Ancient Fashion

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Vignan’s Foundation for Science Technology and Research – Vadlamudi, Guntur.
Traditional costumes
of different states of
India
India is a land of diversity
but also an embodiment of
unity in just the most
inclusive of ways.

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Assam
• The Assamese women take
pride in their graceful attire of
mekhela sador that which
makes them look ethereally
beautiful. – Split saree
• Made from lustrous silk variants
paat or muga and eri
• Men keep their look toned down
with the simple but elegant
pairing of dhoti and kurta,
complete with a traditional
hand woven scarf called
the gamusa.

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Punjab
• Punjabis are well known for their energy and fun loving spirit.
• The women of the state wear colorful ghagras which are now
mostly replaced by the more functional, but equally traditional
salwar suits.
• Patiala salwars and churidaars are very common dress styles of
the state, that which now are staple ensembles pan India.
• The Punjabi men generally wear kurta and muktsari pajamas, that
which has replaced the more traditional tehmats.

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Jammu and Kashmir
• Pheran is the traditional
wear of the state, common
to men and women, both
Hindus and Muslims with
some variations.
• Double Gowns
• Like its bright red apples
for which the state is so
famous, the dress of bright
colors.
• As for men, the pherans
are complemented by
turbans (Hindus) or skull
caps (Muslims)

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Kerala
• Keralian women wear the
traditional off white sari with
golden border called the mundum
neriyathum. A two piece wonder,
the mundum neriyathum consists
of the lower part of the garment
called mundu
• The upper part of it called the
neriyathu
• The mundu, also known as Kaili
• The mundu however is also a
garment for the male folks in
Kerala and can be interpreted as
the state’s version of a Lungi.

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Andhra Pradesh
• Andhra women wear
original handloom sarees,
mostly silk that lends a rich
texture and color to them.
• The younger women
generally wear a two piece
traditional sari called
the Langa Voni.
• Andhra Pradesh is also
particularly famous for
its Kalamkari sarees
• The males of the state wear
either dhoti or lungi with a
kurta.

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Haryana
• Like its neighbour Punjab, the
state of Haryana also features
traditional dresses.
• A special type of ghagra choli
is the traditional dress for
women, that which includes a
long ankle length skirt called
the daaman, a kurti and a
chunder as odhni.
• Men in Haryana generally sport
an all white Dhoti- kurta
ensemble, accompanied by the
traditional headgear called
Pagri and equally traditional
footwear called jutis.

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Tamil Nadu
• Tamil Nadu is famous for its
Kanchipuram or Kanjivaram
sarees, which are the traditional
wear for the womenfolk of the
state.
• Additionally, the traditional half
sarees also comprise the ethnic
wear of Tamil Nadu.
• These rich culture sarees called
Pavada
• While the men in Tamil Nadu
dress up in Lungis along with
shirt and Angavastra.

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Gujarat
• Womenfolk of Gujarat wear the
traditional dress called the
Chaniyo Choli
• That is a three piece attire with a
ghagra, choli and a head veil.
• Chaniyo is the lower part of the
dress. The choli or blouse
accompanies the ghagra and the
look is completed by the odhni
called polku.
• Gujarati men wear dhotis or
churidar pajamas and kurtas or
bandis, traditionally called Chorno
and Kediyu

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Arunachal Pradesh
• The females wear full sleeves
weaved coat like jacket over a
sleeveless chemise.
• The chemise is kept in place
with a belt tied over it and is
worn with a slip or waist cloth
called the Mushaik.
• The male wear lungis
interwoven with silk shirt

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Maharashtra
• Saree is the traditional attire
for women of the state Known
as Nauwari saadi or Lugda
• Maharashtrian men traditionally
wear dhotis known as Dhotar,
which they pair with a tight fit
short sleeved shirt called Pheta
and accompanied by
headdresses called Pagadi.

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Chattisgarh
• Women from the Indian state of
Chattisgarh wear sarees in the
typical Kachmora style native to
the region.
• Traditionally, the saree is known as
Lugda and is worn with the blouse
called Polkha

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Goa
• Women wear lengthy, stone studded
nine yard sarees called Nav Vari, the
men keep it casual with half pants and
beach shirts, along with hats.
• Goa women also wears the traditional
costume called Pano Bhaju

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Nagaland
• Tribal dominated North
eastern state
• The traditional dress for Naga
women is the Angami, that
which comprises a sleeveless
top vatchi worn over the
petticoat and a white skirt.
• Naga men’s angami costume
has a kilt and a wrapper,
enhanced by a traditional
shawl called the Ratapfe.

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Himachal Pradesh
• The men are party to
coarse kurtas paired with
dhotis or churidar
pyjamas and the typical
Himachali cap called the
pagri.
• Himachal women on the
other hand kurtas,
rahide, and Ghagra
Lehenga Choli, along with
scarves and shawls.

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Jharkhand
• Jharkhand is a state that is
home to a large number of
tribal and non tribal people
• The one piece wonder called
the Bhagwan is the traditional
dress of the tribal males of
Jharkhand.
• Equivalently, the tribal women
has the upper garment Parthan
and the lower part Panchi as
their traditional attire.

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Meghalaya
• Khasi females dress up in the
Jainsen or Dhara, an unstitched
garment that goes around the body
lending it a cylindrical shape.
• The males of the Khasi tribe also
wear an unstitched piece of dhoti
like cloth around their waist

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Madhya Pradesh
• The men stick to wearing
dhoti and kurta or shirt with
a specific type of jacket
called the Bandi or Mirzai
and an equally unique
headgear, a turban called
the Safa.
• Madhya Pradesh is famous
for its Bandhani cloth or
Bandhej sarees but the
women folk of the state stick
to wearing lehenga with
choli and a special type of
orhni called the Lugra.

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Manipur
• The women of the state wear a
sarong wrapped around the
chest as a skirt that is called the
Phanek.
• A horizontally and woven shawl
or dupatta called the Innaphi
goes round the upper body to
complete the traditional female
attire.
• The men folk of the state of
Manipur wears a dhoti and jacket
as their traditional dress.

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Rajasthan
• The men of the state wear
dhotis or churidar pyjama,
kurta, angarkha, patka or
kamarband and white paggar
or safa which is a kind of
turban.
• Rajasthani women dress up in
long skirts called ghagras with
blouses called kanchli or
kurtis and cover their heads
with odhnis.

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Odisha
• Sarees with beautiful border
called Dhardia rules prime as
the traditional dress for
females in Odisha where
Katak and Sambalpuri
sarees are mostly women by
the women
• The Oriya men too have
simple preferences sticking
to dhoti or dhooti, kurta and
gamucha as their traditional
wear.

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Tripura
• Tripura’s ethinc dress code
encompasses two piece dresses
for both men and women folk of
the state.
• Women dress up their upper body
in Risa which covers the chest
and Rikutu which covers the entire
torso.
• While the dress for the lower half
of the body for Tripuri women is
called the Rigwnai.
• The Rikutu is also worn by the
men of Tripura to cover the loin.
The upper male body is covered in
a shirt ‘kamchwlwi borok’ along
with a gamucha known as Kubai.

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Uttar Pradesh
• Women in Uttar Pradesh wear either
ghagra choli, salwar kameez or
sarees.
• The men generally are clad in lungi
or pajamas and kurta along with
headgear such as Topis or
Pagris. Sherwanis are worn during
festive occassions.

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Telangana
• Telanagana has sarees, langa
vonis, salwar kameez as the
traditional attires for women
in the state while the males
wear the traditional dhoti
called the Pancha.

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Mizoram
• Mizo men wears a 7 feet by 5 feet
cloth over their body, that is
paired with a white coloured coat
with red bands that covers from
the throat to the thighs.
• The traditional dress of the Mizo
women is a delightful black and
white shaded attire known as the
‘Puan’.

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Sikkim
• The men wear a dress called Bakhu
or Kho with a pair of loosely fitted
trousers teamed up with a leather
belt and embroidered leather boots.
• While the women wear the outfit
over a full sleeved silk blouse known
as honju and fastened with a silk or
cotton.

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West Bengal
• The traditional attire of the state is
sarees for women. The sarees are
generally Sanatpuri style and are
white or off white in color with
bright red borders.
• The Bengali men wear dhoti or
panjabi and kurta as their
traditional dress.

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Uttarakhand
• Women of the state of
Uttarakhand wear long skirts
known as ghagri along with
a choli and odhni.
• While the men wear dhoti,
churidar or lungi along with
a shirt or kurta, and topped
off with a gol topi or Jawahar
topi

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Bihar
• Bihar’s ethnic attire has dhoti
and kurta or mirjai as the
traditional wear for men
• Tussar silk sarees worn
in Seedha Aanchal style as the
traditional dress for women.

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Karnataka
• Davani is one of the ethnic
dresses of the state.
• The traditional dress for
Kannada men is a type of dhoti
known as Panche, worn under
the waist below a shirt and
topped off with the
conventional headdress Mysore
Para.

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EGYPTIAN COSTUME – ANCIENT TIMES
• Egypt opens the first record of costume. This record is clearly and
unmistakably written in temple, tomb mummy-case, in statue, design
and colored hieroglyphics.
• These ancient records show that the lower classes of this country,
especially in the earliest periods (2900 BC), wore no clothing
whatever and the upper classes very little.
• Gradually clothing became more general, and in the fifth dynasty
(2700 BC to 2500 BC), the loincloth had long become the dress of the
peasants and a short skirt or apron was adopted by the higher
classes.
• Loin cloth - a single piece of cloth wrapped round the hips,
typically worn by men in some hot countries

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Materials used for the garments
• Linen was the principle fabric used
and was woven on crude handlooms
in texture wonderful beauty and
fineness.
• While the laymen wore wool
garments, the priests never wore it,
as it was considered unclean and
hence unfit for service in the
temples.
• Later wool thread was often used in
the decorative bands.

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Egyptian skirt for men
• For festive occasion the great lords of Egypt wore a
short skirt similar to the oldest type, made more
elegant with lemming of gold and a golden clasp at the
girdle.
• The series of developments as per the different periods
are given below: 2550-1530 BC
1. Simple white piece of material was worn as skirt from
right to left with the edge in the middle of the front.
2. Skirt became wider which extended to the length of
the ankle
Girdle – belt like structure

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3. The skirt was modified for higher class people,
which consisted of a triangular fold at the front
4. Skirts of heavier material were worn by the kings
5. Later the skirt of fine material was worn, which
was transparent. This necessitated an inner skirt to
be worn
Due to transparency, two skirts were in vogue;
outer short in front and longer at the back

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The costume development during the 18th
dynasty is as given below:
• There were a number of changes in the length and the method of
wearing the skirt.
1. Two skirts were worn – the outer is a
finer material and an inner thicker skirt.
2. The under skirt was developed into
full skirt and plaited. The outer skirt was
worn as a strip or sash & tied in the form
of a knot in the front or at sides.

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The salient features of the royal dress, which
was worn during the festive occasions
1. A short skirt was worn which was elegant with
the trimmings of gold and a golden clasp at the
girdle.
2. The front of this skirt was rounded off from the
centre back to the front. The skirt was
ornamented with a plaited piece of gold material.
• This gave an added touch of elegance to the
costume.
3. Addition to above ,added strip of material and
additional lion’s tail was added at the back. This
was considered as the royal skirt
Other variety of the King’s dress consists of an apron hung from girdle ornamented
with coloured feathers, leathers and polychrome glass.

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Some of the other developments, which added
to the wardrobe of men and women during
eighteenth dynasty are as follows:
• Coarser materials were changed to finer cotton
and linen
• Men and women started covering the upper
part of the body
• Short shirt came in as the dress
• Shirt was worn open on the right and the arm
passed through the sleeve on the left
• This shirt later changed into a robe with short
sleeves
• Bell shaped tunic was used by women during
this period

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19th -20th Dynasty (1350-1090 BC)
Women’s Costume:
• The costume development during this
period is as follows:
1. Long mantle (blanket)
2. The mantle was decorated with
fringes and was called mantilla. The
modern shawls have their roots of
development from this period.

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Egyptian tunic for women
• During the Early Dynasties
(2550 BC to 1530 BC) there is
sameness in the costumes of
the women of all classes.
• This characteristics dress
consisted of a long straight
tunic, reaching from just
below the bust to ankles.

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King’s Apron
• This apron hung from the girdle in front, and was
richly ornamented with colored feathers, colored
leathers and opaque polychrome glass.
• One of the rare treasures found upon the mummy
of King Tutankhamen – 1923
• It was made up of several gold plates in graduated
size and each was inlaid with small shapes of
opaque polychrome glass.
• Golden girdle which encircled the waist
• They were composed of gold beads and faience.
• lavish use of beads, employed by the ancient
Egyptian, in both ornament and dress decoration.

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The shirt and robe
• 18th dynasty i.e. the new dynasty (1545
BC – 1350 BC) there were many
changes in dress, because new relations
with Western Asia and the far-reaching
commercial interests of the country.
• Coarser to finer
• Value of dyes
• Entrance of new fashion - covering the
upper part of the body and adopting a
short shirt as an article of dress.
• Bell-shaped tunic belongs – fitting close
at the shoulders and flaring toward the
lower edge.

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The mantle
• During the 19th and 20th dynasties (1350 BC –
1090 BC) the wearing of a long mantle was
fashionable.
• This was draped sometimes under one arm and
over the other, sometimes over both shoulders
and fastened in the front over the breast.
• Resembled modern shawl.
• The fringes were made by projecting threads of
warp
• They formed a border around the legs. This kind
of dress was called calasaris
• The general tendencies of the upper classes

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Egyptian wigs
• Women of Egypt often kept the
hair short, and the men always
shaved their head and shaved
the beard, and wore artificial hair.
• The wig built upon a net like
surface, allowed the heat of the
head to escape and at the same
time served to protect the head
itself.
• The wigs usually black were made
of human hair or of sheep’s wool.
• Wig to cover the neck

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Egyptian beard
• Artificial beard
• Dignity
• Cleaniliness
• Mainly 3 types
• Small, long, turned

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Egyptian headdress
• Along with wig and beard
• Especially symbolic of the office and rank.
• King :
• The state headdress of the egyptian king called
the pshent
• Red for the king of upper egypt,
• White for the king of lower egypt and
• When the same king ruled over the united
country, he combined both crowns into one
headdress.
• Prince
• The distinguishing mark of a prince was the
badge at the side of the head descending to the
shoulders and edges with gold fringe

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Queen
• The vulture, the sacred bird,
protector of the king in battle
appears upon the headdress of
the queen.
• the plumage entirely covering
the head.

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Egyptian Footwear
• Very little importance
• Egyptian preferred to go bare-
footed, wearing sandals only
when necessary out of doors
• Women wore none at all until
the late period
• Men and women of the upper
classes were usually wear foot
wear which are pointed and
turned up at the end.

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Egyptian colors
• Initially white
• Than mostly green
• Yellow, red, light blue, tan and black.
• Mineral dyes and later vegetables dyes were used
Egyptians Designs:
• Winged globe
• Winged globe represented the Sun being carried on
wings through the heavens.
• The wings suggested the protection the Sun God
assured to his people in life and in death.
• The conventional form of the cobra, representing
the generative power of the Sun
• Temples and thombs
• Garments and jewellery
• Mummy Case - compulsory

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Scarabaeus
• The Scarabaeus or the sacred beetle of the
Egyptian was the emblem of immortality and
according to Pliny, was worshipped as one of
the Gods of the country.
• Nile pattern
• The soft green color in which this has been
worked out is known as “Nile green”.

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GRECIAN COSTUME (700 BC – 53 BC) -
Greece
• Attire of Men and Women:
• The clothes, which they wore showed the sense
of refinement and perfection.
• The two garments always associated with Greek
life and worn alike by men and women were the
chiton and the himation.
• The chiton was a form of time orientated in the
Asiatic region.
• The earliest form of Greek chiton was called the
peplos (During 1200BC – 600BC) the later forms
of chiton were Doric chiton and Ionic chiton.

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The different types of Greek Costumes were
as follows:
· Peplos
· Chiton
· Himation
· Chlamys
· Diploidian

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PEPLOS
• The Peplos were worn in various lengths.
Some were hip length, some were floor
length.
• The peplos served both the functional and
decorative purposes
• Made of patterned or embroidered material
• Decorative and was functional as it was
used to add some warmth.
• There were no graceful folds on the dress
because of the heavy material used.

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DORIC AND IONIC CHITONS
• The Dorians were soldiers and
practical men of affairs.
• Expressed in both the simplicity and
strength of the architectural column
• The Ionians were the artists, poets,
and philosophers of Greece.
• A fine feeling for grace and beauty
• Thus every nation expresses its
characteristics in each field of
activity, which it enters, whether it is
dress, architecture or political or
commercial life.

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• Chiton was the principle
garment of the Greeks.
• The Doric chiton resembles the
peplos.
• It generally measured 1 foot
more than the wearer’s height.
The extra foot was folded
• After girdling (article of dress
encircling the body usually at
the waist) at the waist, the
excess length from the floor was
pulled up through the girdle,
and this formed a baggy effect
called Kolpas.
• The folded upper portion was
known as the Apotygma.
• The Doric chiton was somewhat longer and fuller for the women than for the men.

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IONIC CHITON
• The ionic chiton differed from
the Doric chiton in material, size
and arrangement over the arms.
• The ionic chiton in its simplest
form was an oblong piece of
linen and generally measured 1
foot more than the wearer’s
height and equalled in width,
twice the distance from finger
tip to finger tip with arms
outstretched
• The designs were either woven in the material while others were bands and
borders which were attached on to the material.

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HIMATION
• The outer garment worn by the Greeks was
the himation.
• This was worn by both men and women
and seems to have been indispensable
(very essential) with the chiton.
• It was an oblong piece(a rectangular
object or flat figure with unequal
adjacent sides) of linen or woolen
material measuring about 15’ long x 6’
wide.
• Garment was long and roomy it was
wound twice around the body, first under
the arms and the next over the shoulders
• * Tunic - a loose garment, typically
sleeveless and reaching to the knees
or hips from shoulder.

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DIPLOIDION
• A second garment, which afforded as
additional covering for the upper
part of the body and resembled the
folded hanging part of the chiton was
often worn.
• This seems to have been a square or
oblong piece of material resembling
the modern shawls and called the
Diploidion.

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CHLAMYS
• The chlamys was a cloak worn by men.
• It resembled the himation in shape but
was much.
• It was worn covering the left hand side.
• The top edges were caught over the right
shoulder and fastened with a brooch.
• The right side was open and the right arm
free.
• This was the garment worn by men when
riding.
• It was also used as military cloak.

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Veil
• Veil was a charming note in the costume
of royal Grecian women, which was mainly
worn as a sign of modesty.
• These veils were white, translucent, finely
textured and intricately embroidered.

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FIBULA (FIBULAE – plural of fibula)
• The fibulae are the clasps, or
brooches used along with the chitons
Diploidions and other garments to
hold them in place.
• They were frequently of beautiful
workmanship.

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GRECIAN HEADDRESSES
• Quite contrary to the custom among
the Egyptians, the hair of both men and
women was permitted to grow.
• The ladies of classic Greek gave the
greatest possible attention to the
beauty and arrangement of the hair.
• The young women often wore the hair
falling loose in natural curls or straight
to the shoulders.
• Others twisted or plaited their hairs in
various ways.

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Shoes or Half-boots
• It was laced in front and lined with
the fur of the cat tribe.
• The muzzle or claws often hang
from the top of the boot as an
ornament.
• Jewellery
• All Greek ornaments show a great
refinement of feeling for the
abstract principles of design.
• small box or a casket called the
Pyxis
• Grecian jewelry lacked the colorful quality of Egyptian ornaments,
because very little were the application of stones and precious gems.
• Gold work of fine quality and simplicity were the characteristics of the
Grecian Jewelry. Engraved gems were used only in the rings.

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Colors
• White and gold was the favourite combination for
the feminine dress.
• There has been extensive use of the bright white
garments by the king and his members.
• A lady wearing a white garment to offer here
prayers to god for the return of her husband.
• Among the colors in general use one color i.e.,
Saffron became the fad.
• Purple, black, dark green and other dark colors
were worn as a mark of mourning.
• The grecian women never wore black on any other
occasion than that of misfortune of sorrow.

Department
of
Chemical
Engineering
Textile
Technology
MATERIALS USED FOR THE COSTUMES
• In earliest times, wool was used for the
Greek dress; then flax, then cotton, the flax
and silk and lastly pure silk.
• After the conquest of Greece by Alexander
and the introduction of cotton from India,
fine cotton was also used for the ionic
chitons.
• Later silk was introduced, wherein silk in raw
state was woven into the transparent silk
gauze, which was frequently used for
chitons and other parts of the Greek dress.

Department
of
Chemical
Engineering
Textile
Technology
ROMAN COSTUME (53 B.C. - 500 A.D.)
• The life of the roman empire was for quite a long
period (53 B.C. - 500 a.D.)
• Influence on the manners and customs
• The romans conquered greece and as a result the
grecian taste and culture influenced the romans
• While grecians were known for their simplicity, the
romans were known for their luxurious life.
• Roman costume i.E. The toga, was different from
that of all other nations. The toga may properly be
called as the roman's national dress.

Department
of
Chemical
Engineering
Textile
Technology
Tunic
• The basic garment
• Which was also called tunica.
• This was similar to the tunic worn in egypt and
greece.
• Both men and women - difference in length
• The male tunic was knee length whereas the
tunic worn by women was longer than the tunic
of men often reaching to the ground.
• Made of undyed wool fabric.
• The tunic was two layers of fabric sewn together
at the sides and shoulders and was belted at the
waist

Department
of
Chemical
Engineering
Textile
Technology
Toga
• Toga was considered as the national dress worn by
men and women alike.
• The toga was much larger than its Greek
predecessor, being about two and one half by six
yards long, making the draping of it heavier and
more complicated.
• It was made of wool and is a long fabric draped over
the body leaving one arm free.

Department
of
Chemical
Engineering
Textile
Technology
• Soft wool, silk and fine linen
were used for the toga.
• Undyed wool of a yellowish hue
was favoured. In lieu of the
toga, the lower classes wore a
hooded cloak.
• The different types of toga used
by romans are as follows:
1. Toga praetexta
2. Toga picta
3. Toga viliris
4. Toga candidae
5. Toga sordida
6. Toga vitrea
7. Toga gabiana

Department
of
Chemical
Engineering
Textile
Technology
• Toga Praetexta:
• The toga praetexta, was developed in the middle years
(400-100 B.C.) and used by emperors, priests,
magistrates.
• It was white in color with purple border. When worn by
children (below sixteen), it was bordered with red trim.
• Toga Picta:
• The toga picta was an elegant wrap made of purple
cloth, usually silk. This toga was exclusively worn by
victorious army officers.
• It was embroidered with golden thread and the designs
were geometrically arranged in repeat patterns.
• Toga Candidae
• This toga was of pure white color where white was the
symbol of purity and integrity. This toga was worn by the
political officers. With this white toga they even used to
chalk their faces.

Department
of
Chemical
Engineering
Textile
Technology
• Toga Sordida:
• The toga sordida, made of rough spun wool of grey or
brown color, was the wearing badge of peasants and
slaves.
• Toga Vitrea:
• It was more decorative body covering, and was made
of transparent silk fabric. The transparent toga with
palmate patterns was a favourite style of more
eminent men of the late period of the empire.
• Toga Gabiana:
• It was worn by soldiers in the Roman cavalry. It was
worn from the waist down and tightly secured at the
waist so that it would stay in place while on horseback.
• Toga Candidae:
• This toga was of pure white color where white was
the symbol of purity and integrity. This toga was worn
by the political officers. With this white toga they even
used to chalk their faces.

Department
of
Chemical
Engineering
Textile
Technology
STOLA – Men’s
• It consisted of two pieces of material sewn at
the sides and top to form a shirt-like garment
with very short sleeves.
• The tunic reached to the calf of the leg or half
way down the middle of the thigh and was
drawn up under a girdle.
• At a later stage the tunic reached till the ankle
and the sleeve till the wrist.
• Though this became a fashion, it was
considered feminine.
White toga and tunic, purple bands and sandals

Department
of
Chemical
Engineering
Textile
Technology
Woman's stola
• The stola of the Roman women was quite
similar to the Ionic chiton.
• Two pieces of materials was sewn on the sides
and fastened along the upper arm by costly
brooches, thus forming a sleeve.
• Though the stola resembled the Grecian
chiton, Grecian simplicity was absent in the
stola.
• The luxurious taste of the Roman women
required several tunics worn one over the
other, and each of varying colors and lengths.
• With materials of fine texture, wide range of
color

Department
of
Chemical
Engineering
Textile
Technology
MATERIALS USED
• Wool
• Higher classes favoured undyed wool of a yellowish hue.
• Lower classes preferred coarse, gray or a tan material
generally a hooded cloak.
• Linen
• Linen was used for women long before its use for men. The
women's under garments were usually made of fine linen
from egypt.
• Silk
• Silk was unknown for long time in rome.
• The romans considered the silk imported from india too
thick and closely woven; consequently it was unraveled
and rewoven with linen or wool, and made so thin as to be
transparent.
• Two roman monks interested in the silkworms of china.
• Carried them back to rome. Henceforth the trade of silk
greatly flourished in rome and equaled with that of india.

Department
of
Chemical
Engineering
Textile
Technology
COLORS USED AS BADGES
• Though, togas and stolas were only white in color,
later other colors were a'so worn by both men
and women.
• Romans made extensive use of the gold thread,
as it was very much appealing.
• Cloth was made only with gold thread, without
the usual background of linen or woollen thread,
forming the Cloth of Gold.

Department
of
Chemical
Engineering
Textile
Technology
Toga
• Toga Proetexta –
• Toga with purple border worn by the
magistrates, priests, chief officers and
young boys.
• Toga Picta –
• Entirely purple silk toga with embroidery
of gold, which was reserved for the
victorious general or Emperor.
• The Men of rank used the purple striped
toga.

Department
of
Chemical
Engineering
Textile
Technology
Stola
1. Ciavi (purple stripe), which was either woven or sewn on to
the tunic were used by the men of rank.
2. Senators wore a stola with a wide clavi down the center
front.
3. Knights wore a stola with a narrow clavi extending from the
two shoulders to the hem, both on the front and the back.
4. Blue was reserved for Philosophers.
5. Black was reserved for Theologists.
6. Green was reserved for people in Medical field.
7. White with no ornaments for sooth-sayers.
8. Somber hues (dark and dull) for lower classes.
9. Brown and black were reserved only for the lower classes.
10. Scarlet and puiple were worn by both men and women of
the upper classes.

Department
of
Chemical
Engineering
Textile
Technology
Restrictions in color
• One color only was allowed for the
peasantry.
• Two colors were allowed for the officers.
• Three colors were allowed for the
commanders of clan (community).
• Seven colors were allowed for the royal
household.

Department
of
Chemical
Engineering
Textile
Technology
• PALLA
• Roman women started using the Palla, which
was exclusively reserved only for women and
men never wore it.
• The palla, which was worn over the stola, had
a fringe or a border at its lower edge.
• VEIL
• The veil was otherwise called as the
Palliolum.
• This was of exquisite quality and was one of
the favorite headdresses of the Grecian
women.
• This was arranged over the hair and held in
place by bands or wreath and fell over the
shoulders.
VEIL

Department
of
Chemical
Engineering
Textile
Technology
Belt or Girdle
• The belt was otherwise known as Zona and was
one of the most indispensable articles of dress.
• The girdle was hidden by the upper part of the
stola falling over it.
• HAIRDRESS
• The hair was curled and adjusted by the slaves
of the household.
• The wig was given much of importance by the
Roman matron
• The men of Rome usually wore a long hair and
gave it great care.
• Philosophers permitted their hair and beard to
grow long as a mark of maintaining their dignity.
• Lack of hair was considered as a deformity
among the Romans

Department
of
Chemical
Engineering
Textile
Technology
Footwear
• The Romans used a variety of
shoes and sandals, which were
distinct badges of the wearer's
social rank.
• Baxea:
• These were vegetable sandals
similar in construction to the palm
leaf sandals of the Egyptian.
• They were used by the
philosophers and priests as a mark
of humility.
• Solea and Crepida:
• These belonging to the species of
sandals were used indoors and
were fastened around the ankle by
a fillet or thongs.

Department
of
Chemical
Engineering
Textile
Technology
Soccus:
• Soccus, which resembled the slippers, were
used as an intermediate covering.
• As they did not have any thongs and were not
closely fitting they were easily removed
whenever necessary.
Corthurnus:
• The other name for it was buskin. They were
very high boots whose height reached just
above the calf or knee. They were laced.
• Head and paws of wild animals were used to
ornament the top of the boot, in order to
increase the height of the figure pieces of cork
wero inserted into the ordinary thickness of
the sole.
• One of the Roman Emperors had his shoes set
with diamonds and other stones. This type of
shoes was prohibited for the use of women.

Department
of
Chemical
Engineering
Textile
Technology
Roman designs
• After the conquest of Greece by the Romans
Greek artists were employed in the Roman
households as the teachers and designers.
• Rome derived her art directly from Greece and
shows individuality only in an elaboration of the
original.
• Jewelleries, accessories and cosmetics :
• The roman men used the signet (official seal)
ring, made of gold and set with precious stones
as his only piece of jewellery.
• But the women had extravagant taste for
jewellery and the whole variety of bracelets,
earrings, finger rings and diadems (crowns) set
with diamonds, sapphires, emeralds, garnets
and opals.

Department
of
Chemical
Engineering
Textile
Technology
ENGLISH COSTUMES
(9th To 11th CENTURIES)
• Men’s Costume :
• In the 9th century, during King Alfred’s
reign, and also in the 11th centuries, a
man’s suit consisted of a tunic and super-
tunic.
• Boys’ tunics were usually short. The
sleeves were long and a belt was worn
round the waist.
• The super-tunic was worn over the tunic,
probably for warmth, but it was not an
outdoor garment.
• It had loose sleeves, but otherwise was
shaped like the tunic, and both were
sometimes embroidered when worn by
noblemen.

Department
of
Chemical
Engineering
Textile
Technology
• In the 13th century small round hats or
caps with a “stalk” were very popular.
• Shoes were of leather or skin, and were
often slit up the front and fastened with a
thong or strap of leather round the ankle.
• Women’s Costume:
• Like the men, women wore a tunic and
super-tunic
• On their heads, indoors and out, women
wore a veil.
• This was a long broad scarf which covered
the head completely, hiding the hair and
hung down over the shoulders.
• Queens even wore the veil under their
crowns.

Department
of
Chemical
Engineering
Textile
Technology
12TH AND 13TH CENTURIES
• Men’s Costume
• In the 12th and 13th centuries garments
became shorter, and in the 13th century the
tunic began to be called a cote and the super-
tunic a surcote.
• Both were often slit up in the front, which
must have made them easier to walk and to
ride in. often the surcote was sleeveless.
• Men often wore what was called a coif.
• This was a small, close fitted linen cap tied
under the chin.

Department
of
Chemical
Engineering
Textile
Technology
Women’s Costume
• Women’s clothes changed
little until the 13th century.
• Henry III gave his sister Isobel “two scarlet cloaks, one lined with fur
and another with silk to be used when she rose at night”.
• In Henry II’s reign (1154 – 1189) women began to wear a wimple,
something like this is still worn by some nuns.
• It was a length of linen or silk, swathed round the chin and pinned to
the hair above the ears under the veil.
• The favourite head-dress all through the 13th and into the 14th
century was perhaps the barbette and fillet.
• It was made up of two stiff linen bands, the fillet worn round the
head like a crown
cloaks
barbette and fillet
• Barbette and fillet

Department
of
Chemical
Engineering
Textile
Technology
14TH CENTURY
• In the 14th century country folk went on wearing
loose cotes and surcotes.
• Instead of the cote, gentlemen now began to wear a
short close-fitting garment – a gipon, later called a
doublet.
• It was buttoned or laced down the front and the belt
was worn round the hips.
• Shoes with long pointed toes, like “winke-pickers’,
were fashionable from about 1370 to 1410.
• They were stuffed with moss, hay or tow, in order to
keep this shape.

Department
of
Chemical
Engineering
Textile
Technology
Women’s Costume
• In the middle of the century a
new overgarment came into
fashion, called a sideless
surcote.
• It was sleeveless, cut away
under the arms, showing the
kirtle underneath.
• Cloaks with hoods were worn
for travelling or riding.
• The wimple and veil were still
worn, and the hair underneath
was dressed in plaits.
• Shoes were like the men’s and
stockings were often scarlet.

Department
of
Chemical
Engineering
Textile
Technology
15TH CENTURY
• From the 15th century onwards the
belt of the doublet was worn round
the waist instead of at hip level.
• In different forms, the doublet was the
man’s chief body garment until the
reign of Charles II, in the middle of the
17th century.
• Over the doublet men could wear a
cote-hardie, a jacket or a gown.

Department
of
Chemical
Engineering
Textile
Technology
Women’s Costume
• In the 15th century the kirtle was
always covered by an over
garment, with similar sleeves to
those of the men; or, as before, a
sideless surcote, showing the
kirtle underneath; or lastly a
gown
• Women’s head-dresses became
very elaborate.
• They were evidently thought
much more decorative than the
hair.
Kirtle:
• a woman's gown or outer petticoat.
• a man's tunic or coat.

Department
of
Chemical
Engineering
Textile
Technology
THE FRENCH COSTUMES IN RENAISSANCE (1500-1700)
• Francis- 1515-1547
• Henri II - 1547 -1558
• Francis II - 1553 -1560 (Not much of contribution)
• Charles IX - 1560 -1574
• Henri III (Henri of Valols) - 1574 – 1589
• Henri IV - 1589-1610
• The changes that happened in fashion during the
renaissance created the breakpoint between the fashions
of the ancient world and the modern world

Department
of
Chemical
Engineering
Textile
Technology
16th century: FRANCIS I (1515-1547)
• The renaissance opened under the
dazzling splendor of the court of Francis I.
• The king was always in elegant attire and
set the fashions for the gentlemen than
those of the ladies.
• General characteristics:
• The long tight-fitting hose extending from
the waist to the foot became known as the
"trunk-hose".
• Doublets became close fitting and had
large sleeves. The hats had brims.
• The shape of the shoes changed
considerably

Department
of
Chemical
Engineering
Textile
Technology
• Slashing:
• Slashing was a major decoration used
in costumes of both men and women
through which, the costly and beautiful
linings used inside were pulled out.
• This was carried on to the men's
costume and also to the shoes worn by
both men and women
• Shoes:
• They were soft and pliable and the
materials used were soft leathers,
velvet, silk and brocades. They did not
have a heel.

Department
of
Chemical
Engineering
Textile
Technology
Women's Costume
• FARTHINGALE :
• Farthingale: Women had adopted the
tight-fitting gown.
• This change in the skirt was brought
about by the great innovation of
Renaissance i.e. 'The Farthingale".
• Farthingale brought to France from
Spain in 1530 brought many changes
in dress.
• It remained in vogue (fashion) for
about 300 years in different names
and different forms, like hoop,
crinoline, pannier, pouf and bustle.

Department
of
Chemical
Engineering
Textile
Technology
BASQUINE
• It was a boned bodice, which was
worn over a chemise (inner
garment) of fine material.
• La Mode: (Gown)
• Gown:
• It had a deep pointed bodice to
which, a skirt was attached which
opened all the way down the
center-front, showing a hand
some under skirt harmonizing in
color and material with the skirt.
BASQUINE
La Mode: (Gown)

Department
of
Chemical
Engineering
Textile
Technology
MATERIALS USED
• They used elegant materials like
silk, satin, damask, velvets,
serge and camlet and all of
them were of bright colors like
blue, crimson, violet, green,
grey and orange

Department
of
Chemical
Engineering
Textile
Technology
HEAD DRESSES
• Headdress of the Middle Ages
gave way to the little fiat nun-
like hood.
• They were of different types
• Little hoods which fell to the
shoulders
• These hoods were later cut
upward into lappets hanging on
either sides of the face
• Later these lappets were
pinned up to the crown and the
women invented soon ail sorts
of fancy ful arrangements.

Department
of
Chemical
Engineering
Textile
Technology
MEN’S COSTUME
• Men's costume was colorful,
decorative and magnificent as that of
the women.
• They wore a full-skirted doublet called,
the Puorpoint.
• This had broad neckline and knee
length skill.
• The sleeves were large and roomy and
were slashed to permit the rich and
colored linings to be pulled out
through the slashes.
doublet

Department
of
Chemical
Engineering
Textile
Technology
HENRI II (1547-1658)
• The previous period had bright and gray colors. But
the present period had colors of somber (dull) tone.
• French women again started to use; bright colors
and refineries.
• Silks, velvets, cloth of cold and handsome
embroideries were the requirements of the day.
• Men's dress mostly was in black velvet and was
decorated with gold and silver threads with colored
embroidery.

Department
of
Chemical
Engineering
Textile
Technology
WOMEN'S COSTUME
• Ruff
• Catherine de medici the wife of henri-ii from
italy introduced a novel accessory the ruff,
which became extremely popular.
• It was made of fine materials and encircled
the throat extending to the ears.
• Later it was made of exquisite laces and
extended not only to the top of the ears but
to the top of the head and some ultra-
fashionable raised it beyond the top of the
headdress.

Department
of
Chemical
Engineering
Textile
Technology
MEN’S COSTUME
• They had a high neckline with a standing
collar to which was attached a ruff.
• Henri II introduced this to cover a scar in his
neck.
• The large roomy sleeves vanished and the
sleeve reached till the wrist.
• A very masculine, waist length, velvet cape,
replaced the large sleeves of the doublet.

Department
of
Chemical
Engineering
Textile
Technology
CHARLES IX (1560-1574) (PERIOD OF
RELIGIOUS WARS)
• A serious mood was created during this period
due to the wars.
• As a-result of which the King tried to stop the
excess attention given to the costumes and
thereby passed a lot of edicts (rules).
• Though the King put edicts after edicts,
fashion tried to rule over the edicts.

Department
of
Chemical
Engineering
Textile
Technology
HENRY III (HENRY OF VAIOIS)(1574 - 1589)
• Charles IX tried to maintain simplicity
whereas Henry III maintained senseless
extravagance.
• MEN'S COSTUME:
• Men and women tried to compete with
each other in increasing the elegance of
their dress
• Necklaces, rings and earrings. Many of them
were made of diamonds.
• Maximum use of paint, powder and scents
Pockets were introduced into the
trunk hose, replacing the pouch,
which was in use for around 600
years

Department
of
Chemical
Engineering
Textile
Technology
WOMEN'S COSTUME
• Marguerite of Valois, the sister of the
King was the fashion leader of the day
for the women
• Sleeves were tightened at the wrist and
puffed at the shoulders.
• The farthingale was replaced with
masses of padding at the hips.
Henry IV (1589-1610)
Henry IV during his reign whole heartedly dedicated himself for the
reconstruction of the country and due to this he had the least interest in
matters of dress.
His only small contribution to the world of fashion was the high boots made of
Russian leather, which he made it, compulsory in all occasions.

Department
of
Chemical
Engineering
Textile
Technology
GENERAL CHARACTERISTICS OF THE
RENAISSANCE PERIOD
• The Renaissance in short known as the age of
extreme styles had the following features:
• Lacked the grace of the long flowing line of the
ancient period.
• Beautiful textiles of rare color like heavy brocades,
satins, velvets and fine linens, the rarest of laces,
strings of pearls and other ornaments produced a
mass of richness and colour imparting to the
costume an air of grandeur un equaled in any other
stage.

Department
of
Chemical
Engineering
Textile
Technology
COSTUME OF JAPAN
• The Japanese man is traditionally
attired in a dark kimono which is the
same, as that worn by Japanese
women, the chief difference being in
found in the shorter sleeves for the
men.
• Tucks at the waistline lift it to the
convenient ankle length.
• Obi :
• A wide sash called the obi is wound
round the waist over the kimono to
secure it in its place.
kimono
Obi

Department
of
Chemical
Engineering
Textile
Technology
• Underwear
• They consist of the loincloth of
muslin, a shirt of silk or cotton called
the Juban and a under kimono called
the Shitagl.
• Other accessories
• Basket shaped hats of straw called
Kasa were used for traveling
purposes and otherwise fans and
parasols were also used.
• Formal occasions :
• Hakama
• They also used fans and parasols to
guard from the sun and put their
fans in the folds of the obi. They also
used a dainty silk vanity case, which
was stenciled or embroidered.
Kasa Hakama
parasols
fans

Department
of
Chemical
Engineering
Textile
Technology
Footwear
• The foot covering was the same for both the
gender.
• It consists of which cotton stockings called Tabl,
which reach slightly above the ankle and have
separate divisions for the large toes.
• The sandals called Zorl have soles made of
hide, or braids hemp and rushes and
sometimes have slight heels.

Department
of
Chemical
Engineering
Textile
Technology
Materials and colors
• Silk and fine cotton materials are employed for
the majority of the garments.
• Cotton and allover patterns or strips being
preferred for every day wear.
• The kimono worn on formal occasions in winter
is made of heavy crepe silk or plain or brocaded,
and for additional warmth padded with floss silk.
• Very loosely woven thin silk particularly known
as screen weave are used for the summer
costumes.
• Young Japanese boys and girls are appareled in
cottons and silk crepes with the largest of
designs and the gayest of colors like yellow,
bright blue, green and the favorite red.

Department
of
Chemical
Engineering
Textile
Technology
Women
• The woman's kimono may be worn touching
the floor or shorter, the extra length being held
at the waist by a cord or a sash of soft silk.
• Over this strip is silk worn, the most important
accessory of the woman's costume called the
obi.

Department
of
Chemical
Engineering
Textile
Technology
• Formal occasion:
• Women wore a silk coat called the
haori similar to that of the men.
• Hairdos
• The style of hairdos of the women was
regulated by rules.
• Married women dressed their hair in
large puffs, which reduced in its size
with the age of the wearer.
• The unmarried women dressed their
hair in the form of two bows.
• They used combs and lacquered pins to
confine their hair
Haori And Hakama: Japanese Traditional
Clothing

Department
of
Chemical
Engineering
Textile
Technology
COSTUMES OF CHINA
• China is a unique country in Asia, with slow and
steady development.
• It is well known for its traditional costumes and
motifs.
The costumes of China are divided into three main
groups.
• The costumes of the ‘Imperial Court’, the dress used
by the Kings, Queens and courtiers
• The costumes of the Manchu race – people who
invaded China
• The costumes of the people of China:
This is sub divided as the costumes of civil and
military persons and costumes of the local citizens.

Department
of
Chemical
Engineering
Textile
Technology
• The fabric used by the Chinese varies based upon
the climatic changes.
• During summer, they use a type of extremely light
weight linen known as Ko-Pou.
• In spring and autumn, they use heavier material
called Siao – Kien. This is a variety of silk produced in
China. It is never dyed.
• In winter, they wear a strong variety of satin known
as Touan – tse.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Women
• The women of the royal family are forced to
dress based upon their rank.
• An empress dressed herself in satin ‘haol’
(upper garment) covered with ‘ma-coual’ of
silk.
• The princess is dressed in yellow dresses with
gold embroidery.
• This is worn under a colourful outer garment.
• Her hair is covered with delightful caps
decorated with pearls and artificial flowers.
• Large hairpins are used to hold her hair style.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Men
• Men wear curve edged boots made of bright
coloured satin material. The heel is normally
flat.
• The boots are decorated based upon the
standard of living and the rank one holds in
the Kingdom.
• The royal men have their boots embroidered
with silk yarns. Pearls and rubies are added.
• The public and military officers also dress
according to their rank.
• The official dresses consist of robes
embroidered with dragons and serpents

Department
of
Chemical
Engineering
Textile
Technology
Accessories and Ornaments
• A grand ceremony was conducted and shoes were
worn for the baby girls.
• This was designed smaller to give an artificial
shape.
• In case a girl is not given this artificial heel, then she
is considered as a girl born to work hard.
• These shoes were also decorated based on the
economic condition of the person.
• Rich women have shoes of silk, decorated with
embroidery work

Department
of
Chemical
Engineering
Textile
Technology
Chinese shoes
• Chinese shoes are of three types.
• Some fit feet and allow natural growth,
retaining their naturally shape.
• Some shoes are made smaller than the
natural foot. These shoes are used by most
of the Chinese women.
• The third type is designed to give a naturally
framed foot. This is called as ‘Theatre Boot’.

Department
of
Chemical
Engineering
Textile
Technology
Common Accessories used with Chinese
costumes are as follows
• Coloured ribbons made of silk are used for hair braiding.
• Crown used by the royal members are made of gold with
precious gems.
• Women wore ivory sticks with golden head and pearls or
gems to hold their hair high.
• Bracelets are made of gold with gems.
• This is normally used by royal women.
• Three, four or five clawed dragon jewellery, either long
chains, ear rings are commonly used.
• The number of claws indicates the insignia of the man.
• Face make up is a part of every Chinese girl and woman.
• Normally girls wear make up from the age of seven or
eight.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Srilanka
• Sri Lanka is a small Island in the Southern tip of India. It is
also known as Ceylon.
• The people of Sri Lanka can be subdivided into four main
groups.
• The first group is the Weddahas or Beddas. They live in
the mountainous area of Sri Lanka.
• The next group is the Singhalese. These people are the
ancient invaders from India, who were then known as
Kandeins. They live in the central part of the island.
• The next group is the Malabres. They are also invaders
from India.
• The fourth group of Sri Lankans is known as Moors.

Department
of
Chemical
Engineering
Textile
Technology
•The costumes of Sri Lanka are
greatly influenced by the Indian
invaders from Tamil Nadu and
Kerala.
•The costumes also show various
features of Jews, Buddhist monks
and Muslims.
•The modern costumes show
aspects of British costumes also.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Men and Women
• The costumes of Sri Lankan people include a lower garment,
a long piece of fabric, which is draped around the waist.
• The upper garment used by women resembles long middy
tops. The lower garment is called ‘Comboge’.
• Men wear dark coloured cotton comboges with geometrical
motifs.
• Women wear bright coloured cotton, silk comboges with
floral motifs. The comboge reaches up to the ankle.
• Men use jackets with a small opening. o Women use a blouse
sort of upper garment known as ‘Canezou’.
• High income women wear cotton ‘canezou’ with
embroidered neck and laced collars.
• Similar costumes are used by children also. With regard to
head costume women put up their hair.
• Men use turbans. Most of the men shave off their hair.
• Widows were forced to shave off their hair.

Department
of
Chemical
Engineering
Textile
Technology
• The accessories used by them include turbans,
shoes, belts, neck chains and ear rings.
• Their turbans are like the ones used in India
• As the hair styles are concerned, women put up
their hair in plaits or buns.
• Occasionally, they use a fabric to cover their hair.
Men use turban or a cap.

Department
of
Chemical
Engineering
Textile
Technology
COSTUMES OF MYANMAR (Burma)
• Myanmar, formally known as Burma is a
land of natural beauty.
• The inhabitants of Myanmar resemble
Chinese, but their costumes vary.
• Their costumes are always well stitched
and worn beautifully.
• People of upper Myanmar [Bagan and Shan
state] wear light weight sweaters during
extreme cold seasons.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Men and Women
• The traditional costumes of Myanmar include a
shirt, blouse, circular skirt known as ‘longyi’,
umbrella and sandals.
• Men use loose fitting shirts with long or ¾ sleeve
and a stand up collar.
• An overcoat was worn over this traditional shirt.
• The lower garment is a skirt sewn in a cylindrical
shape from the waist to ankle.
• It is known as muscular longyi. This was
traditionally called as a ‘Pa-soe’
• Only single colour is normally used. The longyi is
tied around the waist and knotted in the front.

Department
of
Chemical
Engineering
Textile
Technology
• Women use similar costumes.
• Their top is longer with ¾ sleeves. It does not
have a collar.
• It is designed in such a manner that the
neckline is very close to the neck.
• With regard to the lower garment, it is
known as ‘feminine longyi’.

Department
of
Chemical
Engineering
Textile
Technology
• Myanmar is known for rich jewellery, especially with
Jade mine at Phokant Kanchin and Rubyland at
Mogoke.
• Women use gold and silver chains, ear rings and
bangles with precious gems.
• Both women and men use sandals made out of
leather and velvet depending upon the occasions.
• They use flip-flap foot wear known as ‘Phanut’.
• A bag made of fabric called ‘Shan Bag’ is also used
by almost all inhabitants to carry various articles like
books, files, stationary items etc.

Department
of
Chemical
Engineering
Textile
Technology
COSTUMES OF AFRICA
• The costumes of Africa are known for its heat.
• All three important latitudes namely Equator,
Tropic of Cancer and Tropic of Capricorn pass
across it, making the country face extreme
heat.
• Therefore, the development of the country
has been very slow.
• Tattooing and painting have been the
maximum decoration.

Department
of
Chemical
Engineering
Textile
Technology
• Being vast, the country has many different types of
tribes with varied costumes.
• Costumes of Gabon
• The tribes of Gabon are known as Pongue.
• In Gabon, both men and women drape a piece of
coloured fabric around their body.
• Women wear it from their bust, whereas men have it,
draped around the hip. The fabric falls up to the knee.
• The fabric is normally fastened with a belt.
• Women also have a small rectangular fabric to be
worn over both the shoulders from the back.
• They wear decorative twigs around the neck, along
with beads, which add ornamentation known as
“Moondah”.
• This includes nails and bones of animals. The most
common is “tiger’s nails”.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Senegambia
• The most common tribes of this area are
called the Yoloff and Peul.
• Both of these tribes use loin cloth made of
cotton.
• They use a rectangular piece of fabric to
cover their body.
• Women wear it from the bust to the knee,
whereas men wear it from the hip.
• The Yoloff tribes use only the blue coloured
fabric.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Southern Africa
• Costumes of Basotho Tribe
• The Basotho tribe wear short panther
skinned material around the waist.
• Women drape it from the bust.
• Men wear cloak and large bronze collar.
Head dress of ostrich feathers are used by
men indicating bravery.
• Costumes of Zulu Tribe
• The Zulu men and women add strips of
animal skins around the legs and arms.
• The chief wears a cloak made of buffalo
skin and hair dressers decorated with
vulture feathers.

Department
of
Chemical
Engineering
Textile
Technology
Costumes of Xhosas Tribe
• The Xhosas are handsome tribes, who take great care in
their appearance.
• Tattoos are their basic clothes.
• They apply heavy oil on their bodies.
• Women use perfumed oil.
• Men apply red dye to their body before applying the oil.
Sometimes honey obtained from sweet smelling plants
is also added.
• Circular pieces of animal skin were used to cover sexual
parts by both sexes.
• They even use leather sandals.
• Round ended knife with ivory handles are hung around
the neck of men.
• Women plait their hair in various designs.
• This arrangement may take many days of work, but once
completed it is maintained for six or more months.

Department
of
Chemical
Engineering
Textile
Technology
OTHER ACCESSORIES
• African Masks For many centuries African
Tribal masks, played a major role in rituals,
celebrations, ceremonial and tribal
initiations.
• Masking rituals are normally accompanied
with prayer, music, song and or dance.
• African hats
• The Zulu hats or Isicholos, originated from
Kwazulu Natal stronghold of the powerful
Zulu nation of South Africa.
• Theses hats are traditionally worn by
married women for ceremonial celebrations.
• They are hand woven from cotton or rope or
vegetable fiber dyed with ochre and covered
over a basket frame

Department
of
Chemical
Engineering
Textile
Technology
COSTUMES OF PAKISTAN
• Pakistan has a combination of Hindu and
Muslim styles of costumes blended together.
• The major costumes of Pakistan include
‘salwar kameeze’, scarf and dressing gown for
women and long kurta, loose fitting pants and
cap for men
• Costumes of Men
• Men use long kurta with ¾ sleeve normally
made of single coloured cotton or cotton
blended fabrics.
• The neck and sleeve edges are emblished with
delicate embroidery.

Department
of
Chemical
Engineering
Textile
Technology
• Men use loose fitting pants as lower garment, made
of white or coloured cotton fabric.
• Men wear turbans tied in different styles.
• Costumes of Women
• Women’s costume resembles the costume of the
women in Punjab.
• The salwars are made of plain coloured cotton
fabrics with elaborate gathers.
• The kameezes are stitched to correct fit. They were
also decorated with rich embroidery, mirror and
appliqué work.
• In order to cover their head and bust, women use a
plain coloured cotton scarf of about 1.5 to 3 meters
long.
• Accessories and Ornaments
• Women use jewellery like ear rings, bangles, nose
rings and chains. Men used decorative shoes with
embroidery.

Department
of
Chemical
Engineering
Textile
Technology
ROLE OF FASHION DESIGNERS
• Clever sourcing and stock
management will not be enough to
sell Garment.
• Focus on functional activities
commonly undertaken within fashion
retailers.
• These include research and
interpretation of fashion trends, and
the production of both two- and three-
dimensional product designs which
provide the basis of what
manufacturers will make up for the
retailer.

Department
of
Chemical
Engineering
Textile
Technology
THE KEY TASKS OF A DESIGNER
• To research new trends and product ideas for a season through attending
relevant trade and fashion shows and making shopping trips with the buyer
when appropriate.
• To create the appropriate fashion direction for a season through the correct
interpretation of fashion trends for the business
• To product a range of product designs which reflect key looks for a season,
maximize sales opportunities for the retailer and represent value for the
customers.
• To finalize the product groups with buyers, taking account of constraints to
creativity imposed by budgets and historical sales trends.
• To develop mood, customer and product storyboards illustrating the design
plans for a season.
• To present the various boards to senior management in seasonal range
presentations.
• To develop seasonal product styling records.
• To develop specification sheets for all product designs.

Department
of
Chemical
Engineering
Textile
Technology
TYPES OF DESIGNERS
Most designers who are using their artistic and innovative talents to design
fashion-oriented merchandise fall into one of three categories:
 High-fashion, or “name”, designer
 Stylist-designer
 Freelance artist-designer

Department
of
Chemical
Engineering
Textile
Technology
ELEMENTS OF DESIGN
• Design can be defined as any arrangement of lines, forms, color and textures, with
the aim of achieving order and beauty.
• It involves the problem of choosing these elements of design and then of arranging
them following the principles of design.
• A good design shows an orderly arrangement of the materials used and in addition
creates beauty in the final product.
TYPES OF DESIGN
1. Structural design :
When an objects structure is an integral part of the design is structural design.
Ex : shirt
2. Decorative design :
Surface enrichment of structural design any line, colour of material that has been
applied on structural design for the purpose of adding a richer quality is a decorative
design.
Ex : Appliqué, embroidery, painting or any trimmings.

Department
of
Chemical
Engineering
Textile
Technology
ELEMENTS OF DESIGN
The following are the different elements of Design:
• Line
• Size
• Shape
• Texture and form/Pattern

Department
of
Chemical
Engineering
Textile
Technology
• Definition: Line is an elongated mark, the connection between two points, or the effect
made by the edge of an object where there is no actual line on the object itself.
• In garments lines can be categorized in three ways:
• first is by type
• second by direction and
• the last by application.
• All garments contain a combination of lines from each of these categories.
• Line types:
• According to the type, lines can be divided into three types - straight, curved, and jagged
lines .
• Straight line:
• All garments have some straight lines in them.
• Straight lines are created in dress by seams, darts, hems or garment edges, pleats, hems,
trims, braids, tucks, and panels.
• They create a feeling of elegancy, bold and powerful effects in a garment.
• more straight lines stiff look.

Department
of
Chemical
Engineering
Textile
Technology
Curved lines:
• These lines can be rounded and circular termed as full
curve or somewhat flattened out called as restrained curve.
• Curved lines are less conservative, formal and powerful
than straight lines.
• In fact, circles and curves make spaces look larger than
they really are.
• They also increase the size and shape of the figure.
• They add interest and smoothness.
• They give soft, gentle, youthful and flowing feeling.
• But too many curved lines in a dress at once can create a
confusing look.

Department
of
Chemical
Engineering
Textile
Technology
Straight Line:
Illusion of height and
thinness,
appearance of formality
Horizontal lines:
Illusion of width, adds stability
and restfulness
Diagonal Lines:
Adds excitement
Curved Lines:
Adds softness and
creates a feeling of
movement

Department
of
Chemical
Engineering
Textile
Technology
• Jagged line: These lines have sharp points
like zigzags, which change the direction
abruptly due to their points. This type of line
gives a feeling of jerky, busy, exited effect.
• When they are used more than required these
jagged lines can create a feeling of confusion
in dress.
• As they are very noticeable their use should
be carefully done.

Department
of
Chemical
Engineering
Textile
Technology
SHAPE
• It describes the outer
dimensions or contour
of an object.
• Also known as
silhouette
• Shape also encloses
space and imparts a
certain character to the
object viewed.
• The shape of clothing
in a human body,
communicates silently,
the messages about the
wearer.
Rectangle Triangle Inverted Triangle Oval
Square Round Hourglass

Department
of
Chemical
Engineering
Textile
Technology
1.Rectangle
Examples: Long, straight, hanging in loose, graceful folds, such as in Greek and Roman styles; straight line sheaths; tailored suits. Styles
with these lines are slenderizing and suitable for the well proportioned, heavier woman.
2. Triangle
Examples: Spanish styles. Fitted bodice, bell shaped gently widening skirt.
3. Inverted Triangle
Examples: Wide shoulders, narrow skirt, dolman or raglan sleeves. Good fashion design style for large bust.
4. Oval
Examples: Draped and softly molded, very feminine and decorative. Good for well Proportioned, ideal figure. Suitable especially for
afternoon and evening wear.
5. Square
Examples: Straight or boat shaped neckline, boxy jackets, capes. Generally this style is very good for the very thin figure, however, with
proportions well planned and good design, can camouflage various figure irregularities.
6. Round
Examples: Wide, crinoline lined skirts, petal shapes, puffed sleeves. Suitable for formal wear or afternoon frocks. This fashion design is the
most attractive on the very young and th very thin figure.
7. Hourglass
Examples: Wide shoulders, leg of mutton sleeves. Natural or wasp waist. Smooth fit over hips and full skirt at bottom. Good fashion
design for the tall, thin figure.

Department
of
Chemical
Engineering
Textile
Technology
Natural Shape
• Follows your body’s outline
• Fit close to the body and
emphasize the natural waistline
• Worn most easily on average
body sizes

Department
of
Chemical
Engineering
Textile
Technology
Tubular Shape
• Rectangular with vertical emphasis
• Undefined waistline
• Adds height and thinness to the
body
• Ex: t-shirt dress, straight-leg pants,
and tailored business suits

Department
of
Chemical
Engineering
Textile
Technology
Bell Shape
• Moves outward from the body in a
triangular shape
• Can add or subtract width
depending on where the top and
the bottom of the bell hit
• Ex: A-line skirts & dresses and
flared pants & jackets

Department
of
Chemical
Engineering
Textile
Technology
Full Shape • Horizontal and curved lines
• Make the body look larger
• Ex: gathered skirts & dresses,
full sleeves, and pants with
wide legs

Department
of
Chemical
Engineering
Textile
Technology
Space
• Defined: the area inside the shape.
• Internal lines, either structural or
decorative, that divide the space on a
garment
• Seams provide inner spaces
• Decorative stitching and trims also divide
space
• Ex: lace down the front of a blouse

Department
of
Chemical
Engineering
Textile
Technology
Texture
• Defined: the surface characteristics that determine the look and
feel of an object.
• Texture results from fiber, yarn, construction, and finish used.
• Determines how a fabric moves when worn and can affect the
overall way a garment looks on the body.
• Soft or crisp, smooth or nubby, dull or shiny.

Department
of
Chemical
Engineering
Textile
Technology
Pattern
• Stripes, plaids, geometrics, florals, scenics, borders, etc.
• Large or small
• Even or uneven
• Light or dark
• Spaced or clustered
• Muted or bold
• Small pattern decrease in apparent size while large pattern increases it
• Widely spaced designs can make you seem larger as it draws the eye across the
distances from one part of the pattern to the other

Department
of
Chemical
Engineering
Textile
Technology
Principles of Design
• Proportion
• Balance
• Emphasis
• Rhythm
• Harmony

Department
of
Chemical
Engineering
Textile
Technology
Proportion
• Defined: how separate parts of a garment relate to each other and
to the whole in size.
• Parts with somewhat unequal sizes look best together.
• Clothing looks best when it’s in proportion to your own size
• Small-framed person might avoid large, overpowering details such as
collars & pockets
• Large-framed person might avoid tiny details

Department
of
Chemical
Engineering
Textile
Technology
Proportion
1
3
1
1

Department
of
Chemical
Engineering
Textile
Technology
Balance
• Defined: when the spaces on both sides of a central line, real or
imagined, appear equal.
• A balanced design gives a feeling of stability.
• Can be achieved in different ways
• Symmetrical
• Asymmetrical

Department
of
Chemical
Engineering
Textile
Technology
Symmetrical Balance
• When the spaces on each side of a
garment look just the same.
• Gives a formal or tailored look.
• Ex: a shirt with two identical sides divided but
a center front closing.
• Ex: a skirt with a center front seam that
divides two similar sides.

Department
of
Chemical
Engineering
Textile
Technology
Asymmetrical Balance
• Don’t look the same on each
side of the real or imagined
central line.
• Add interest or a sense of
excitement
• Has an informal look
• Often more difficult and costly
to make
• Ex: a wrap skirt
• Ex: A colorful pocket on one side
and two vertical stripes on the
other

Department
of
Chemical
Engineering
Textile
Technology
Emphasis
• Defined: the part of the design that
draws attention.
• The focal point of the design
• The part of the outfit that catches your
eye first
• Can be accomplished with color, line,
texture, design details, trims, and
accessories
• Ex: a colorful belt emphasizes the
waistline
• Ex: a contrasting color draws attention
toward the face

Department
of
Chemical
Engineering
Textile
Technology
Rhythm
• Defined: carries the eye through a regular pattern
produced by design elements.
• Repetition
• Radiation
• Gradation
• Good rhythm is apparent when the lines of an
outfit work well together.
• Ex: when stripes and plaids don’t match at seam lines it
breaks rhythm

Department
of
Chemical
Engineering
Textile
Technology
Repetition
•Defined: a pattern repeats
itself.
•Ex: rows of stripes, polka dots,
etc.

Department
of
Chemical
Engineering
Textile
Technology
Gradation
• Defined: A gradual
change in pattern.
• Ex: change of size
or color.
Light
to
Dark
Thin to
Thick
Small to
Large

Department
of
Chemical
Engineering
Textile
Technology
Radiation
•Defined: Lines or patterns flow from a central location.

Department
of
Chemical
Engineering
Textile
Technology
Harmony
• Defined: when all parts
of a design blend well
together.
• The elements relate in a
unified way.
• Each part looks like it
belongs and the result is
eye-catching.

Ancient Fashion

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