traditional costume played an important role, both in Europe and – to a lesser extent – in the Middle East. This waist coat may originally have been made in one of the European provinces of the Ottoman Empire, as it shows certain similarities with costume from the Balkans.","type":"Costume","holder":"Sharjah Museum of Islamic Civilisation / Sharjah Museums Department","dates":"Hegira late 13th – early 14th century / AD late 19th – early 20th century","location":"Sharjah","dimensions":"Length 560 mm, width 400 mm, 130 xx","provenance":"Ottoman empire","author":"Ulrike Al-Khamis","materials":["Velvet, cotton, metal thread"],"artist":"Unknown"},"ad65725a-43b5-5119-ab17-edebfab3d1ae":{"name":"Tantura","short_description":"Woman's head-dress found on Mount Lebanon. Associated with the Druze. This type of headdress disappeared between 1860 and 1880 following changes in the Mount Lebanon political structure with the stronger centralisation of the Ottoman government.","type":"Headgear","holder":"The British Museum","dates":"Late 18th century to mid 19th century","location":"London","provenance":"Levant","keywords":["costume; fashion; women; metalwork; accessories"]},"ae76a20b-77b1-575a-ab1c-36776cb0c633":{"name":"Fragment of a robe.","description":"This fragment shows two dark blue friezes facing each other, each featuring white *kufic* inscriptions surrounded by pink tendrils with white blossoms. A third frieze, composed of red rosettes with white four-petalled flowers, and framed on either side with waves of brown tendrils on a green background, sits between the two inscription friezes.  \nThis small fragment, which originally formed part of a much larger *tiraz* band, was identified as having been commissioned for the Fatimid ruler Al-Mustansir billah by comparing it with a similar inscription on a nearly identical piece in the Victoria and Albert Museum, London. The *kufic* text in the upper frieze on the Berlin fragment reads ‘In the name of God the merciful and good. There is no God other than God. M(ohammed is the envoy of God)’. This represents, therefore, the message of Islam. The text in the lower frieze reads ‘…this was commissioned by the vizier, the great…’. The term *tiraz* was derived from the name of the workshops where the cloths with the inscriptions, the *tiraz*, were woven. These robes of honour were manufactured for caliphs and high-ranking nobles in the workshops of the royal court. The *tiraz* were given to local or foreign high-ranking persons as a reward for their services. Medieval sources referred to them as valuable objects. The majority of *tiraz* bands come from Egypt, as these fabrics were preserved very well in the very dry climate and, if buried, the extremely dry earth.","short_description":"Cotton textiles with silk embroidery were produced in court workshops in Fatimid Egypt and were called *tiraz* because of the inscriptions which often gave the name of the workshop and the ruler. On special occasions they were presented to people who had rendered services to the state.","type":"Robe, fragment, textile","holder":"Museum of Islamic Art at the Pergamon Museum","dates":"Hegira 427–87 / AD 1036–94.","location":"Berlin","dimensions":"Height 16 cm, width 13 cm.","method_for_datation":"An inscription on a similar piece of fabric in the Victoria and Albert Museum, London, into which the name of the Fatimid Caliph Al-Mustansir billah (r. 427–487 / 1036–94) is woven, places this object within the same reign.","method_for_provenance":"Comparisons with other fabrics have proved that the two nearly identical fragments – the London one inscribed with the name of the Caliph al-Mustansir billah and the Berlin one – have been produced in a royal workshop in Egypt from which caliphs commissioned the creation of their cloths.","provenance":"Egypt.","obtention":"Obtained from the Reinhardt Collection.","bibliography":"Kühnel, E., *Islamische Stoffe aus ägyptischen Gräbern*, Berlin, 1927, pp.22–3 no. 3132, plate 7.  \nKühnel, E. and Bellinger, L., *Catalogue of Dated Tiraz Fabrics, Umayyad, Abbasid, Fatimid*, Washington, 1959, p.75.  \n*Museum für Islamische Kunst*, Catalogue, Berlin, 1979, cat. no. 301.  \n*Museum für Islamische Kunst*, Catalogue, Stuttgart; Zürich, 1980, no. 16, pp.44–5.","dynasty":"Fatimid; reign of Al-Mustansir billah","author":"Annette Hagedorn","translator":"Maria Vlotides, Brigitte Finkbeiner","translation_copy_editor":"Monica Allen","keywords":["Tiraz fabric; robe; kufic; royal workshop; royal manufacture; Fatimid textiles; geometric patterns"],"materials":["Cotton and silk, weft rep, woven-in text."]},"ae7c39ba-6ec7-52c7-ab26-aa458671c2ad":{"name":"Chasuble (Mass vestment for the Catholic liturgy) of Ottoman silk fabric with European woven borders","short_description":"Bursa was an important hub of trade for Iranian silk and developed into a leading centre for the production of silk fabrics. As such, it did not only purvey to the Ottoman Court; silks from Bursa were coveted export goods for Europe, as is shown by this chasuble. At the same time, Italian silks were very much in demand in the Ottoman Empire. One consequence of this intensive exchange is seen in a reciprocal influencing of motifs, so that frequently technical details are the only characteristics that tell us where the silk fabric was woven, in Italy or in the Ottoman Empire.","type":"Liturgical garment of Ottoman silk textile, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"3rd quarter of the 16th century","location":"Vienna","dimensions":"H: 100.5cm, W: 65.5cm","provenance":"Ottoman Empire or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98544","author":"Martina Dax","keywords":["Ottoman textile; trade; Floral motifs; liturgical vestment"],"materials":["Silk, gold and silver lamella, linen; Lampas broché, lancé"]},"b1a4a767-03a6-5102-a4ba-95f407ea3166":{"name":"Cope of Metropolitan Neophytos of Nicomedia","short_description":"This is a rare example of an ecclesiastical vestment made of *seraser* silk, the most opulent type of Ottoman silk entirely covered with silver and gilt thread. The loom-width design contains Chinese cloud scroll bands surrounding a large rosette reminiscent of a solar disc. A document of 1629 in the monastery of Saint John the Forerunner in Serres records the presentation of a “seraser cope” by the Metropolitan Neophytos.","type":"Liturgical garment, silk and silver metallic thread","holder":"Benaki Museum","dates":"Hegira 1038 / AD before 1629","location":"Athens","dimensions":"Height 139 cm","provenance":"Bursa or Istanbul","dynasty":"Ottoman","keywords":["Liturgical vestment; Seraster; silk; costume; textile; Ottoman textile; Chinese motifs"],"materials":["Silk, silver and gilt metallic thread"]},"b54a4c02-3027-5de2-965f-2bb5a2395c13":{"name":"Folk costume","short_description":"The Albanian community is an important element in the multicultural milieu of ethnicities in the Republic of Macedonia. This outfit preserves some distinctive features of the clothing and adornment worn by Albanian women in Macedonia in the 19th century and early 20th century. The cotton canvas tunic is moderately decorated by embroidery of floral patterns on the sleeves and at the front part of the cleavage. The wool apron is embellished with geometric patterns woven of varied wool threads along the left and right hem, which end with woollen fringes in different colours.","type":"Traditional attire","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","provenance":"Skopje Region","author":"Nada Andonovska","copy_editor":"Daniel de la Vega","keywords":["Embroidery; apron; Albanians; costume; floral decoration; geometric patterns; geometric decoration; geometric motifs"],"materials":["White canvas, embroidery, woollen home-woven fabric"]},"b5c0d18b-e693-55ac-b0f0-5d2195dc1c3e":{"name":"Kaftan","description":"Child's kaftan with *agremán* (tape of braids used as adornment), done in fabric brocade of mauve colour. The brocade is decorated with flower medallions with centres of golden thread. The sleeves are short and straight. The edge of the sleeves and of the whole jacket is edged with dark blue silk tape. The front, sides and shoulders are edged in a golden *agremán*, which ends in a circle. The jacket is lined with white cotton fabric and edged by a red tape. This garment was probably worn by children in the circumcision ceremony ritual. The practice of circumcision in the Islamic world involved a ritual in which the children involved in the ceremony were richly dressed.","type":"Textile","holder":"National Museum of Anthropology","dates":"19th century","location":"Madrid","dimensions":"97 x 94 cm","copy_editor":"Anne Dowell","keywords":["Customes; Rites; Textile; Research"],"materials":["Silk, woven; brocade"]},"b5e98c52-08ad-5e05-97c5-2071372ff0ed":{"name":"Phelonion, Mass vestment for the Orthodox liturgy","short_description":"An offset pattern of lancet ovals is structured against a red background. The ovals end in a stylised lily forming the transition to the next oval. The interior pattern of the lancet ovals consists of a scale-like network. The seams disturb the repeat pattern, revealing that the textile was reworked so that it could be shaped as part of this Mass vestment for the Orthodox liturgy.","type":"Liturgical garment of Ottoman silk, silk, velvet, lampas, lance","holder":"MAK – Museum of Applied Arts","dates":"16th century","location":"Vienna","dimensions":"H: 137cm, W: 155cm","provenance":"Ottoman Empire, Istanbul or Bursa","obtention":"Purchase","dynasty":"Ottoman","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-98435","author":"Martina Dax","keywords":["Ottoman Silk; liturgical vestment; geometric patterns"],"materials":["Silk, gold and silver lamella; Lampas broché, lancé"]},"b6582e55-7f8a-5fe9-9368-5ce8c476126c":{"name":"Dress.","description":"A modern Palestinian dress cut and embroidered in the traditional way, using imported machine-woven fabric and threads. The embroidery motifs are copied from European pattern books. The simple cross-stitch is implemented with multi-shade coloured cotton threads, giving the motifs a multicoloured and shaded rendering.  \n  \nThe earliest examples of Palestinian needlework to survive were made early in the AH 13th / AD 19th century. These examples are broadly divided into two main regional styles: Galilee and southern Palestine. Arab village women were taught by their mothers to embroider their own garments, and began to learn the craft from the age of six years. A woman's first complete set of costumes would have been her wedding trousseau. The fabrics were either plain cotton or linen, woven locally by male weavers, or imported from Egypt and Greece. The embroidery was mainly used as decoration for dresses, caps and headscarves, with designs made up of combinations of geometrical and floral motifs. These designs and patterns were influenced by similar examples in Syria and Turkey, and in Cyprus and Greece, indicating an active cultural exchange between all sides. Palestinian women were always borrowing and adapting designs from all around them, constantly expanding their repertoire of motifs, and integrating new ones into their traditional schemes.  \n  \nAlthough there have been many attempts at attributing symbolic significance to the many motifs used, in general, these patterns did not have such special meanings. However, the embroiderers did give their patterns names to distinguish them, some of which matched the shapes of the patterns, but many others did not.","short_description":"Palestinian village women were taught by their mothers to embroider their own garments, and began to learn the craft from the age of six years. They were always borrowing and adapting designs from all around them. This modern but traditionally cut and embroidered dress has motifs of European origin.","type":"Textile, dress, costumes","holder":"Kelvingrove Art Gallery and Museum, Glasgow Museums.","dates":"1965.","location":"Glasgow, Scotland","dimensions":"Length 150 cm, width (of shoulders) 54 cm.","method_for_datation":"Stylistic analysis: the patterns used on this dress are taken from 20th-century European pattern books.","provenance":"Hebron, Palestine.","obtention":"Donated to the Museum in 1995.","bibliography":"Weir, S., *Palestinian Costume*, London, 1989.  \n  \nWeir, S., and Shahid, S., *Palestinian Embroidery, Cross–Stitch Patterns from the Traditional Costumes of the Village Women of Palestine*, London, 1988.","dynasty":"Modern period","linkcatalogs":"IAM_PA_EN_001","author":"Noorah Al-Gailani","copy_editor":"Mandi Gomez","keywords":["Costume; embroidery; floral decoration; women; traditional costume; marriage; daily life"],"materials":["Brown synthetic textile with coloured cotton-thread embroidery."]},"b7d0545b-be32-5c47-ab91-272824042882":{"name":"Headdress","short_description":"Line of silver Ottoman coins sewn together on a piece of fabric, part of a headdress. This kind of jewellery was part of the dowry the groom gave to the bride. Dowries consisted mostly of silver jewellery because only the rich could afford gold jewellery. The use of coins as pieces of jewellery in particular was an indirect statement of the financial status of the groom, as brides wore those pieces of jewellery in front of relatives and friends.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 24 cm","provenance":"Jordan, Kerak, South Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["head dress; Ottoman coins"],"materials":["Coins; weaving"]},"b814bde1-48f9-5356-8789-4fecae32bde0":{"name":"Bridal tunic (*Veyke*)","short_description":"This bridal tunic is abundantly decorated with relief embroidery above the lower hem. The embroidery is very impressive owing to the varied relief techniques applied. It has been created by application of black woollen thread with slight borders in other colours, flat silver string and silver-thread braid. The sleeves are also richly adorned with embroidery in predominantly red nuances. The symbolism of embroidered patterns endow this tunic with universal values distinctive to Macedonian home-made women's attire.","type":"Folk costume","holder":"Museum of Macedonia","dates":"Late 19th – early 20th century","location":"Skopje","provenance":"v. Tearce","author":"Gordanche Vidinic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["bridal tunic; embroidery; costume; silver; wedding; marriage"],"materials":["White canvas, embroidery with variegate threads"]},"ba3d1a83-a184-5e97-ba14-14862bec4cac":{"name":"Man's festive ikat robe","short_description":"In 19th century Turkestan, an expensive Ikat coat represented wealth and dignity. Many specialists were involved in the creation of Ikat textiles, from the breeding of silk worms to the dyeing, weaving and tailoring of the cloth. Ikat silks are luxury articles. They are given as gifts at weddings and other important occasions. Ikat fabrics probably originated in China, from where they were disseminated along the network of the Silk Road throughout Central Asia.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1889","location":"Vienna","dimensions":"H: 139cm, W: 192cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Uzbekistan, Bukhara","obtention":"Catalog entry: \"Donated by Dr. Josef Troll, 1890.\"","bibliography":"Klimburg, Max, *Ikat. Textile Art from the Silk Road / Ikat. Textilkunst von der Seidenstrasse*, Wien: Kirdök, 1993.","materials":["Silk, cotton"]},"ba4e362f-15ff-5fee-b20f-edc0e07d2d14":{"name":"Tunic (uniform). Officer of the \"Cent-Suisse\" (Swiss Hundred Guard)","description":"Officer of the \"Cent-Suisse\" in gala uniform, carrying a pole weapon called a spontoon. The oldest Swiss Hundred Guard comprising 109 men and 4 officers was established in 1497 as a bodyguard for the French king and performed sentry duties within French royal palaces, while the Swiss Guards Regiment undertook outside duties. The \"Cent-Suisse\" soldiers functioned purely as guards for the royal households, and were dressed and equipped accordingly. Based on their example, the papal company of Swiss Guards was established in 1506, and it exists to this day. Other monarchs, including those of the Netherlands, Savoy, Austria, Brandenburg-Prussia, and the Electorate of Saxony, later also recruited Swiss Guards. The Swiss Hundred Guard was disbanded in 1792 during the French Revolution.","type":"Uniform","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1690 - 1700","location":"Zurich","dimensions":"Coat: H: 60cm, Waist 90cm; Trousers: H: 100cm, Waist 85cm","method_for_datation":"Documents","provenance":"France, probably Paris","obtention":"Bought in 1924","keywords":["Uniform; Cent Suisse; Court Guard; France"],"materials":["Wool"]},"bb16c976-5f77-5e9a-b98f-840ba455f757":{"name":"Silk sash","short_description":"This fragment of a sash has its origins in Iran. The city of Kashan was renowned for the production of silk waist sashes. These were folded lengthways, wound around the waist and knotted at the front. Two different patterns can be seen on the same textile along the longitudinal line, so that the wearer had two sashes in one, depending on which side was turned outside. Hence the decoration was oriented on the way the object was worn. In Europe the demand for these sashes in the eighteenth century was so great that workshops were set up in Istanbul, Russia and Poland. In Poland the sashes eventually found their way into the traditional national dress of the aristocracy, which is why they are called Polish sashes (Polish: *kontusz*).","type":"Safawid Iranian sash","holder":"MAK – Museum of Applied Arts","dates":"17th -18th century","location":"Vienna","dimensions":"H: 174.5cm, W: 34cm","provenance":"Iran","obtention":"Purchase","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-93004","author":"Martina Dax","keywords":["Silk; Safawid; textile; costume; Poland; vegetal decoration; floral decoration"],"materials":["Silk, gold and silver lamella"]},"bb542d79-d99d-5291-a57c-0b72137d0e2f":{"name":"Fez of a common soldier of the Austro-Hungarian infantry from Bosnia-Herzegovina","short_description":"The fez was more or less the most significant element of the uniform worn by soldiers of Bosnian-Herzegovinian regiments of the Austro-Hungarian Army, who earned a reputation for bravery and loyalty during World War I. While the fez was in use for all common soldiers, only Muslim officers were allowed to wear the fez instead of the normal black officer's cap. The colour of the fez was changed during the war from red to pike grey.","type":"Costume","holder":"Austrian Military Museum / Institute of Military History","dates":"End of the 19th century","location":"Vienna","copy_editor":"Daniel de la Vega","keywords":["Fez; Morocco; Tunisia; hat gear; Bosnia; Austrian army; war; warfare; military wear; Ottoman army"],"materials":["Textile"]},"bc585e0e-7651-57e3-a5ba-853d7190ab8d":{"name":"Fragment of an ikat- dyed cotton shawl","short_description":"This inscribed fabric from Yemen is part of an ikat-dyed cotton shawl dating from the 10th century. It is a typical product of the Yemeni weaving industry with an embroidered white inscription, which quotes a passage from the Fatiha, the first chapter of the Qur’an. The *kufic* inscription displays a unified symmetry and elegance achieved by the impressive triangular endings of the letters and by a number of varied slender arch-like motifs which makes it often difficult to read.","type":"Textile, shawl, cotton","holder":"Benaki Museum","dates":"Hegira 4th century / AD 10th century","location":"Athens","dimensions":"Height 40 cm","provenance":"Yemen","dynasty":"Abbasid","keywords":["Shawl; Ikat-dyed; Cotton; costume; textile; kufic"],"materials":["Cotton"]},"bf855ca5-82b9-5496-8eb9-62a39c53ba92":{"name":"Cope of signed Safavid silk fabric","short_description":"The cope, an important element in the array of Christian liturgical vestments, was fashioned out of precious Iran silk. At the time, the silk manufactories of the Safavid Empire were ranked among the highest-quality production centres in the world; their products were coveted export articles. This textile presumably found its way to Europe via the trade routes and was processed after its arrival. The fact that the silk is signed indicates the how highly it was valued by those taking part in its production.","type":"Vestment of Safawid Iranian silk, liturgical garment","holder":"MAK – Museum of Applied Arts","dates":"2nd half of the 16th century","location":"Vienna","dimensions":"H: 151cm, W: 297cm","provenance":"Iran, Kashan","obtention":"Purchase","bibliography":"Noever, Peter (ed), *Global Lab. Kunst als Botschaft. Asien und Europa 1500 - 1700. Ausstellung Museum für angewandte Kunst Wien, 03. Juni bis 27. September 2009*, Ostfildern: Hatje Cantz, 2009: cat. nr. 157 (97).","dynasty":"Safavid","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-97451","author":"Martina Dax","keywords":["Cope; Christian; Safawid; Silk; liturgical vestment; manufacture; workshop; geometric patterns; floral motifs"],"materials":["Silk, metal threads; Lampas broché, lancé; Braids, fringes"]},"c25e83e8-79d8-5ca2-95b2-2a9dca7ab11e":{"name":"Mekleb bridal ornament","description":"Dating to approximately 1900, this exquisite Mekleb ornament worn on the back of the bride serves as both a significant ceremonial adornment and a powerful protective token. The piece is richly embellished with an array of historical coins, traditional amulets, and vibrant glass beads. Notably, the prominent blue-colored elements integrated into the ornament function as protective amulets, culturally intended to shield the bride from the evil eye and envy.","type":"Accessory","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"AH ca. 1318 / AD ca. 1900","location":"Amman","place_of_production":"Hebron villages, Palestine","provenance":"Purchased by the collector","dynasty":"Ottoman","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["Bridal; Wedding; Ornament; Ceremony; Protection"],"materials":["Coins, Silver"]},"c2865a20-07ed-57a6-a434-0d7f2bfbe970":{"name":"Tunic (*'aba'a*)","description":"Tunic in cream ground with stencilled decoration in black showing vegetal and geometrical motifs. Fortuny was son of the well-known Spanish painter Mariano Fortuny. He designed one of the early dresses for women without corsets. Some of his designs were inspired in the Orientalism style, he was influenced by his travels and of the historical textiles that he collected.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"1930–1940","location":"Madrid","dimensions":"Height 104 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes; Design; North African influence; Spanish Muslim influence"],"materials":["Cotton, crepe"],"artist":"Mariano Fortuny y Madrazo"},"c2892851-42f5-54f6-a096-462c69771b8c":{"name":"Fragment of a kaftan back","short_description":"This magnificent panel from a kaftan is an example of very high-grade *seraser* production in Istanbul. *Seraser*, a material that was highly favoured at the Ottoman court, is composed of gold- and silver-wrapped silk woven in a compound structure of two warps and two or more complementary wefts. The design of peacock feathers alludes to the bird who resided in paradise until he was expelled along with Adam and Eve for failing to follow God's commandments. Eccentric largescale designs were often used on mid- to late sixteenth century textiles, as they were visible from a distance and favoured for parade garments.","type":"Textile","holder":"The Metropolitan Museum of Art","dates":"Hegira 10th century / AD mid-16th century","location":"New York","dimensions":"Textile: L: 132.1cm, W: 68.6cm; Mount: L: 147.8cm, W: 84.1cm","provenance":"Probably Istanbul, Turkey","obtention":"Purchase, Joseph Pulitzer Bequest, 1952  \nVendor: Estate of Dikran G. Kelekian, New York  \nFormer owner: Dikran G. Kelekian, New York (by 1908–d. 1951; his estate, New York, 1951–52","bibliography":"Atasoy, Nurhan, Denny, Walter B., Mackie, Louise W., Tezcan, Hulya, Raby, Julian (ed) and Effeny, Alison (ed), *IPEK: imperial Ottoman silks and velvets*, London: Azimuth Editions, 2001: 220–22, 260–63, pl. 10, fig. 185.  \nEkhtiar, Maryam, Canby, Shelia R., Haidar, Navina and Soucek, Priscilla P. (eds), *Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art*, New York: The Metropolitan Museum of Art, 2011: 287, 316, no. 225, ill. 316 (colour).  \nEkhtiar, Maryam and Moore, Claire (ed), *Art of the Islamic World. A Resource for Educators*, New York: The Metropolitan Museum of Art, 2012: 132-133, ill. pl. 25 (colour).  \nPope, Arthur Upham, \"Special Persian Exhibition\", *Bulletin of the Pennsylvania Museum*, XXII/107 (November 1926): 245-251.","dynasty":"Ottoman","copyright":"The Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1952","keywords":["Ottoman; Istanbul; Turkey; Anatolia; textile; silk; caftan; cloth; clothing; dress; fabric; peacock; garment; Ottoman silk; Ottoman textile; silver; textile; zoomorphic imagery"],"materials":["Silk, metal wrapped thread; taqueté (*seraser*)"]},"c3322b4d-5cf0-5412-aee3-1fd52f0cba22":{"name":"Hat (*Cuculj*)","short_description":"In the 19th century and the beginning of the 20th century, metal jewellery and other articles of adornment in Macedonia were made by goldsmiths. They were distinguished with exceptional diversity reflecting the skill and creativity of artisans. This versatility applies particularly to headdresses. The bridal hat is made of broadcloth – *klashna* – which is decorated with small silver coins reminiscent of fish scales. This particular headdress is part of a jewellery set that goes with a piece worn on the breasts, which was called *mingjuska so vot*.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"49 x 11 cm","provenance":"V. Belichica Gorna Reka","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Headdress; coin; coinage; currency; numismatics; marriage; wedding; costume; textile; fashion"],"materials":["Klashna – thick woollen fabric, silver coins, silver alloy. Silversmith's production"]},"c4b5ba7c-2038-5ab8-940f-807d336f261f":{"name":"Rag costume of a Dervish","short_description":"Once upon a time, an individual who wanted to lead the life of a mystic and had renounced the world, donned a robe of rough wool and was identified as a Sufi, derived from the Arabic word for wool, *ṣūf*. The novice was dressed in the clothing of a dervish, the *hirqa* once admitted into a brotherhood. The tattered clothing of the Sufis expresses poverty and was stitched together from numerous patches. It is somehow also reminiscent of the colourful costume of a harlequin, with vivid lozenge-shaped stripes. It seems as if the rambling fool of God in the Commedia dell'arte slipped into the role of the half-clownish, half-demonic prankster, in order to expose the structures and mechanisms of society, attracting ridicule and disdain upon himself. Spirituality and humour can be understood as effective attempts to reveal the complex and paradox situations of which real life is so full. Nowadays a Sufi wears normal daily clothing.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Before 1925","location":"Vienna","dimensions":"H: 127cm, W: 140.5cm","method_for_datation":"Entry in the general inventory and archival documents.","method_for_provenance":"Entry in the general inventory book.","provenance":"Iraq","obtention":"At the turn of the 19th century, parts of the inventory of collections of the Austrian Museum of Trade (established 1874) gradually found their way to the ethnographic department of the Imperial and Royal Court Museum of Natural History (later, Museum of Ethnology, today Weltmuseum Wien). In 1925 the Austrian Museum of Trade was dissolved.","bibliography":"Steinmann, Axel, \"Lunatics and Fools,\" in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 238-239.","materials":["Cotton"]},"c57c7670-03d8-5c6d-9e3f-ee91bd0cf2b5":{"name":"Lampas silk and gold tunic","short_description":"This silk and gold tunic is assumed to be one of the very rare surviving pieces from the period after the Mongol conquest. It is woven in a highly complex technique known as lampas weave. Its subtle designs, which are contained within roundels, show close links with East Asian textiles.","type":"Textile","holder":"Sharjah Museum of Islamic Civilisation","dates":"Hegira 7th – 8th century / AD 13th – 14th century","location":"Sharjah","provenance":"Iran or Central Asia","dynasty":"Mongol","keywords":["Tunic; Lampas weave; Textile; Silk; Gold; costume"]},"c5abc7e0-07c7-53e5-b0b7-c0930bdd46e4":{"name":"Textiles","short_description":"These textiles are example of the early Mudéjar production after the defeat of the Nasrid kingdom. The influence of these textiles was great not only in the 16th century but also in the 19th century in the Alhambresque, Moorish and Neo-Mudéjar styles.","type":"Textiles","holder":"Lázaro Galdiano Museum","dates":"Early 16th century; 1915–1930 (Lázaro Galdiano collection)","location":"Madrid","dimensions":"1729: 40 x 53 cm; 5727: 121 x 774,5 cm","provenance":"Granada?","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art; islamic influence; orientalism; collectionism"],"materials":["Silk; lampas weave"]},"c73dca1b-c179-593d-9ff2-c9e643811ee8":{"name":"Abu Radan Dress","description":"Black dress with wide, open sleeves, made from cotton fabric with heavy embroidery. The chest panel shows geometrical motifs (fans) on a rose-coloured collar. The shoulders show an embroidered emblem that is known as *nishan*, and the sleeves are heavily embroidered with cypress trees and waves that include yellow braid work along the length of the sleeve. The side panels of the dress (*banayeq*) show braid work with floral motifs topped by a scissor motif (*maqas*). The lower front panel of the dress shows motifs of cypress branches in different colours. The back shows the Pasha’s tent motif bordered by geometrical figures and cypress branches, while the bottom edge of the back panel has two blue lines that go around the dress. This type of dress was used mainly for celebrations and was worn by unmarried women only for events like weddings and women-only parties. These dresses were produced by hand by the same women who wore them, thus demonstrating the female’s ability to be productive. The origins of this dress lie in Bir al-Sabe, which is one of the largest cities in Palestine and is also known as the capital of the Negev desert. Some Bir al-Sabe inhabitants are originally Bedouin tribes, which explains why the women of Bir al-Sabe used to wear these heavy dresses. The garment has the advantage of being heavy, which helps the wearer cope with the desert climate in that region; it prevents sand from entering the women’s bodies and protects them from the heat. The dress is only worn by the women of Bir al-Sabe, and it is unique to them in respect of all the colours, stitches and motifs that the dress exhibits. It is worth mentioning that while Palestinian traditional costumes are distinguished by their individuality and regionalism, they still exhibit the influence of the different stages of occupation that Palestine has witnessed throughout its long history. In this case, the Ottoman influence is reflected in the long sleeves of the dress.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 133cm, Width: 112cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional; Palestinian Textile; Dress"],"materials":["Fabric; hand embroidered"]},"c8687cc0-0662-5210-b07f-c3fc5e107d48":{"name":"Garments and accessories: *bisht* (cloak), bag, *ghutra* (headdress), *‘iqal* (rope)","short_description":"The small stock of clothes and accessories was donated to the Italian King Vittorio Emanuele III by the shaykh Al-Husayn ibn ‘Ali Himmat, who, proclaiming himself in 1917 to be King of Hijaz (the north-western region of the Arabic Peninsula, nowadays part of Saudi Arabia), obtained the international recognition of his title. In the same year, King Vittorio Emanuele III entrusted the gifts he received by the shaykh to the Museo Nazionale Preistorico Etnografico “Luigi Pigorini” in Rome.","type":"Arab costumes; dresses; accessories","holder":"National Museum of Prehistory and Ethnography 'Luigi Pigorini'","dates":"1917","location":"Rome","dimensions":"Bisht: 138 x 88 cm and 142 x 89 cm; bag: 45 x 20.5 cm; ghutra: 122 x 122 cm; ‘iqal: diameter 40 cm; ‘iqal: diameter 48 cm","provenance":"Western region of the Arab Peninsula","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Paleoethnology; anthropology; material culture; Athanasius Kircher; exoticism; curiosities; wunderkammer Museum Kircherianum; Arabic; diplomacy; Arabian Peninsula; Hijaz; Red Sea; international relations; World War I; Ottoman empire; Arab revolt"]},"cc245129-4801-5914-b91d-808b41eb1656":{"name":"Al-Jilaya / Mardan Dress","description":"*Al-Jilaya* dress with large, open sleeves and heavy embroidery. The chest panel shows *qalayed* (necklace) embroidery and floral and geometrical motifs. The neck and shoulders are made with Ottoman striped fabric and the sleeves show patches of silk *hirmizi* fabric. The front panel of the dress has triangular shapes of silk with embroidered flowers. The *banayeq* (side panels) show rings and *Al-reesh* braid work, along with geometrical and floral motifs. The back panel has heavy and relatively long embroidery work, taking the shape of waves and geometrical figures, and is bordered with *Al-nakhl* and *Al-reesh* braid work. This is a handmade dress produced by the women of Hebron District and it is worn by married women for special occasions, especially weddings.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 137cm, Width: 143cm","place_of_production":"Hebron","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Hebron","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"cc3eb98f-be74-5f38-85da-465d5c36d52e":{"name":"Headdress","short_description":"A rectangular piece of Syrian silk cloth (*atlas*) with a small piece of coloured cotton cloth on the front on two sides. There is a line of Ottoman coins sewn together with three tassels dangling at the end with different stones. Silver was the most common jewellery, given by the groom to the bride as dowry. The use of Ottoman coins as pieces of jewellery – shown by women to friends and relatives – was an indirect reference to the financial status of their husbands. Silk was imported from Syria. Its trade in the Syro-Palestinian area was common because of the lack of geographical and political boundaries; some cities were like twins because of their close proximity and exchange of trade goods and business.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"South Palestine, Beer Sheba","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Ottoman coins; silk cloth; Atlas; cotton"],"materials":["Silver, silk, cotton; hand weaving"]},"d04f9993-36fb-5234-ad3f-ce7d4b211668":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with a dense, overall floral design consisting of vertically disposed, sinuous floral stems with large tulips set at regular intervals. The flowers are rendered in red against a silvery green background. This type of pattern was popular not only on *kemha* fabrics, but also on other media such as tile work.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"This fragment comes from a child's collarless and short-sleeved silk brocade kaftan worn by a junior member of the Ottoman court. The dense, overall floral design with its vertically disposed, sinuous floral stems and large tulip heads can also be found in other media such as contemporary tile work.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Around hegira 1008 / AD 1600.","location":"Edinburgh, Scotland","dimensions":"Height 73.5, width 72 cm","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, p.206, p.234, fig. 148 (for a tile panel with a very similar design); pp.282–3, fig. 240 (for a similar fragment at the V&A, London).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"d0e5dd9e-aee2-51d7-a5b3-d82228bcf1bd":{"name":"Kaftan.","description":"This is an example belonging to a group known as full-length kaftans. It features hem-length decorative sleeves and slits for pockets. The fabric is brown in colour and made of threads with gilded metal wound round them by hand, a luxurious cloth known as *kemha*. The kaftan has a round collar and is woven in the form of an unfastened crossover garment; the waist is indented. It has a lower section which widens like a skirt beginning above the hips. The fabric is decorated with lotuses and peonies as well as leaves which resemble feathers; its most interesting feature is its use of a floral design with no repeat. This is frequently encountered in the textiles which belong to this group and shows that they were woven as unique examples.  \n  \nThe *kemha* textiles are the most ostentatious in the Ottoman repertory. The cut of the kaftan is also highly careful and painstaking. The pattern is not interrupted, as can be seen in the front section and the side sections. The lining is of woven red silk with parallel lines on it. On the front of the kaftan, in the corners, the name 'Muhammad' – probably a court tailor – can be read in *kufic* script on appliqué squares. It is thought most likely that the kaftan was made for Prince Bayezid, who was killed in AH 968 / AD 1561.","short_description":"Kaftans, an inseparable part of Ottoman period court life, are also the symbols of sultanate and power. This kaftan of *kemha*, a luxurious fabric, is decorated with non-repeating favourite floral motifs and is a document of the period for it bears the name of the master tailor.","type":"Ottoman costumes, embroidered silk","holder":"Topkapı Palace Museum.","dates":"Second half of hegira 10th / AD 16th century.","location":"Sultanahmet, Istanbul.","dimensions":"Length 147 cm, width 117 cm.","method_for_datation":"No information can be found to establish the date of this kaftan. The name 'Muhammad' appears on the front in what may be considered a maker's inscription. The maker is thought to have been a court artisan as well. Based on this information it is thought that the kaftan belonged to Prince Bayezid, who was killed in AH 968 / AD 1561.","method_for_provenance":"Unknown, but Bursa was the silk and silk-textile production centre of the Ottoman Empire, and the main export centre for silk textiles such as the world-famous Ottoman brocades. It is highly likely that the textile was woven in Bursa and the kaftan was tailored at the Topkapı Palace ateliers.","provenance":"Probably the Topkapı Palace, Istanbul.","obtention":"The garment belonged to a resident of the palace and remains in the Topkapı Palace Museum.","bibliography":"Denny, W. B., “Ottoman Turkish Textiles”, *Textile Museum Journal*, 3, 2, 1972, pp.66–77.  \nÖz, T., *Textiles and Velvets, XIV–XVI Centuries*, Ankara, 1950.  \nSözen, M., *Topkapı*, Istanbul, 1998, p.193.  \nTezcan, H., and Delibaş, S., *The Topkapı Saray Museum, Costumes, Embroideries and Other Textiles*, (trans and ed J. M. Rogers), Boston, 1987, p.48.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Harun Ürer","translator":"Barry Wood, İnci Türkoğlu","translation_copy_editor":"Mandi Gomez","keywords":["Kemha; kaftan; textile; costume"],"materials":["Embroidered silk brocade (kemha)."]},"d35ea140-6436-50e0-a3c8-f37c54eabc12":{"name":"Jacket","short_description":"Yusuf Bey Karam's formal jacket, which he wore during his youth. It is made of red velvet with floral patterns embroidered in gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art; Embroidery; Needlework; Handmade"],"materials":["Embroidery; velvet"]},"d3db70b3-c132-5835-9372-de3aadb98307":{"name":"Bridal outfit (*entari*, long jacket and shoes)","short_description":"This *entari* (dress) is made of turquoise satin embroidered in various stitches using silver-gilt thread. The bridal outfit is completed by a matching *hırka* (long jacket) made of the same fabric and lined with red fox fur, and matching heeled shoes with uppers of the same fabric and soles made of leather. The tailored bodice of the *entari* is lengthened by flaps of fabric that fall over the skirt, giving the *entari* the appearance of a two-piece skirt and blouse. The front of the bodice is decorated with frills. The skirt flares out from the waist downwards. The scalloped hem is trimmed with a tiny pleated frill. The jacket has a round neck and fitted sleeves, and opens down the front. The shoes are embroidered in silver and decorated at the toe with a blue-tasselled flower.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"Dress h(front): 140, h (back): 158, sleeves: 55 cm; fleece h: 124, sleeves: 52 cm.","copy_editor":"Daniel de la Vega","keywords":["fashion; traditional dress; textile"],"materials":["Satin, fur, silver-gilt thread"]},"d5349934-5ade-59ea-ba16-2b2f3f97640d":{"name":"Robe for a man","short_description":"Whilst Iranian tailors customarily used local fabrics for the outside of women's and men's robes, with cheap European printed fabrics being used as linings, this man's robe (*gaba*) is the proverbial exception to this rule. The outside is made of a machine-printed cotton fabric that imitates a a very fine woollen fabric (*termeh*) from the early Qajar period. These highly esteemed fabrics were often decorated with alternating stripes in six or seven basic colours with floral patterns. Due to the presence of these stylistic similarities, it is probable that the European designers had such a fabric at their disposal when they created their design. The inner lining is made of a simply patterned Iranian fabric.  \n  \nThis robe was acquired by the Swiss merchant Emil Alpiger in Iran between 1870 and 1896. Alpiger was then director of the Manchester-based trading company Ziegler & Co. which owned a carpet factory in Sultanabad.","type":"Garment","holder":"Museum Rietberg","initial_owner":"Emil Alpiger (1841-1905)","dates":"Hegira 1287-1314 / AD 1870-1896","location":"Zurich","dimensions":"Height: 119cm, Width: 163cm","method_for_datation":"By comparison with stylistically similar objects and photographs.","method_for_provenance":"Personal documentation of the original owner Emil Alpiger.","provenance":"Iran","obtention":"Gift from descendants of Emil Alpiger","bibliography":"Langer, Axel, “Manteaux dʼhomme, ” in Gwenaëlle Fellinger (ed), *L’Empire des roses. Chefs-d’oeuvres de l’art persan du XIXe siècle*, exh. cat., Ghent and Lens: Éditions Snoeck and Louvre Lens, 2018: 362-363.  \nLanger, Axel, “Emil Alpiger: Das Leben eines «mittleren» Sammlers,” in Axel Langer (ed), *Emil Alpiger (1841-1905). Teppich-Kaufmann und Sammler*, Zurich: Museum Rietberg, 2018: 6-21.","dynasty":"Qajar","author":"Axel Langer","copy_editor":"Jonathan Turnbull","materials":["Printed cotton (European manufacture), lining: printed cotton (*qalamkar*), silk threads"]},"d7096975-0651-52ea-8630-a12bafecd7a2":{"name":"Fragment of a shawl","short_description":"This black-blue fragment of shawl is decorated with tapestry bands woven with *kufic* inscriptions and highly stylized human figures, quadrupeds and birds. The overall stylization is reminiscent of Coptic textiles but is typical of the Fayyum area in Upper Egypt, which is attested by Muslim writers as specializing in the weaving of woollen fabrics.","type":"Textile, shawl, wool","holder":"Benaki Museum","dates":"Hegira 3rd-4th century / AD 9th-10th century","location":"Athens","dimensions":"Height 74 cm  \nWidth 91.5 cm","provenance":"Egypt","dynasty":"Fatimid","keywords":["Shawl; Fragment; Kufic; Wool; textile; costume; Fatimid textiles; Coptic; animal decoration; bird; human representation"],"materials":["Wool and linen"]},"d7822972-f602-5f72-804b-41aadb287492":{"name":"Amber/Mardan Dress","description":"Dress made of taffeta fabric (*Al-Alam*) with chest panel in *Al-Amber* style, which is a square with geometrical shapes and floral motifs on it. The top corner of the front panel has russet velveteen trim which extends along the shoulders. The dress also has large, long sleeves with geometrical motifs embroidered on the forearm and sleeve edges. The *banayeq* (side panels) show floral motifs while the back panel shows four thick braids in the style of *Al-Qasab* needlework. The women of Beit Jala (in the Bethlehem area) embroider and sew this garment on their own, and married women wear it on a daily basis. The Bethlehem area is considered to be the centre of culture and tourism in Palestine and also has religious significance as the birthplace of Jesus. Bethlehem is famous for its traditional and religious artifacts and colourful embroidery. This dress is very distinct because it is very practical and comfortable, it guarantees ease of movement and work, and it exhibits outstanding colour.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 143cm, Width: 137cm","place_of_production":"Bethlehem","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bethlehem","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"d7bfd409-e2ad-54bc-aea9-cbf7cee1a22d":{"name":"Bridal jewellery worn on the breasts (*Mingjuska so vot* and necklace)","short_description":"This piece of jewellery provides evidence on the versatility of articles of adornment worn by women in Macedonia in the 19th century. *Mingjushka so vot* belongs to the group of jewellery decorating the chests, although there is no clear distinction from pieces worn around the neck. This exquisite breast jewellery consists of a rectangular piece of broadcloth – *klashna* – covered with small silver coins reminiscent of fish scales and adorned with decorative stones. It is bordered by a chain, which is additionally adorned with coins. It used to be worn suspended on a chain. Abundant ornamentation with coins was applied on diverse pieces of jewellery and articles of adornment within all ethnic communities in Macedonia.","type":"Article of adornment; jewellery","holder":"Museum of Macedonia","dates":"19th century","location":"Skopje","dimensions":"34 x 29 cm & 45 x 35 cm","provenance":"V. Belichica Gorna Reka","author":"Milena Petrovic, ethnologist","copy_editor":"Daniel de la Vega","keywords":["Broad cloth; klashna; coin; coinage; currency; numismatics; textile; costume; wedding; marriage"],"materials":["Klashna - thick woollen fabric, silver coins, silver alloy, decorative stones, tiny beads - *monistra*"]},"d951a6b1-8c1d-5dce-8a7a-81416e5bc68f":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with an overall pattern of horizontal rows of dense *chintamani*, a design comprising three circles and ‘tiger-stripes’; here the circles are green and the stripes red, while the entire pattern is set against a silvery green ground.  \nThe *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.","short_description":"The *chintamani* motif on this kaftan fragment, with its triple-dot and tiger-stripe motifs, appeared on Ottoman textiles since the AH 10th / AD 16th century. Originally, the triple-dot motif may have had talismanic significance, while the tiger-stripes recall the tiger skin worn by the Iranian superhero Rustam.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 66.4 cm, width 66 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000, pp.21–3, pp.264–5, fig. 189 (for a discussion of this piece and similar Ottoman textiles).","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; chintamani; cintamani; costume; Ottoman costume; textile"],"materials":["Silk, cotton and silk brocade (*kemha*)."]},"dbf4dc13-3f6b-5da9-bf05-cfabe7876ad3":{"name":"Headdress","short_description":"A silver circular disk with inherent decorations in the carving, and prominent dome above; chains dangling with oval shapes at the end. With two different length. This ornament was placed on the top of a high hat worn by al-Druze (Druse) women. Silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride, reflecting the financial status of the groom. This object illustrates the variegated social composition and the demographic changes in the Jordanian territory in the late 19th and early 20th centuries. The al-Druze tribes migrated from Syria (Hawran) to north east Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["disk; prominent dome; silver"],"materials":["Silver; casting, hammering"]},"dc620fad-84b0-5474-b1ee-8a583440c84a":{"name":"Textile fragment from Archbishop Ximenez de Rada's burial garments","description":"The textile fragment was part of the alb which was buried the Archbishop Rodrigo Ximénez de Rada in 1247 at the Monastery of Santa María de Huerta (Soria, Spain). The tomb was opened at the beginning of the decade of 1880 at the request of the Master of Sigüenza. The fragment was found in the coffin and the master give it to the Marquis of Cerralbo, who was present. After this event, because of the importance of the Archbishop garments and the marquis’ interest in the history of the Monastery, the marquis paid all the expenses of two new openings of the grave. The first one in 1886 for the Spanish Royal Academy of the History researches, and the second one in 1907 for his own studio, when he completed the description of the garments and took photographs to his publication in 1908.","type":"Textile","holder":"Cerralbo Museum","dates":"13th century, before 1247; discovered at the beginning of the decade of 1880","location":"Madrid","dimensions":"32 x 19 cm.","provenance":"al-Andalus","author":"Rebeca C. Recio","copy_editor":"Anne Dowell","keywords":["Spanish Muslim art; islamic influence; orientalism; collectionism"],"materials":["Silk, metallic threads; lampas and taqueté weave"],"artist":"Spanish-Muslim workshop"},"dd51c631-efa7-5621-9c17-104499a84fde":{"name":"Textile fragment from a dalmatic of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg","short_description":"This fragment came into the MAK textile collection through a purchase of textiles negotiated by the Aachen Canon Franz Bock in 1865. Beforehand, it was part of the so called *Heinrichsgewänder* (vestments) in the Alte Kapelle chapel in Regensburg. The longitudinal, variously wide stripes detectable on the fragment, its interior structuring with rectangular fields and different patterning of the latter, lend credence to a provenance from Central Asia.","type":"Central Asian textile fragment; Liturgical garment","holder":"MAK – Austrian Museum of Applied Arts / Contemporary Art","dates":"Mid-14th century","location":"Vienna","dimensions":"H: 25cm, W: 29cm","provenance":"Central Asia","obtention":"Purchase","bibliography":"Bock, Franz, *Katalog der ehemaligen Bock'schen Sammlung von Webereien und Stickereien des Mittelalters und der Renaissance*, (Jetzt Eigenthum des k. k. Oesterreichischen Museums für Kunst und Industrie), Vienna: Gerold, 1865.","catalogue_holding_link":"https://sammlung.mak.at/sammlung_online?id=collect-90141","author":"Martina Dax","keywords":["Textile fragments; Central Asia; Silk; liturgical vestment; geometric patterns"],"materials":["Silk, gilt membrane strip"]},"ddd75581-2e37-5baa-8483-63c54f368af5":{"name":"Dress","short_description":"Long black silk dress (*malas*), narrow at the waist, wide at the bottom, embroidered with cross-stitch dark blue and red on the chest and on the front side, worn by women of the al-Druze tribes, with a shirt underneath. This object illustrates the variegated composition and the demographic changes of the Jordan population in the late 19th and early 20th centuries. It also shows how the different populations brought with them their fashion, costumes and rites which contributed to the multifaceted social and cultural heritage of Jordan. The al-Druze tribes migrated from Syria (Hawran) to northeast Jordan in the early twentieth century because of their support for the Syrian revolution against the French occupation.","type":"Costume; clothing","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Length 138 cm","provenance":"Eastern Jordan (al-Azraq), al-Druz tribes","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Malas; silk dress; Druze tribes"],"materials":["Silk fabric; hand embroidered"]},"dec4ca65-fe43-5a16-8c53-e4d5c9648ac8":{"name":"Silk kaftan","short_description":"The kaftan is cut with straight flaring skirts and has short sleeves that have been repaired with a later fabric. The loom width of the crimson silk fabric is woven with four undulating vertical stems which bear round stylized pomegranates and small rosettes. Other fabrics with larger undulating stems are ascribed to a later date as with the early 17th century kaftan of Osman II in the Topkapı Museum.","type":"Ottoman costume, garment, Lampas weave, gilt metallic thread","holder":"Benaki Museum","dates":"Hegira c.956 / AD c.1550","location":"Athens","dimensions":"Height 134 cm","provenance":"Bursa","dynasty":"Ottoman","keywords":["Floral motifs; vegetal decoration; costume; caftan"],"materials":["Lampas weave, gilt metallic thread"]},"df6c527d-f54f-5563-b918-6ec2da8e94f9":{"name":"Tunic (*'aba'a*)","description":"Tunic in cotton gauze lined in a red satin. The printed decoration is similar to the Venetian Renaissance printed velvets. This garment is part of the assemble inspired in the travels to North Africa made by Fortuny.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1915 – c. 1920","location":"Madrid","dimensions":"Height 92 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes; Design; North African influence"],"materials":["Cotton; gauze weave, stencilled decoration"],"artist":"Mariano Fortuny y Madrazo"},"dfd2eeea-301b-506a-85f9-f9ad927ce8f2":{"name":"Dress","short_description":"Women's costumes of the central regions of Jordan are characterized by length, dark colours, light vertical strips of embroidery and very long sleeves. This black and blue dress has a very loose fitting, open chest and long flared sleeves pulled over a head band. The length of the dress was adjusted to the height of the woman by a sash. Wide at the bottom, it is decorated horizontally with blue cotton stripes and vertically with embroidery lines and Ottoman coins. The traditional costumes reflect the variegated population composition and demographic changes of the late 19th century-early 20th century Jordanian territory, when new waves of people arrived and settled for the purpose of trades and crafts. Craft was not limited to the everyday life and the profits from crafts were a source of income.","type":"Clothing; costume","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height 300 cm, bottom circumference 398 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Dress; machine embroidery; patterns; custmes and rites; Ottoman coins"],"materials":["Chinese cotton, silver coins; machine weaving, machine embroidery"]},"e160d8e8-b92a-510d-9233-09013a954962":{"name":"Kaftan.","description":"The front half of a child's kaftan, woven of white, blue, and gold on a red satin ground (the back half was transferred to the National Museum of Scotland in the 19th century). The decorative pattern is a repeated wavy line which is thought to be based on the tiger-skin armour of the legendary Iranian hero, Rustam. Similar motifs can be seen on many Ottoman artworks of the 16th century and later (see for example, the 18th-century chimneypiece also at the Victoria and Albert Museum). Kaftans like this would have been worn by children at the Ottoman court, both princes and pages. The horizontal bands, or frogging, are thought to have indicated the wearer's rank. When the owner died, some of his state dress, such as kaftans, would be draped over his cenotaph, and then in turn carpets and other textiles were draped over it and periodically added or replaced. This practice had the beneficial result of preserving the original clothing for a remarkably long time; a garment belonging to Sultan Selim I (d. AH 926 / AD 1520) was said to have been present on top of his tomb as recently as the mid-20th century.","short_description":"The front half of a child’s kaftan, woven in white, blue and gold on a red satin ground. Kaftans like this would have been worn by children at the Ottoman court, both princes and pages. When the owner died the kaftan was placed atop his tomb.","type":"Ottoman costumes","holder":"Victoria and Albert Museum.","dates":"Late hegira 10th century / AD 16th century.","location":"London, England","dimensions":"Length 72 cm, width 72.2 cm.","method_for_datation":"Part of a group of kaftans said to have come from Ottoman tombs dating to the 16th century; the design is consistent with clothing from that period as known from other garments and as seen in Ottoman miniature painting.","method_for_provenance":"Presumed locations of imperial Ottoman looms.","provenance":"Possibly Bursa or Istanbul, Turkey.","obtention":"Purchased by the Museum in 1884.","bibliography":"Arts Council of Great Britain, The Arts of Islam, London, 1976, p.82, cat. no. 22.  \n  \nBaker, P., Wearden, J., and French, A., \"Memento Mori: Ottoman Children's Kaftans in the Victoria and Albert Museum\", Hali 51, 1990, pp.130–40.  \n  \nStanley, T., with Rosser-Owen, M., and Vernoit, S., Palace and Mosque: Islamic Art from the Middle East, London, 2004, p.32.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Barry Wood","copy_editor":"Mandi Gomez","keywords":["Costume; Ottoman costume; textile"],"materials":["Woven silk and gold."]},"e179ff65-79d3-5bba-97ab-c8056af7e861":{"name":"Handkerchief/ textile fragment.","description":"A handkerchief square, bordered along two of its sides by a series of silk-embroidered bands of chain stitch in red, yellow, black and white. Each series of bands is composed of an outer band, embellished by two undulating branches, flanking smaller ones. Next to this decorative band, is a broader one that is composed in its turn, of three smaller bands: The two border bands are decorated with a repetitive inscription in *kufic* script of the owner's name: 'al-bi-Allah'. The middle band is embellished by a successive series of birds with flying leaves drifting from their necks; this band is flanked by two thin borders filled with geometric decorative motifs.  \nThis handkerchief is attributed to the Fatimid caliph, al-'Aziz bi-Allah who ruled from AH 365–86 / AD 975–96, and who was known for his tolerant policies towards the Copts, and his patronage and encouragement of the craftsmen of the Coptic community to the point where they exerted great efforts to excel in their arts and craftsmanship. The artisans used decorative components that were influenced to a large extent by Coptic art, such as for instance the portrayal of pigeons inside roundels.  \nVarious types of textile production flourished during the Fatimid period, and silk was used extensively in the decoration and embellishment of textiles. The Fatimid Empire enjoyed great wealth, and this was reflected in splendid appearances in various aspects of their lives, and in particular in their apparel, which included richly woven and embroidered turbans, cloaks and handkerchiefs.","short_description":"Fatimid caliphs paid great attention to the textile industry and appointed a master of *Tiraz* to supervise textile affairs. Some silk textiles were made only for the caliph, including this piece, which bears the name of the Fatimid Caliph al-'Aziz bi-Allah in embroidery.","type":"Handkerchief, textile","holder":"Museum of Islamic Art","dates":"Hegira 365–86 / AD 975–96.","location":"Cairo","dimensions":"Length 40 cm, width 40 cm.","method_for_datation":"This piece was dated based on the band of inscription, which consists of the name of the Fatimid caliph, al-'Aziz bi-Allah (r. 365–86 / 975–96).","method_for_provenance":"This handkerchief is attributed to the Fatimid caliph, al-'Aziz bi-Allah who ruled in Egypt from AH 365–86 / AD 975–96.","provenance":"Egypt.","obtention":"This object was given as a gift to the museum in 1930, by Maurice Nahman, who was a dealer in antiquities.","bibliography":"Baker, P., *Islamic Textiles*, London, 1995.  \nHassan, Z. M., *Kunuzal-Fatimiyyin \\[Fatimid Treasures\\],* Beirut, 1981.  \nMarzuq, Muhammad Abd al-Aziz, *al-Zakhrafa al-Mansuja fi al-Aqmisha \\[Woven Design on Fabrics\\],* Cairo, 1942.  \nRizq, 'Asim M., *Marakiz al-Sina'a fi Masr al-Islamiya \\[Manufacturing Centres in Islamic Egypt\\],* Cairo, 1989.  \nSpuhler, F., *Islamic Carpets and Textiles in the Keir Collection,* London, 1978.","dynasty":"Fatimid","author":"Muhammad Abbas Muhammad Selim","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Embroidery; silk; figurative decoration; epigraphic decoration; vegetal decoration; chain stitch; textile; costume; workshop; kufic; animal decoration; bird; figurative representation; geometric decoration; patronage; Fatimid textiles"],"materials":["Linen decorated with silk embroidery."]},"e2276119-95e8-500a-884f-d397caff83c9":{"name":"Cap of a Janissary","short_description":"The sumptuous execution of his headdress suggests it was made for a high-ranking Janissary (the Turkish elite infantry). This Janissary cap was part of the Turkish booty that fell into the hands of Lazarus Schwendi in AD 1566; in the late 16th century it entered the collection of Archduke Ferdinand II of Tyrol (AD 1529–95) at Ambras Castle near Innsbruck.","type":"Armour","holder":"Kunsthistorisches Museum","dates":"Hegira c. 956–957 / AD c. 1550","location":"Vienna","dimensions":"Height: 52cm, Width: 18cm, Depth: 28cm","method_for_datation":"Collection Ambras Castle","method_for_provenance":"Collection Ambras Castle","provenance":"Turkey?","obtention":"Trophies of Lazarus von Schwendi (AD 1566), Collection Ambras Castle","bibliography":"Gamber, Ortwin and Beaufort-Spontin, Christian, *Katalog der Leibrüstkammer II. Teil. Der Zeitraum von 1530-1560*, Busto Arsizio: Bramante, 1990.  \nJaeckel, P., \"Türkische Kopfbedeckungen in mitteleuropäischen Museen\", *Zeitschrift für Waffen- und Kostümkunde*, 12 (1970): 1-18.  \nLuchner, Laurin, *Denkmal eines Renaissancefürsten. Versuch einer Rekonstruktion des Ambraser Museums von 1583*, Wien: Schroll, 1958.","dynasty":"Ottoman","author":"Matthias Pfaffenbichler, Tobias Roeder","copy_editor":"Liz Cooper","keywords":["Ottoman army; arms; Janissaries; devşirme; military object; costume; military wear; hat; Ottoman Empire"],"materials":["Felt, gold embroidery, gilt brass"]},"e25a6015-7ec0-5c37-9571-2555b21065b7":{"name":"Cane of Krste Petkov Misirkov","short_description":"The book “On Macedonian Matters” by Krste Petkov Misirkov (1874–1926) provides the only comprehensive national program dealing with important national and political issues at the turn of the 20th century. The work of this great visionary and analyst was published for the purpose of drawing the attention of the European League of Nations to Macedonia, whose existence as separate nation was not recognized.","type":"Object for personal use; walking help","holder":"Museum of Macedonia","dates":"Early 20th century","location":"Skopje","author":"Nada Andonovska (author), Dragan Georgiev, historian (consultant)","copy_editor":"Daniel de la Vega","keywords":["National issues; European League of Nations"]},"e3f48d7b-3bf0-5b73-ae59-24ec80351340":{"name":"Tantur (woman's headdress)","short_description":"The Tantur is an example of cultural tradition developed inside the contaminations typical of the Mediterranean world. It is decorated with symbolic images of leaves, flowers and animals and it is engraved with the year of Egira, 1172. Its cylindrical shape is reminiscent of an *asherah*, one of the emblems of the Phoenician goddess of fertility Astarte (the Siriac Atargotis), often represented with cylindrical headgear. The origins in terms of scientific activity and conservation of Museo Nazionale Preistorico Etnografico \"Luigi Pigorini\" in Rome, can be traced back to the foundation in 1875 of the \"Royal National Museum of Prehistory and Ethnography in Rome\" within the buildings of the Roman College.","type":"Accessory; head ornament; traditional costume","holder":"National Museum of Prehistory and Ethnography “Luigi Pigorini”","dates":"End of the 18th century","location":"Rome","dimensions":"7,90 x 46,00","provenance":"Syria","author":"Vito Lattanzi, Marina Minozzi","copy_editor":"Anne Dowell","keywords":["Woman; photograph; anthropology; ethnology; geography; travel; ethnography; museums; model; genre picture; portrait; representation of the other; costume; material culture; collection; Lebanon; floral decoration; animal decoration; zoomorphism; zoomorphic"],"materials":["Silver laminate decorated with embossed work"],"artist":"Druse dress (Syria), druse manufacture"},"e4d13bf7-94a1-5333-82e7-c8fa33d3b864":{"name":"Robe","short_description":"The cut of this male garment is typically Mongol with its full skirt for riding, its broad wrap-over, the extremely long sleeves and waist support made of silk cords. The textile itself worked with metal threads has a design with small medallions enclosing the images of *djeiran*, lion and lotus. Such garments made of cloth of gold were worn by the highest ranks of Mongol society. Nomads of Central Asia treasured textiles and used them to convey status.","type":"Textile","holder":"Museum of Islamic Art","dates":"Hegira 7th-8th century / AD late 13th-14th century","location":"Doha","dimensions":"Height: 132 cm, width: 205 cm","provenance":"Central Asia","obtention":"Christie's London, Islamic Art and Manuscripts, 16/10/2001 Sale 6497, Lot. 256","dynasty":"Mongol","author":"Reem Aboughazala","keywords":["Robe; Mongol; Textile; Costume; Silk; Central Asia"],"materials":["Silk; Woven"]},"e5df4439-6b33-58df-9ad0-3342565ff30f":{"name":"Horsetail","short_description":"Tulgars with horse tails were ancient Ottoman symbols denoting social rank; the Turks had brought them with them when they emigrated from their Central-Asian homeland. Part of Archduke Ferdinand’s Turkish booty, this one may have been used during his “Hussars’ tournaments”. The shape and number of horse tails denoted the rank of an Ottoman dignitary. They were placed in front of his tent and accompanied him when the army was on the march. The Sultan was accorded seven or even nine horse tails as a symbol of his authority.","holder":"Kunsthistorisches Museum","dates":"Hegira 10th century / AD 16th century","location":"Vienna","dimensions":"Total length: 305cm, Length hair: 56/65cm","method_for_datation":"Comparison with similar objects","method_for_provenance":"ILG / BOEHEIM, 1883  \nInventory of Furniture and Small Artefacts held at Ambras Castle, page 6","provenance":"Turkey?","obtention":"Collection of Ambras castle, documented since AD 1882","bibliography":"Haag, Sabine, Sandbichler, Veronika, Klarer, Mario, *Piraten und Sklaven im Mittelmeer*, exh. cat. Schloss Ambras, Innsbruck: Haymon, 2019.  \nSandbichler, Veronika, *Türkische Kostbarkeiten aus dem Kunsthistorischen Museum Wien*, exh. cat., Wien: Kunsthistorisches Museum, 1997.","dynasty":"Ottoman","author":"Veronika Sandbichler, Thomas Kuster","copy_editor":"Liz Cooper","keywords":["Court life; Ottoman army; costume; military object; Ottoman-Habsburg relations; military wear; equipment; ottoman Empire"],"materials":["Horse hair, wood"]},"e733f2a6-8940-5e1d-ba96-bb338e5c87f6":{"name":"Hooded cloak (*burnus*)","description":"Cloak in green velvet with stencilled decoration of pomegranates and leaves in brown. This velvet is based on the Venetian ones of the 15th and 16th centuries. The cloak has a wide fullness at the bottom and a big hood, formed by four points. The cloak is lined in a green silk, printed in silver vegetal motifs.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1910 – c. 1920","location":"Madrid","dimensions":"Height 150 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes; Design; North African influence"],"materials":["Silk, velvet; stencilled and printed"],"artist":"Mariano Fortuny y Madrazo"},"e7789911-13d5-5689-9f57-6f31db64cdef":{"name":"Jillayeh Wedding Dress","description":"Black dress with heavy embroidery. The chest panel shows chevron pattern embroidery, which is also known as *qalayed* (necklace), as well as many floral motifs, while the back panel shows floral motifs embroidered on silk fabric with special stitches. The sleeves are heavily embroidered with vine leaves, while the *banayeq* (side panels) show motifs of flowers, feathers and *manajel* (thick braid work connecting the dress parts). This dress is mainly worn by the married women of Hebron for ceremonial events like weddings. Located in the West Bank, south of Jerusalem, and founded by the Canaanites in the early Bronze Age, Hebron has been famous since ancient times for handicrafts, including ceramics, pottery, glass, embroidery and leather. This gown is handmade from silk and cashmere using atlas stitch. The dress is worn only by married women of Hebron, and it is unique to them in respect of all the colours, stitches, floral motifs and vine leaf motifs that the dress exhibits. The bottom front panel has yellow, orange and red silk triangles with Kashmir cloth on the sides. The bottom of the back panel has a stitched-in piece of cloth with blue embroidered birds and flowers. The use of birds and flowers does not bear any hidden symbolism; rather, it reflects the continuous work of women on the land and hence their use of nature as a main source of inspiration for their embroidery, not only in Hebron but other regions of Palestine as well.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 140cm, Width: 133cm","place_of_production":"Hebron","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Hebron","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian Textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"e826dd7d-b40a-53fb-88ca-e2af297d1f40":{"name":"Jacket","short_description":"Yusuf Bey Karam's jacket, probably worn during the summer months. It has short sleeves and is made of a dark blue fabric, with floral patterns embroidered in gilded thread.","type":"Textile; needlework; garment","holder":"Lebanese Heritage Museum","dates":"Early 19th century","location":"`Ayn Najm","provenance":"Lebanon","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Floral art; Embroidery; Needlework; Handmade"],"materials":["Embroidery"]},"e8eaafdf-a77c-51a2-8c54-e52092c06b0b":{"name":"Calligraphic *Limar* Cloth","short_description":"Silk *limar* cloth; predominantly blue & red. White calligraphic pattern on blue ground on the central compartment & stylised motif of bamboo shoots (*pucuk rebung*) & geometric patterns on red ground (*punca kain*) at each end of the *sarong*. Identifiable words: '*La Ilaha Il Allah*' - There is no God but Allah & *Muhammadur Rasul* (Allah) - Prophet Muhammad is His Messenger. Calligraphic pattern suggests it was not worn as a garment. Perhaps utilised in ceremonial practice such as coffin cover etc.  \n  \nClick [here](< https://www.youtube.com/watch?v=QRi5sCkwpgY>) to **watch a video presentation** of this artefact.","type":"Textile","holder":"Islamic Arts Museum Malaysia","dates":"Hegira 13th-14th century / AD 19th-20th century","location":"Kuala Lumpur","dimensions":"220 x 73cm","provenance":"Terengganu, Malay Peninsula","bibliography":"Islamic Arts Museum Malaysia, *Tradition & Continuity*, Kuala Lumpur: IAMM Publications, 2013: 54.","dynasty":"Terengganu Sultanate","materials":["Twill Woven Silk *Limar* Long Cloth"]},"e8fc4581-ee8f-583c-a11e-54b1e44bda1a":{"name":"Arabic eye liner, *kohl* and perfume container","short_description":"Padded bag to hold three small brass bottles of Arab eye-liner, perfumes and essential oils. It was used as a wall decoration. Decorated with silk tassels, glass beads, Egyptian and Ottoman coins. The Jordanian economy relied on trades and crafts and new waves of people started to settle in the Jordanian territory for these purposes. This object is an example of how traditional fashion reflected the variegated population composition of the area in the late 19th and early 20th centuries. It is also an example of local personal attire, fashion, costumes and rites.","type":"Cosmetics; domestic furniture","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Late 19th century – early 20th century","location":"Amman","dimensions":"Height with tassels 36 cm","provenance":"Jordan","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["brass; essential oils; coins"],"materials":["Hand embroidered"]},"e96b2d33-110e-54cc-b032-89470c72fd09":{"name":"Head- and shoulder shawl","short_description":"The *bakhnūg* is a rectangular woollen head-scarf worn by women. It is soberly decorated (two or three narrow lines along the border, a small piece of individual embroidery in one corner, a fish, a star, a line) or with large planes of linear or geometrical designs woven into the fabric (straight, diagonal or zig-zag lines, dots, angles, triangles or a rhombus ­with endless possibilities of combinations).  \nA *bakhnūg* was made at home by its future wearer for her personal use and this could take up to two or three years to create: preparation of the wool, spinning, setting up the vertical loom, weaving, as well as incorporating the designs of white cotton thread on a white wool background. When completed, the *bakhnūg* was left white (for a young girl), dyed carmine (for a bride or newly-married women), indigo or black (for older women); when dyed, only the woollen background changes colour, setting off the filigree designs of the cotton embroidery.","type":"Clothing","holder":"Weltmuseum Wien","dates":"Ca. 1900","location":"Vienna","dimensions":"L: 163cm, W: 100cm","method_for_datation":"Entry in the TMS digital collection database and archival documents, personal information from the collector.","method_for_provenance":"Entry in the general inventory book, personal information from the collector.","provenance":"Southern Tunisia","obtention":"Purchased from the collector, Renate Anna Menzel, Vienna, 2002.","bibliography":"Steinmann, Axel, \"Von der Kunst des Augen-Blicks. Gewirkte Frauenumhänge (bakhnug) aus Tunesien\", in *Waffen- und Kostümkunde. Zeitschrift der Gesellschaft für Historische Waffen- und Kostümkunde, 48/1 (2006): 17-30.  \nSteinmann, Axel, \"Psychological Profiles\", in Christian Schicklgruber (ed), *Weltmuseum Wien, exhibition catalogue*, Vienna: Weltmuseum Wien, 2017: 230-231.*","materials":["Wool, cotton, pigment"]},"e99ae084-468e-510d-90bc-109658d66887":{"name":"Sarma woman's dress","description":"Example of sarma, an Ottoman metallic-thread embroidery technique, spread across the Levant during Ottoman rule as urban communities adopted and embraced the style as part of elite and festive dress. Characterised by intricate gold and silver threadwork, sarma became particularly associated with urban centres such as Jerusalem, Jaffa, and Damascus, where members of the social elite wore richly embellished garments on ceremonial and festive occasions.","type":"Garment","holder":"Tiraz: Widad Kawar Home for Arab Dress","owner":"Tiraz","dates":"ca. 1935","location":"Amman","dimensions":"Height: 140 cm; width: 150 cm","place_of_production":"Jerusalem","provenance":"Purchased by the collector","author":"Laila Mushahwar","copy_editor":"Danielle Morcom","keywords":["embroidery; dress; metal; festivities; ceremony"],"materials":["Velvet, metal"]},"eb0069e6-ef9d-5223-afab-ebd48196c101":{"name":"Sab’aawi Dress","description":"Black dress with wide, long sleeves and *aqras* (geometrical figures) embroidered on the chest panel. The shoulders and upper sleeves show geometrical figures with cypress tree braid work. The sleeve opening has a *tashreefa* motif with white and red colours. The front panel and the *banayeq* (side panels) have heavy cypress tree motif embroidery, while the back panel shows an atlas motif with moons and geometrical figures. The top shows cypress tree designs and the bottom edge of the dress shows two lines of blue embroidery. This handmade dress originally comes from the Bir al-Sabe district. It is an everyday dress, and all women can wear it day to night. It is casual and comfortable, allowing them to do their house chores easily, and is also very practical and easy to wear.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 143cm, Width: 114cm","place_of_production":"Bir al-Sabe","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Bir al-Sabe","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"ecda8323-4cc5-5e96-a034-122e8ca1bb6c":{"name":"Textile from the Prince Felipe of Castile burial","description":"This fragment came from the set of garments wore by the Castilian Prince Phillip in his burial at Villalcázar de Sirga (Palencia). The fragment is a very good example of the richness of the textile from al-Andalus. The textile has an inscription in Arabic that could be translated as “Glory to our Lord the Sultan”. This an early example of the interest in collecting important textiles, even before the important research made by Gómez-Moreno in the Royal Convent of the Huelgas (Burgos).","type":"Textiles","holder":"Lázaro Galdiano Museum","dates":"13th century; 1915–1930 (Lázaro Galdiano collection)","location":"Madrid","dimensions":"27,3 x 20 cm","provenance":"al-Andalus","author":"Ámparo López","copy_editor":"Anne Dowell","keywords":["Nasrid art; islamic influence; orientalism; collectionism"],"materials":["Silk; lampas weave"]},"ed9865de-73ac-57f6-ade6-ad41f83cd57d":{"name":"Section from a chasuble with ogival medallions","short_description":"The fabric is of very high-quality weave, and is datable on the basis of its technique and design to the early years of the classical era of Ottoman silk lampas (*kemha*) in the 1550s, when the designers and weavers, encouraged by state patronage at the very highest level, were establishing themselves in competition with Italian silk weavers. The tiny scale of the stylized blossoms, the precision of their drawing and their symmetrical arrangement are all indications of a fairly early date.  \nFabrics of this sort, exported to western and central Europe, were frequently fashioned into ecclesiastical vestments, the chasuble being the most common genre to incorporate both Ottoman *kemha* and Ottoman velvet.  \nThe two halves of the other side of this chasuble are in the Textile Museum, Washington, DC, inv. no.1.51; and the Metropolitan Museum of Art, New York, inv. no.08.109.24.","type":"Textile; chasuble; silk; lampas; *kemha*","holder":"Khalili Family Trust – Nasser D. Khalili Collection of Islamic Art","dates":"AD second half of the 16th century","location":"London","dimensions":"139 x 74cm (max)","method_for_datation":"Date and provenance are based on stylistic and technical grounds.","provenance":"Turkey, probably Istanbul","bibliography":"Denny, W., in *Textiles, Carpets and Costumes*, London: The Nasser D. Khalili Collection of Islamic Art, volume 14, Part One. \\[In preparation / forthcoming\\]  \nMigeon, G., *La Collection Kelekian. Étoffes & Tapis d'orient et Venise*, Paris 1908, pl.36.  \nRogers, J.M., *Empire of the Sultans. Ottoman Art from the Collection of Nasser D. Khalili* (exhibition catalogue), Alexandria, Virginia and London, 2002: no.155, pp.220–21.  \nRogers, J.M., *The Arts of Islam. Masterpieces from the Khalili Collection*, London: Thames & Hudson, 2010: no.381, p.254.","dynasty":"Ottoman","keywords":["Turkey; Ottoman textile; silk; textile; kemha; lampas weave"],"materials":["Silk lampas (*kemha*)"]},"effaa1df-9ca1-5f7e-bc65-9a7edb7a597c":{"name":"Tunic (uniform). Officer in the regiment of Swiss Guards, quartermaster general in Holland.","description":"Uniform of Albert Dietegen von Planta from Zuoz (b. 1740, d. March or May 1803), major general and inspector of the Dutch infantry. In 1795, von Planta returned to Switzerland where he acted as deputy to the war council of the Three Leagues (Canton of Grisons). Between 1568 and 1829, a total of 80,000 Swiss troops is estimated to have fought for the Dutch on thirty-one occasions. In 1672, King William III (William of Orange) took into service some 100 Swiss halberdiers as his personal bodyguard, the so-called \"Guardes Zwitzers\". In the second half of the eighteenth century, Holland had a regiment of Swiss Guards and several Swiss line regiments, largely comprising men from the Protestant canton of Bern, but also from Zurich and Grisons; they were disbanded in 1796. The last four Swiss regiments served in Holland from 1814 until their disbandment in 1829.","type":"Uniform","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"1730 - 1803","location":"Zurich","dimensions":"H: 105cm","method_for_datation":"Documents","provenance":"Netherlands","obtention":"Bought in 1978","keywords":["Uniform; Albert Dietegen; Zuoz; Netherlands"],"materials":["Woolen cloth"]},"f0667100-6159-569b-9a0e-84fec1b968f0":{"name":"Headdress","short_description":"Three bands of silver chain fitted around the sides and over the crown of the head and attached to a surrounding fabric patterned in minute beadwork and sewn with various Ottoman and Russian coins. From this head-piece hangs a long piece of cotton sewn with coins of the Ottoman Empire with a rectangular pendant and multiple red and green silk tassels on the back. Headdresses like this one were worn by married women, as silver was the most common jewellery. The dowry of silver and gold jewellery was given by the groom to the bride. The Ottoman and Russian coins reflect the social and economic situation of Jordan between the end of the 19th century and the early 20th century, when it was part of the Ottoman empire and it was influenced by population movements, demographic changes and trade with distant countries.","type":"Clothing; ornament; costume; dress","holder":"Jordan Museum for Costumes and Jewellery, Department of Antiquities","dates":"Early 20th century","location":"Amman","dimensions":"Height 120 cm","provenance":"Northern Jordan (Ajlun, Irbid, Ramtha)","author":"Huda Kilani","copy_editor":"Daniel de la Vega","keywords":["Ottoman; Russian coins; pendent; red and green silk"],"materials":["Silver, fabric, glass beads, coins; casting, welding, weaving"]},"f29b84af-a354-519f-abf4-763d9a15df5a":{"name":"White Rumi Dress","description":"Dress made of white, handwoven raw linen, embroidered mostly with red and pink silk. The embroidery is cross-stitch in traditional Ramallah motif and colour pattern. The dress comes with basic long sleeves that show floral motifs under the arms and on the cuffs. Two identical, thick embroidery stripes sit on each side of the waist, with heavy embroidery on the border. One of the most distinguishing features of this dress is the shape of the *qabbeh* (chest panel) and the chevron on it. The chest panel is embroidered with different motifs. The centre of the panel has a chevron topped by two branches of flowers and, under it, two squares of embroidery with feathers on the sides. The panel is framed by flowers and a few feather motifs embroidered on the edges. This dress is considered to be the traditional wedding dress in Ramallah. It is very distinctive because Ramallah is one of few regions that uses white fabric and, even here, white is relatively rare. Some women might also wear this style of dress, but with different stitches, on a daily basis, and this is what makes the Ramallah dress so special. Ramallah is a Palestinian city in the central West Bank, north of Jerusalem, and is generally considered the most affluent and cultural, as well as the most liberal, of all Palestinian cities. Like most Palestinian areas, Ramallah has a rich culture of song, dance and costumes. We see examples of Palestinian attire in artifacts from the Canaanite period. Before the Palestinian Nakba in the 1948 war, traditional costumes for Palestinian women varied regionally in design.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 131cm, Width: 139cm","place_of_production":"Ramallah","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Ramallah","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"f310be0c-2e4a-5a7a-ab0c-baaa41091e32":{"name":"*Dokhla* (wedding dress)","short_description":"This tunic is entirely embroidered with gold-plated silver thread. This is the most important element of the marriage ceremony (jelwa) in Nabeul (Tunisia). The rectangular tunic's splendour comes from its incredibly rich embroidery, which is made of various different silk ribbons, all embellished with tal. In fact, the embroidery entirely covers the fabric itself. The breast and belt areas are embroidered with sequins and gold thread. The tunic is calf-length, and a luxurious pair of silk trousers can be seen beneath, covered in gold embroidery to match the sleeves. In addition to this, one of the bride's many items of jewellery is a great chain of golden rings, a rihana, which she wears with a large necklace made of a scented material. Lastly, the bride's head is covered by an embroidered veil made of muslin and silk.","type":"Textiles; dress; embroidery","holder":"Private collection","dates":"19th century","location":"Tunis","author":"Saloua Zangar","translator":"Flaminia Baldwin","keywords":["Embroidery from Nabeul; sequins and gold thread"],"materials":["Embroidered fabric with gold-plated silver thread"]},"f9788b95-591f-522c-bd57-84003553fdd9":{"name":"*Üçetek entari*","short_description":"The attire of Ottoman women included dresses for the outdoors and the indoors. Starting from early 19th century, dresses called *üçetek* (dress with three skirts) and *dörtetek* (dress with four skirts) became fashionable. As relations with Europe increased, women in Istanbul started to use imported European textiles for their new dresses. This *üçetek entari* (dress with three skirts) is made of a soft red-coloured *canfes* (fine-textured shiny silk fabric) embroidered in the laid cord technique. The robe has a long trailing skirt, wrist-length sleeves and a stand-up collar. It fastens across the chest with button loops and plaited buttons. Along the edges of the skirt, sleeves, slits and seams are undulating floral designs embroidered in coloured silk cord.","type":"Textile; dress; Ottoman costume","holder":"Vehbi Koç Foundation Sadberk Hanim Museum","dates":"End of the 19th century","location":"Istanbul","dimensions":"H: 191, length of sleeves: 51 cm","copy_editor":"Daniel de la Vega","keywords":["fashion; traditional dress; textile"],"materials":["Silk *canfes*, silk cord"]},"f9a18ff2-f597-5b8b-bbfe-3e66d75ad509":{"name":"Beit Dajan Wedding Dress","description":"Black dress made of black linen fabric. The chest panel of the dress is framed on three sides with different colours, surrounding a *tashreefa* motif. It has a V-neck collar with tassels, and is embellished with lulu braid work that has flowers on both ends. The neck and shoulders are made of wine-coloured linen fabric with a thick orange lacing. The sleeves include *hirmizi* fabric with multiple colours of embroidery and framed by lulu braid work with flowers. The back panel of the dress shows flowers on two sides with an oval in the centre. The *banayeq* (side panels) include soft floral motifs with geometrical shapes, surrounded by trim in geometrical motifs. A lulu braid work with flowers is seen on the centre of the front panel, while the back shows horizontal braid work of cypress trees and vertical braid work similar to the front panel. This dress is representative of garments from Beit Dajan, a Palestinian village located to the east of Nablus. Beit Dajan is famous for its fertile agricultural land, which may be a great source of inspiration for the embroidery on this garment. The women of Beit Dajan village embroider and sew this type of garment on their own, and they wear it on occasions and celebrations like weddings. It is not suitable for daily life as it is heavy and ornate.","type":"Clothing; Costume","holder":"Birzeit University Museum","dates":"First half of the 19th century","location":"Rammallah","dimensions":"Length: 135cm, Width: 138cm","place_of_production":"Beit Dajan","method_for_datation":"Material dating","method_for_provenance":"Stylistic analysis","provenance":"Beit Dajan","obtention":"Donation. Acquisition Date: 1983.","bibliography":"Kawwar, Widad, *Threads of Identity: Preserving Palestinian Costume and Heritage*, Cyprus: Rimal Publications, 2011.  \nMunayyer, Hanan Karaman, *Traditional Palestinian Costume: Origins and Evolution*, Northampton: Interlink Pub Group, 2011.","author":"Balqees Nakhlah","copy_editor":"Adrienne Staudohar","keywords":["Traditional costume; Palestinian textile; Dress; Clothing"],"materials":["Fabric; hand embroidered"]},"f9ae9656-29ab-534b-a02c-90fe95d65205":{"name":"Three pairs of clogs","short_description":"Wooden clogs such as these have a long history in the Middle East, emerging before the Middle Ages and remaining popular for centuries to come. They were made of a variety of woods, including walnut, apricot, willow, poplar, or beech. The wood was cut into wedge shapes then moulded around the foot of the wearer. Excess wood was then shaved off, the heel attached, and the wood painted and polished. Leather girdles in a variety of colours were fixed to the heel with special nails and the wood would often be decorated with mosaics of bone or seashells organised in geometric or floral patterns. These shoes were designed to be comfortable and resistant to water, and thus were usually worn at home, particularly by women.","type":"Woodwork; shoes","holder":"Lebanese Heritage Museum","dates":"19th century","location":"`Ayn Najm","author":"Marie Therese Moujabber","copy_editor":"Flaminia Baldwin","keywords":["Shoes; Woodwork; Fashion"],"materials":["Wood, leather, bone, seashell"]},"f9c5a022-ba1e-5b5b-a490-3b54263c0271":{"name":"*Daffah khachyya*","short_description":"This was purchased from Sheikh Sa\\`ud’s family collection in 2001. The cloak is handmade and hand embroidered, made from heavy black wool. It is estimated to be older than 1960, between the 1940’s and the 1950’s. It is speculated that it was used by the Bedouins from eastern Saudi Arabia. It is called *daffah khachyya* and not *bisht*. *Khachyya* is the man who would have been involved in making the cloaks.","type":"Costume","holder":"National Museum of Qatar","dates":"1940–1950","location":"Doha","keywords":["Embroidery; wool; bedouin"],"materials":["Black wool"]},"fa113d57-874f-5262-96a7-d769cd7f7fd8":{"name":"Tunic (*Djellaba*)","description":"*Djellaba* made in tabby or plain weave, with a striped decoration from the different wefts thread colours. The origin of this design was travels by Fortuny to North Africa in the 1930s.","type":"Fashion; costume","holder":"Museum of Costume, Ethnographical Heritage Research Centre","dates":"c. 1930 – c. 1940","location":"Madrid","dimensions":"Height 114 cm","provenance":"Venice","artist_birthdate":"1871","artist_deathdate":"1949","author":"Elvira González","copy_editor":"Anne Dowell","keywords":["Costumes; Design; North African influence"],"materials":["Cotton; tabby or plain weave, printed"],"artist":"Mariano Fortuny y Madrazo"},"fab32475-cc0b-58fd-b8a1-2d333ca79a85":{"name":"Silk garment.","description":"An exquisite garment made of silk and finely woven with great skill. It is in excellent condition and it is likely that the owner of the garment wore it for official receptions and ceremonies. The garment is made up of two pieces: the inner piece and the outer piece. The inner garment is a silk robe, soft to the touch, in yellow. It has a simple design that resembles a *disdasha / jalabiya* (a long, loose flowing garment). This garment has an open collar to the waist, but a large section of the opening is brought together with bands of fabric that can be opened and then closed in a different place.  \nThe outer garment is a loose flowing gown, which is open in front along its length and resembles an *'aba'a* \\[robe\\] which covers the body completely and allows freedom of movement. This garment is made from skilfully woven, soft silk of blue and white bestowing on the wearer stature and elegance. The outer robe is embroidered in the same shade of yellow as the inner garment.  \nThe embroidery is centred on the edges of the opening of the robe, and covers most of both sleeves; it includes blossoms and vegetal stems which are executed with thick silk thread.  \nThis garment is a good example of fashionable clothing for women of the upper classes in Ottoman society of the 13th / 19th century, showing also individual selectivity and fine taste in the choice of fabric and colours.","short_description":"A silk garment intricately woven with great skill. It is in good condition and was probably worn for official occasions. It consists of an inner soft silk yellow garment and an outer robe-like garment that covers the body completely. It is open in the front along its length and is made of blue and white soft silk imparting stature and elegance to the wearer.","type":"Silk embroidery, silk thread, costume","holder":"Islamic Museum, al-Aqsa Mosque / al-Haram al-Sharif.","initial_owner":"The wife of Ya’qub Pasha, governor of Jerusalem AH 1245 / AD 1830.","dates":"Hegira 1245 / AD 1830.","location":"Jerusalem","dimensions":"Length exceeds 200 cm.","method_for_datation":"The piece was dated based on the date in which Ya'qub Pasha (husband of the owner of the garment) governed Jerusalem.","method_for_provenance":"This type of silken textile was famous all over Turkey especially in Istanbul, and also in Syria. Besides this information there is no means of ascertaining in which of the two countries it was made, or whether it was somewhere else entirely.","provenance":"Possibly produced in either Syria or Turkey.","bibliography":"Al-'Arif, 'A., *Al-Mufassal fi Tarikh al-Quds \\[An Articulation of the History of Jerusalem\\],* Jerusalem, 1999.","dynasty":"Ottoman","linkcatalogs":"IAM_TR_EN_001","author":"Nazmi Al-Ju'beh","copy_editor":"Majd Musa","translator":"Amal Sachedina (from the Arabic).","translation_copy_editor":"Mandi Gomez","keywords":["Embroidery; garment; silk; robe; ‘aba’a; women; costume"],"materials":["Silk with silk-thread embroidery."]},"fbf4d4a8-5487-5f14-80a9-c326b47bc923":{"name":"Kaftan fragment.","description":"A silk brocade (*kemha*) fragment that originally formed the back of a child's collarless, short-sleeved kaftan, cut with a straight waist and bell-shaped skirt. The textile is woven with staggered rows of diagonally ascending zigzag bands set at regular intervals, in red, which are further enhanced by a pattern, in miniature, of ‘tiger stripes’ and three circles (known as *chintamani*), rendered in green. The *chintamani* motif is common on *kemha* textiles from about the first half of the AH 10th / AD 16th century. Its origin and meaning are still unclear, but it has been suggested that the triple-circle motif may have had apotropaic associations among Turkic peoples, warding off evil by reflecting it back at the perpetrator, while the tiger-stripes seem to recall the tiger-skin worn by the Iranian superhero Rustam.  \nThe original museum record states that this piece represents a portion of a child's robe-of-honour from Constantinople or Bursa. Possibly arriving in Turkey via Syria, the complex weaving technique adopted on this textile, known as lampas weave, was used by Ottoman weavers in the late AH 9th–early 10th /AD late 15th–early 16th century. The most important Ottoman silk manufactory was at Bursa but in the AH 10th / AD 16th century, court workshops were also set up in Istanbul, the Ottoman capital. *Kemha* garments were designed to emphasise the imperial status of the sultan and his family even in death, when such garments were often draped over imperial cenotaphs or *sanduka*s.  \nThis fragment is part of a group of garments that was brought to Europe by an art dealer and cut up with some of the resulting front and back sections subsequently divided between the V&A in London and the Royal Museum in Edinburgh.","short_description":"Silk brocades like the one used for this fragmented child kaftan were made in the Ottoman empire between the AH 10th and 11th / AD 16th and 17th centuries, first in the imperial workshops at Bursa. Later in the 10th- / 16th-century court workshops were also set up in Istanbul, the Ottoman capital.","type":"Ottoman costumes, embroidered silk","holder":"National Museums of Scotland (NMS).","dates":"Hegira, late 10th–early 11th century / AD late 16th– early 17th century.","location":"Edinburgh, Scotland","dimensions":"Length 82.5 cm, width 77.5 cm.","method_for_datation":"*Kemha* textiles were popular in the Ottoman Empire between the late 10th–early 11th / late 16th–early 17th centuries.","method_for_provenance":"Items such as this kaftan are known to have been worked in the Ottoman silk-weaving workshops at Bursa or Istanbul during the late 10th–early 11th / late 16th–early 17th centuries.","provenance":"Turkey.","obtention":"Purchased from Mr Tiano of Constantinople in 1884.","bibliography":"Atasoy, N., Denny, W. B., Mackie, L. W., and Tezcan, H., *Ipek, the Crescent and the Rose: Imperial Ottoman Silks and Velvets*, London, 2000 (for a discussion of similar Ottoman textiles).","dynasty":"Ottoman","author":"Ulrike Al-Khamis","copy_editor":"Mandi Gomez","keywords":["Kemha; costume; Ottoman costume; textile; cintamani"],"materials":["Silk, cotton and silver brocade (*kemha*)."]},"fd4bc2cb-a18b-5b1c-8212-6fcdba206294":{"name":"Cap","description":"Cap made of black, pink, green, yellow, blue and red paisley patterned wool quilted onto a patterned cotton lining with black thread. Embroidered with white silk thread using buttonhole wheel technique. The crown is embroidered with an octagonal star motif and sides with cypress tree or teardrop shaped motifs.","type":"Cap","holder":"The British Museum","owner":"The British Museum","dates":"Late 19th century to early 20th century","location":"London","dimensions":"Height: 11cm; diameter: 18cm","place_of_production":"Azarbaijan","provenance":"Palestine","obtention":"Purchased from the Church Missionary Society (CMS) in 1966","catalogue_holding_link":"https://www.britishmuseum.org/collection/object/W_As1966-01-317","keywords":["Clothing; Dress; Palestine"],"materials":["cotton, silk, wool"]},"ff1cc08e-5e46-58f1-ba2a-f93481917b38":{"name":"Waistcoat (*Yelek*)","description":"This beautiful feminine traditional *yelek* (waistcoat) is a part of a women’s typical dress. The red velvet and the light vegetal pattern embroidery handwork enhance the elegance of the piece. The Marquise of Cerralbo or her daughter would be the probable admirers and purchasers.","type":"Costume","holder":"Cerralbo Museum","dates":"19th century","location":"Madrid","dimensions":"38 x 50 cm","provenance":"Turkey, Istanbul","author":"Cecilia Casas Desantes","copy_editor":"Anne Dowell","keywords":["Personal attire; Women"],"materials":["Hand-embroidered velvet"]}}