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Otto-Clth-Ovr-art
- 3/3/15
"Ottoman Clothing in SCA Period: An Overview" by asim
al-talib.
NOTE: See also the files:
Ottoman-Cloth-art, pants-msg, clothing-bib, cl-Mid-East-msg, Middle-East-msg,
Turkey-msg, ME-Refrsh-Tbl-art, fd-Mid-East-msg.
************************************************************************
NOTICE -
This article was submitted to me
by the author for inclusion in this set of files, called Stefan's Florilegium.
These files are available on the
Internet at: http://www.florilegium.org
Copyright to the contents of
this file remains with the author or translator.
While the author will likely
give permission for this work to be reprinted in SCA type publications, please
check with the author first or check for any permissions granted at the end of
this file.
Thank you,
Mark S. Harris...AKA:..Stefan li
Rous
stefan at florilegium.org
************************************************************************
Ottoman Clothing in SCA Period: An Overview
by asim al-talib
Ottoman
clothing is amazing. Although
patterns are very simple, the fabrics are dazzling, so much so that European
travelers regularly talked up the quality, as well as the quantity, of the
cloth. The wealth of clothing styles in the roughly 200 years of easily
documentable Ottoman tailoring work at the end of SCA Period (1600) gives any
re-creator pause, as finding out what can be made can be daunting.
This
work is a "first pass" for that re-creationist job. It's a collection
of data, including some patterns, which you can use to both make & research
your own Ottoman clothing. It helps to have some solid sewing skills for many
of these patterns, as they will not be the McCall's/Simplicity style, but line
drawings that you can use to start the re-creative process.
Entries
in this work for each piece of clothing include re-creative notes; as I'm still
in the process of making a number of these items, I give what commentary I can,
especially if I've been able to observe it in person, so I can give details as to
period sewing techniques. Most importantly, there is an extended bibliography,
as well as notes on ways to continue your own research, if you so desire.
It's
important to note that this is "mainline" clothing only for this
work. My research is still ongoing for all the items listed herein. Some I have
left out, mostly due to lack of data. There are no discussions on accessories
such as shoes and male/female jewelry, I omit the fistan (skirt) due to lack of
documentation, and items such as the ferace, rarely worn in the SCA, are not
covered.
However,
my overall hope & desire is to give you tools to move forward in your own
construction and research. This is a document in progress, a snapshot of my
research, just as my research is still growing over time – and I hope it never
stops! If you have comments or questions, feel free to contact me at asim at
mindspring.com.
A
note on names
As noted in the "sirwal"
entry, some pieces of clothing may have multiple names. In addition,
transliterations from Arabic or Turkish are difficult, at best. I have chosen
to use a simplified language, avoiding diacritical marks and other language
notations, to ease the reader into these works.
Fabrics
in period Ottoman times are worthy of an extended work of their own, in
particular silk. Here are a few notes on the period fabric situation, to give
the re-creator a grasp of the basics.
It's
important to recall that the situation is subtly, yet critically, different
from with European fabrics. Linen is still the fabric of choice for all levels
of society; a day-to-day outfit, even for middle-class folks, would be almost
all linen. It's difficult for the modern re-creator to go wrong with choosing
linen, and the research backs that choice for every piece we'll discuss (with
the possible exception of the outer layer of the surkaftan.)
Cottons
are more available than in Europe in period, but still rare; they are, however,
not nearly as costly, and were worn by at least middle-class citizens on
occasion for undergarment purposes. The modern re-creator would likely choose
to use more cotton than their period counterpart did, as cotton and linen have
more-or-less switched places in terms of cost and status in modern society.
Wool
is another fabric that, like linen, got far more use in period than in modern
times. Wool was used for overclothes in period, and for inner garments out of
period -- which hints that they may have been used in period as well. Indeed,
high-end wools such as mohair were an integral part of Ottoman fabric trades
with Europe.
Ottoman Underclothes
As
much fun as wearing clothes from the Ottoman Empire is, the art of clothing in
the region is about far more than fancy fabrics. Multiple layers of
underclothing support, and even define the lines and shape of the Kaftans we
know so well. This class is about those underclothes and patterns, sources, and
ideas for recreation.
Most
of these pieces are not "fancy", and, even for wealthy individuals,
would have been made of basic linen, cotton, or silk, and oftentimes undyed
material at that. Please note that, although I will mention silk as a fabric
for underclothes, sumptuary laws prohibited men for wearing silk next to their
bodies. Long-standing and well-understood hadiths (essentially, "laws"
said to have been passed down by Mohammad himself) are at the core of this
prohibition.
Interesting,
I have seen, to-date, no data on men breaking this law. This may be as much
because the full-coverage nature of the garments made it extraordinarily
difficult to enforce this law.
Loincloth
Name: [Ottoman Term unknown] (Loincloth)
Gender Worn By: Men
Primary Source: Binney (41, Cat. No. 18 fol. 51v)
Patterns: See Appleton
Fabrics:
Period fabrics are unknown. Try
linen or cotton for modern re-creative efforts. Said fabric, for obvious
reasons, must be soft and breathable fabric! Think diaper.
Period Construction:
I have no resources on
Ottoman-era construction, so I depend on Appleton's description[1]
of a very similar piece of clothing from earlier in SCA period. Obviously, it's
possible that it changed over time, yet with the lack of period examples, much
less sources, I feel it's safe to relay upon this documentation until better
data appears. From the image, and the logistics of keeping on one's body even
when wet, it's obviously a very strong piece of fabric tied to the body in a
strong, yet flexible way. It bears a strong resemblance to the Indian dhoti in
look.
Modern Re-creative Construction:
The ferace[2]
is likely worn by fewer Scadians that this garment, yet the lack of any
likelihood that underwear would be part of an A&S entry or display renders
this clothing item rare in re-creationist efforts. One intriguing aspect of
re-creation would be to see if the wearing of such an apparently full garment next
to the body affects the line and shape of the clothing above it.
Period Cultural Impact:
As my current hypothesis is that
it's a piece of cultural clothing "artifact" worn throughout the
region for centuries (like the cashkir that cover it), it's not likely to have
any especial impact in Ottoman times.
Caksir
Name: Caksir (Underpants)
Gender Worn By: Both
Primary Source: Tezcan (14)
Fabrics:
The example uses crepe silk,
although it's almost certain it is a very high-end example of the garments. A
much more likely fabric for both genders would be linen, possibly cotton, maybe
even wool.
Patterns:
See Friedman &
Cook for a solid pattern, although the basic design is simple enough.
Period Construction:
Caksir is a simplified, boxier,
and less baggy version of the sirwals. The lack of bulk would be critical for
wearing underneath pants.
Modern Re-creative Construction:
Simpler to make than the sirwals,
there should be little issue with re-creating this. A "look-alike"
pattern is the "Turkish Style" pants in Brown (55), which should work
well for most purposes. There is so a description of a very similar
early-period style in Cariadoc's Miscellany (Friedman & Cook), although the
online version lacks illustrations.
Period Cultural Impact:
My opinion is that this design
focuses on protecting the legs from unlined pants fabric, but also protects the
pants fabric from the skin. There may have been some social issues for men to
appear in public in just these, as part of a sign that you had money enough to "cover
your underpants" or the like.
Possibly related is the
possibility that women, generally speaking, only wore these pants. Images from
period European viewers, and the commentary by Thomas Dallam (Penzer[3]),
indicate that women wore thin white pants, which match the cashkir more than
the sirwals. In addition, Faroqhi ("Female costumes", 90-91) does not
list off sirwals (or anything of similar name) in her clothing lists from
period Bursa. Although not a decisive point, it hints that, perhaps, Moslem
women, due to their totally covered status in public, did not see it necessary
to wear "overpants" such as sirwals day-to-day such as men did.
Commentary:
An interesting hypothesis is "who
made them"? It's difficult to imagine these garments being made to-order by
the all-male tailoring establishment for women, which argues for female
self-tailoring, or at least making by women in a circle of family and friends
of others in that circle.
Gonlek
Name: Gonlek [aka Gomluk] (Undershirt)
Gender Worn By: Both
Primary Source: Binney (8, Cat. No. 4 fol. 108v)
Fabrics:
Period sources mention gonleks
made from Cotton, Silk, and Linen. All these fabrics were thin &
lightweight ones, in keeping with its function.
Patterns:
[see ILLUSTRATION 1]
Period Construction:
Overall design is very similar to
the t-tunic. Research indicates stitching went from one length of fabric, laid
length-wise, raw edges together, going down to at least knee-length, if not
further. How the slit was cut is still something I'm working on, I hypothesis
that it actually was a rectangular cut in the fabric, not just a slit.
Another hypothesis of mine is
that the thin line 'round the waist in the Binney image is a cord for holding
the garment in-place under the coat, as gonleks tested by wearing indicate that
the coat alone is not enough to keep the gonlek from sliding.
Sleeves are interesting. Two
period illuminations from Binney (8, Cat. No. 4 fol. 14r & fol. 22v) show
no-sleeve designs, in contrast with the majority of women's wear (And[4]),
as well as another illumination from the same album (8, Cat. No. 4 fol. 108v).
Modern Re-creative Construction:
Until recently, I used t-tunic
patterns for gonleks. Since the kaftan generally covers the gonluk, the lack of
a slit and other elements are unnoticed, even for A&S Fashion Shows. Also,
note that, for taller/heavyset folks, a longer fabric is useful; I've
personally used 60-inch fabric to great effect.
Period Cultural Impact:
As the illuminations show, when
men exposed their gonlek, it was a sign of exertion and heat in the area. If
seems to not have been totally taboo to wear just a gonlek, but it was far from
normal. Women, of course, would never wear just a gonlek in public! What little
we know from sources such as Dallum (Penzer) indicates they wouldn't wear just
a gonlek even in private with other women.
Commentary:
The name "gonluk" is
taken from research performed by Faroqhi ("Female costumes", 86),
where she looked at SCA-period clothing lists of widows. Although there are a
number of issues with using the term in a universal way, the fact that, so far
as I can ascertain, none of the other sources for the name "gomlek"
come from actual period sources indicates that this term should be taken
seriously as the proper period term for the undershirt.
Sirwal
Name: Sirwal (Pants) [See below for name notes]
Gender Worn By: Both
Primary Source: Raby ([PAGE])
Fabrics: All the extra examples I've
found have been made of high-end silks. It's reasonable, if not documented by
myself, to assume that other fabrics used include linen and cotton, as well as
basic silks.
Patterns:
[see ILLUSTRATION 2]
Period Construction:
If one takes the extant,
high-end, examples as gospel, period sirwals were not the fabric-saving,
rectangular designs often seen. The one example of sirwals I've seen up-close
featured curves, and was unlined. Images of what I believe to be lined versions
do exist, however. Sewing was "rough", with the slits for the ankles
showing signs of having the curve "forced" in, rather than smoothly
tucked under. An important note is that there seems to be two different kinds
of waistbands for them -- one kind that acts like a modern-day casing, with the
tikka (drawstring) going within. Another acts more like a cummerbund, with the
wide, tightly wrapped sash going round the upper edge of the fabric.
Modern Re-creative Construction:
Rashid's salwar pattern is a much
simpler one than a period design, and also has the bonuses of not only being
more tested, but it also has directions for the user. In addition, it is very
economical on your fabric! I highly recommend it for anyone looking to start --
all my pants are still using his old pattern, in fact. I am personally using
Rashid's pattern as a jumping-off point for my more period designs, and I would
recommend that tactic, as well.
Another, potentially closer to
period pattern is by Baroness Hanzade (Davis), and is closer to a period
design. She lacks sewing details, however, as does my line drawing of the
pants.
Period Cultural Impact:
Sirwals were a minor, yet real,
point in the "conspicuous consumption" of silk that fueled much of
the fabric trade in the region. They were not part of the system of hi'lat
(robes of honor) that were regularly given out by high officials, but there was
a point, it appears, where you wanted to be seen in pants that looked good as a
point of status.
As I noted in the cashkir entry,
there are hints that women did not wear these nearly as much as men did. This
could be because women's much lower status, and lack of visibility in public,
did not require "fancy" pants as part of daily wear.
Commentary:
There are still many points of
interest in researching these pants. Aside from a lack of documentation, there's
the intriguing issue concerning the social status of these pieces of clothing.
In addition, it would be of interest to analyze images to determine if lower
classes had pants that used more fabric-saving patterns.
Davis notes an important point
for research in her "salvar" article. These pants have an impressive
number of names in period commentary, and I've yet to encounter a solid
breakdown by region/language. I prefer the term sirwal, others use a variety of
terms, and it's a point to consider in researching and developing.
Ottoman Overclothes
I
define "overclothes" by visibility. Pieces of clothing oftentimes
seen by others, they were made of fine materials where affordable. Never worn
next to the skin, lining and/or underclothes protected the nice fabric from the
skin, as well as protecting the skin from the rough fabric.
Hirka
Name: Hirka/Dolama (Jacket)
Gender Worn By: Women
Primary Source: Faroqhi ("Female costumes",
85)
Fabrics:
If the implications from the
period traveler's tales in "Costumes of Ottoman women" are correct,
it was make usually of silk.
Patterns:
It's likely that the hikra
similar to kaftans. It's difficult, from the lack of clear images and extant
versions to determine an exact style.
Period Construction:
Again, look to the kaftan. One
note is that Faroqhi ("Female costumes", 86) mentions a kusak as an
item that held the garment to the wearer.
Modern Re-creative Construction:
The construction of this item is
a question of merging ideas from kaftans with whatever period images one can
locate.
Period Cultural Impact:
Unknown, as data on the item is
rare on the ground.
Commentary:
I postulate that Faroqhi's "dolama"
("Female costumes", 85) is the same item called hirka by a number of
SCA commentators on period Ottoman dress. There is little data, same a few
period images of women, to go by in finding out more on the item, but I intend
to continue researching it
Kaftan
Name: Kaftan (Coat)
Gender Worn By: Both
Primary Source: (See Commentary)
Fabrics:
Kaftans were made of just about
any medium-to-heavy weight fabric. All the natural fibers, save cotton, are in
use. High-end silks, including the hi'lat (robes of honor, of which more below)
were the fabric of choice -- if one could afford them. Mohair wool (Faroqhi, "Making
a living", 205) was used extensively, even for high-end ones.
Kaftans were the subject for
almost every form of post-weaving fiber art in period, from block printing to
appliqué to stamping. Quilting was particularly popular in period high-end
coats, done after the sewing of the coat, from my observations.
Sadly, most of these fabrics are
extremely difficult to get in modern times, if possible at all. I generally
recommend plain versions of the fabrics, esp. linen, for a start. For "ten foot rule" outfits,
printed corduroy works, and is cheaper than linen in many places.
Patterns:
The vast varieties of period
designs make it nearly impossible to define one "core" pattern for a
coat. I have done lines drawings of two vastly different styles, to give an
idea of how the changes existed in period. [ILLUSTRATIONS 3 & 4]
The photographs for long-sleeved coats in all the works I own fold the sleeves
over the coats, obscuring details of seaming, thus the short sleeves in both
images. I am attempting to request images of coats to complete this patterning
process.
See also Arnold, in the next
section.
Period Construction:
The rectangular layout shown by a
number of sources (Dupuis) is very basic -- the core is a width of fabric equal
to the loom width, which, if we take Mackie's ("Italian Silks", 6)
hints as to the measurement, would have been around 25 inches, hints backed by
data in Raby(163). This core would have, apparently, been as long as the wearer
needed it to be, twice over. Fitting to the wearer came from gores and other
side panels, including sleeves, added in an ad-hoc manner. This includes at
least one extant example of "Five panels on the right, and four on the
left".
There's oftentimes a triangle
piece, attached to one side of the front slit, which "crosses over"
in front, acting as a sort of modesty panel. The side goring (and, on occasion,
gusseting) is where much of the unique nature of the garment comes into play,
as kaftans display a wide variation of styles. One bit that does tend to stick
is the hip gore, two triangle pieces that attach somewhere around the waistline,
and give room for the hips; these gores oftentimes have a rounded top.
Extant kaftans normally were
lined, and facings were a part of at least high-end garments, working along the
neck, sleeves, and bottom hem. Buttons varied wildly, from the well-known
braided closures w/wooden buttons covered in the braided fabric, to buttons
that resemble Japanese temari ball technique.
Sewing was similar to the sirwal
-- oftentimes very roughly done. From my observations to-date, the main seam
was a running stitch, with narrow hems (approx 1.8th inch), and basting
stitches above to help hold in the facings.
A highly detailed analysis of a
Kaftan (Arnold) highlights these points, and gives many details about the
pattern for a period coat. Her work is highly recommended.
Finally, Faroqhi's kusak ("Female
costumes", 86), or sash, for holding a garment to the body applies her as
well, at least for women.
Modern Re-creative Construction:
Likely the best "simple"
coat design is in Brown(60-61); it makes a good, solid basic coat design The "Atira's Fashion" "Ghawazee
Coat" pattern is often cited, however I discourage it's use, as it's a
difficult pattern to work with, and also devoted to an clearly out-of-period
design. It is, however, a "full pattern", along the lines of
Simplicity or McCalls -- and where I started, so I cannot disclaim it too much.
Along those lines, the biggest
note is that, for women, it's a modest v-neck design, and not the deep "scoop"
neckline so often seen in various attempts.
Of course, modern fabric widths
make it more than possible to make it in "one go", and I recommend
that for early attempts.
Period Cultural Impact:
This was the most seen, most
coveted, and best-known piece of clothing in Ottoman times. It was of such
importance that people were sometimes paid with the hi'lat (robe of honor), a
kaftan made to general specifications to be given out as gifts (Raby 32-35).
The fabric choices said a great deal about the wearer, including social status
and religious affiliation -- Sultan Suleyman, in his later years, wore none but
wool coats (Tezcan, "The Topkapi Saray Museum", 60) as he became more
and more pious.
Commentary:
This vast variety gives the
re-creator a great deal of creative license in re-creating a kaftan. With a
good eye towards studying the general look and feel of kaftans, something that's
easy to do with the vast array of works covering extant versions, you can get
away with a great deal of patterning for your tastes and needs.
I did a review of my works with
images of kaftans, and tried to come up with a rough timeline for when one sees
various aspects appear. Although it is far from accurate, if does give a good
clue for variety in kaftan types for re-creative efforts:
Reference |
Page |
Length (cm) |
Notable elements |
Palace of Gold and Light |
B10 |
140.5 |
"Base" coat |
The Topkapi Saray Museum: Textiles |
Illo 6 |
87 |
Angle of front opening |
The Topkapi Saray Museum: Textiles |
Illo 9 |
158.5 |
High start of side gore |
The Topkapi Saray Museum: Textiles |
Illo 11 |
87 |
Layout of sides and hip gore |
The Topkapi Saray Museum: Textiles |
Illo 15 |
150 |
Hip "bell" |
The Topkapi Saray Museum: Textiles |
Illo 20 |
137 |
Larger sleeves |
The age of Sultan Süleyman the Magnificent |
194 |
?? |
?? |
Surkaftan
Name: Surkaftan (Overcoat)
Gender Worn By: Men (?)
Primary Source: Mackie, "Ottoman kaftans",
221
Fabrics:
The only examples I have found in
my research are of silk.
Patterns:
Due to the lack of a clean image
of a surkaftan, I've yet to obtain a clear image of it to develop a pattern,
and I know of no one who's attempted to pattern it yet.
Period Construction:
From image-based observations,
they look to be very similar to Kaftans in construction. One clear difference
is in the armholes, placed at the shoulders, allowing the long sleeves to trail
behind.
Modern Re-creative Construction:
See Kaftans for details on
re-creations.
Period Cultural Impact:
Another example of showing of
social status, only the wealthy could have afforded Surkaftans. The extra-long
sleeves are a sign of the "idle wealth" of the wearer.
Commentary:
Mackie's mention of them is my
only reference to the term, and we are lucky that she gives a detailed
description of what she means. Although extant examples of what she describe
are in any number of volumes (for example, the Style and Status work), they
are, as mentioned, difficult to detail with any accuracy until better images or
sources come along.
Illustrations
ILLUSTRATION 1
ILLUSTRATION 2
Sirwal
layout. My thanks to Baroness Reyna for providing this line art.
ILLUSTRATION 3
Drawn
from Illustration 6 in Tezcan ("The Topkapi Saray", page 55)
ILLUSTRATION 4
Drawn
from Illustration 19 in Tezcan ("The Topkapi Saray", page 71)
Research Notes
I tend to focus my research on
textual sources. Illuminations can be a wealth of data in researching rare
Ottoman clothing, including the little-seen undergarments -- if one is careful
as to their interpretations. Binney's "Turkish Treasures" is an
excellent starting place for discovering more about the art and cultural setup
that surrounds period Ottoman miniature art, and I highly recommend it's
reading as a starting point for interpreting clothing. A major point for your
further research would be to delve into the vast array of period Turkish
images. If you are curious about my library of ottoman research, it's online
at:
<http://www.librarything.com/catalog.php?view=asim&tag=ottoman&alias=1>
A number of those works have "Research
Notes" online as well, and those are notes I took of those works, to aid
you in direction when reading.
One work I highly recommend is
another Faroqhi book, unused in this work:
Faroqhi,
Suraiya. Approaching Ottoman History. Cambridge: Cambridge University Press,
1999.
Her work was eye opening as to
the possibilities in Ottoman history, ones that we as Scadians can use in our
works. Although, due to the lack of time/education, we tend to lack the
language skills needed to do "deep" research, we do have the ability
to live "in the skin" of the period people to some extent, and bring
a certain unique perspective to the academic realm, if we so wish.
Other works to muse upon:
Ipek
This
work is highly useful for all aspects of clothing research. Since silk was of
critical importance in Ottoman clothing and trade, the lengthy details on
everything from growing silkworms to dyes used to weaving patterns means that
this book is one-stop shopping for any attempt to do Ottoman-based fiber arts.
Make sure to pick up the Hardback, as the Softback/Paperback edition lacks the
research and details!
The Topkapi Saray Museum:
Textiles
Single
best work I've found for seeing extant Ottoman kaftans. It also has essays on
many aspects of the clothing it shows.
From Turban to Toe Ring
Good
for a basic "starting point" book; if you're looking to get make
clothes, and not to get too deep into period-ness, I recommend this work. She
does "overview" the history of the garments, but it's not in any
detail.
Istanbul
in the 16th Century
If
you can lay hands on this work, it has an excellent discussion on clothing, as
well as a set of lovely European images (with normal caveats) of people,
including women.
Works Cited
Janet Arnold. "The Pattern
of a Caftan, said to have been worn by Selim II (1512-20), from the Topkapi
Sarayi Museum (Accession Number 2/4415), on display at the exhibition of
Turkish art of the Seljuk and Ottoman periods, at the Victoria and Albert
Museum, November 1967." Costume: The Journal of the Costume Society.
London: Victoria and Albert Museum. 1968, No. 2
Appleton, David B. (a.k.a Da'ud
ibn Auda). Islamic World: Food,
Clothing, Heraldry, and Naming Practices of the Islamic World.
Artan, Tülay. Palace of Gold & Light. Washington: Palace Arts Foundation,
2000.
And, Metin. Istanbul in the 16th Century : the City, the Palace, Daily Life.
Istanbul: Akbank, 1994
Atıl, Esin. The Age of Sultan Süleyman the Magnificent. Washington: National
Gallery of Art, 1987.
Binney 3rd, Edwin and Walter B.
Denny. Turkish treasures from the collection of Edwin Binney, 3rd.
Portland, Or.: The Museum, 1979
Brown, Dawn and Barry Brown. From
Turban to Toe Ring. Roseville: Ibexa Press, 2000.
The Costumes of Ottoman Women. 28 Feb. 2007
<http://www.kismeta.com/diGrasse/Costume/The%20Costumes%20Of%20Ottoman%20Women.pdf>
Davis, Jennifer. "Salvar."
Roxane Farabi's Web Site. 25 Feb. 2007. Society for Creative
Anachronism. 28 Feb. 2007
<http://www.roxanefarabi.com/PatternPages/Salvar%20notes.htm>
Dupuis, Tammie L. "Rectangular
Constructed Coats." Recreating 16th and 17th Century Clothing: the
Renaissance Tailor. 24 Jan. 2006. 28 Feb. 2007
<http://www.vertetsable.com/demos_turkestani.htm>
Faroqhi, Suraiya. "Female
costumes in late fifteenth century Bursa." Ottoman costumes : from
textile to identity. Ed. Suraiya Faroqhi, Christoph K. Neumann. Istanbul:
Eren, 2004. 81-91
Faroqhi, Suraiya. Making a Living
in the Ottoman Lands, 1480 to 1820. Istanbul: Isis P, 1995.
Friedman, David, and Elizabeth
Cook. "Cariadoc's Miscellany: Notes on Islamic Clothing." Cariadoc's
Miscellany. 24 Sept. 03. Society for Creative Anachronism. 28 Feb. 2007
<http://www.pbm.com/~lindahl/cariadoc/islamic_clothing.html>
Mellor, Charles. "Dar
Anahita: Rashid's Patterns." Dar Anahita. 6 Sept. 2004. Society for
Creative Anachronism. 28 Feb. 2007
<http://home.earthlink.net/~lilinah/Rashid/salwar.gif>
Mackie, Louise W. "Italian
Silks for the Ottoman Sultans", EJOS, IV (2001) (M. Kiel, N.
Landman & H. Theunissen (eds.), Proceedings of the 11th International
Congress of Turkish Art, Utrecht - The Netherlands, August 23-28, 1999), No.
31, 1-21.
Mackie, Louise W. "Ottoman
kaftans with an Italian identity" Ottoman costumes : from textile to
identity. Ed. Suraiya Faroqhi, Christoph K. Neumann. Istanbul: Eren, 2004.
219-229
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Times. Dorset P, 1993
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Crescent & the Rose. Annapolis: Azimuth Press, 2002.
Scarce, Jennifer. Women's Costume
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Tezcan, Hülya. "The Topkapi
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Last Edited March the First, A.S. XLI
Copyright 2007 by
Woodrow Jarvis Hill. <asim at mindspring.com>. This work is licensed
under a Creative Commons Attribution-Noncommercial-Share Alike 3.0
License.
<http://creativecommons.org/licenses/by-nc-sa/3.0/>
If this article is
reprinted in a publication, I would appreciate a notice in the publication that
you found this article in the Florilegium. I would also appreciate an email to
myself, so that I can track which articles are being reprinted. Thanks.
-Stefan.
<the end>
[1] I rely upon memory for this; a search for the work, plus a lack of any ownership amongst those on a couple of email lists, renders me unable to cite from it in detail. I apologize for the oversight.
[2] Again, I have omitted discussion on this otherwise worthy garment.
[3] I lack a page reference for this; however, it's the tale of Thomas Dallam, send by Elizabeth I to rebuild the organ he created for the Sultan at his palace. He was able to get a glimpse into the Harem, and his tale is the earliest European commentary on that place.
[4] I lack the page citation for the image in question at this time.