3.  Clothing was first introduced to protect man from the elements. It has come by its present forms as a result of the influence of social and moral values.

4.  With the passing time, a wide variety in forms of clothing emerged. These differences were the result of social and economic structure, geography, the materials available and climate. In the very earliest times, everyone in a particular tribe would wear clothes that defined his or her social status. More than an obligation, this was an understanding carried on by tradition. Clothing and eben hair styles reflected this same conception.

5. Traditional clothes and finery provide considerable information about the workings of a society. Clothes indicate whether societies are settled or nomadic, and are a source of information about historical events and ethnological origins. For example, in Yöruk or Turkoman villages, one can tell whether a woman is engaged, married or a widow from the way in which she does her hair.

6.  Daily, work and special day clothes are different. Hair styles during a wedding and after the bridal chamber differ. In markets, it is easy to identify which village people live in just from their clothes.  Today in Anatolia, there are differences even between the clothing worn in different neighborhoods of the same village.

7. It is therefore inadvisable for the art historian, sociologist, folk dance arranger or designer to speak in terms of "Traditional Turkish costume.” Research led by sociologists from the Folk Culture Research and Development General Directorate of the Ministry of Culture has revealed that Anatolia possesses a wide range of clothing

8.  Men who leave their villages to do their military service or to take up employment inevitably adapt to city culture. Field research therefore faces problems when it comes to defining men’s clothing. But in rural areas, women generally have little contact with the outside world. They tend to dress in conformity with the lifestyle and traditions of the community of which they are a part. Dress and decoration tends to follow that of preceding generations. Children’s clothes also differ according to sex and age. The concept of the evil eye is widespread, and one can observe many amulets to ward it off in peoples’ clothes and hair

9. In conservative communities, each generation follows the clothing styles and customs of earlier generations, which is how traditional clothing and styles have come down to the present day. Yet it is nevertheless impossible to say that traditional clothing and finery are totally unchanging. The materials employed certainly do change, and the efforts put into clothes are no longer as painstaking as before. Contemporary conditions create different styles, and interaction between different fashions is quite intense.

10.  In rural areas, women spend most of their time with working. As a result, their daily, work and special day clothes are different. Special costumes and hair dressings are only to be seen at wedding ceremonies. Women’s hair styles differ in accordance with their social status, and whether they are married or engaged, or not. Hair style is an important feature of women’s lives.

11. The Ministry of Culture, HAGEM, has published the research into these differences in clothing and finery carried out by researchers in the Physical Culture Department. Clothes and finery are a concept of physical culture and are part of thew way that popular culture changes, and are also affected by that same process of change. HAGEM has an important place in Turkish culture, possesses a large collection of photographs and slides institutions, and assists individuals and institutions with their research.

12. Information gathered from field studies in the provinces of Bursa, Manisa, Sivas, Aydın, Gaziantep, Corum has been published in a catalogue. Different villages from each region were visited and their special clothes and finery identified. 1/1 scale copies were drawn, and these appear in the catalogue on a scale of 1/5. Within the framework of this study, research into clothing in 25 provinces has been carried out. Work to have it published is continuing.

13.  TURKISH CLOTHING  History  The earliest sources found in the history of Turkish clothing date back to the miniatures and wall pictures uncovered in Central Asia. Sources of 100 B.C. reveal that woolen and cotton fabric was woven on handlooms but silk came from China.  The Turkish way of living at that time brought about functional clothing styles. As the horse was the common and inevitable form of transport in the daily routine, women's and men's wear resembled each other (unisex).  Leather and felt materials had priority due to natural and social conditions. In addition to these materials; shipskin, fur and woolen materials were major constituents in clothes of that period.  Sources indicate that central Asian Turks used to wear leather boots, mintan shirt, a short caftan used with a belt and a kind of riding trousers loose at the top narrowing downwards suitable for horse riding. Caftan and boots also gained significance as a sign of status.

14.  Bashlyks, head coverings, as in clothes, were made of fur or sheepskin with the purpose of protection from the cold. Bashlyks were also observed to be symbols of status.  Emigration from Asia to Anatolia caused many cultures to integrate. This was reflected on clothes, symbols and motifs of the 24 Gagauz tribes which formed a united culture of their own.  In the following years Kırkhiz, Özbek, Uygur, Azerbaijan, Tartar tribes coming to Anatolia were also affected by each other.  Samples of woven material, carpet and clothes belonging to the "Seljuk" and "Principality" periods are exhibited in museums. Clothes of the Seljuks were produced from materials such as wool, felt, camel's hair, fur, cotton and silk. The varied climate conditions in Anatolia required clothes to be used in all conditions. Cold climate areas broght in the use of fur linings

15. Clothes of this period display pre-Anatolian influences. The principal material was composed of works of the highly developed art of weaving. Materials forming bashlyks and clothes eventually gained variations. In the Ottoman period, as the borders of the empire expanded, new relations were set up, cultures and their clothing traditions reached a static state. Istanbul, Bursa, Bilecik, Denizli, Ankara, Konya, Trabzon, Rize Kastamonu, Gürün were districts well specialized in weaving. Knowledge of this period is obtained from museums, travel descriptions, pictures and miniatures.

16.  The socio-economic differences between the administrators and the common people also affected the clothing styles.  While the Palace and its court displayed showy clothes, the common people were only concerned with covering themselves. The administrators occasionally brought about legal regulations on clothes. These applications were first initiated during the period of Süleyman the Magnificent.  In this period men wore outer items such as 'mintan', 'zıbın', 'şalvar', 'kuşak', 'potur', 'entari'; 'kalpak', 'sarık' on the head; 'çarık', 'çizme', 'çedik', 'yemeni' on the feet.  The administrators and the wealthy wore caftans with fur lining and embroidery, where as the middle class wore 'cübbe', 'hırka' and the poor wore collarless 'cepken' or 'yelek' (vest).

17. 'Kavuk', however, was the most common type of bashlyk. For this reason, a related tradesmenship was formed in the XVII. century. Fur was a material of prestige in that period. The clothing of Muslims, Christians, Jewish communities, clergy, tradesmen state and military officials were strictly regulated during the reign ofSüleyman the Magnificent. Political crises of the XVII. century were reflected as chaos in clothes. The excessively luxurious compulsion of consumption and show off in the "Period of Tulips" lasted till the XIX. century.

18.  The modernization attempts of Mahmut II in 1825 first had its effects in the state sector. While 'sarık' was replaced by 'fes', the people employed in Bab-ı Ali began to wear trousers, 'setre' and 'potin'.  During the 'Tanzimat' and 'Meşrutiyet' period in the XIX. century, the common people still keeping to their traditional clothing styles presented a great contrast with the administrators and the wealthy wearing 'redingot', jacket, waistcoat, boyunbağı (tie), 'mintan', sharp-pointed and high-heeled shoes.  Women's clothes of the Ottoman period were observed in the 'mansions' and Palace courts.   'Entari', 'kuşak', 'şalvar', 'başörtü', 'ferace' of the XIX. century continued their existence without much change.

19. In the XVI. century women wore two-layer long 'entari'; and 'tül', velvet shawl on their heads. Their outdoor clothing consisted of 'ferace' and 'yeldirme'. The simplification in the XVII. century was apparent in an inner 'entari' worn under short-sleeved, caftan- shaped outfit. The matching accessory was a belt.

20.  Women's wear heading for remarkable show-off brought about adorned hair buns and tailorship in its real sense began in this period.  The sense of women's wear in primarily began in large residential centers such as Istanbul and Izmir in the XIX. century and as women gradually began to participate in the social life, along with the westernization movement.  'Pera' became the center of fashion and the Paris fashion was followed by the tailors of Greek and Armenian origin.

21. In the period of Abdülhamit II. the use of 'ferace' was replaced by 'çarşaf' of different styles. However, the rural sector continued its traditional style of clothing. The clothing styles preveiling until the mid XIX. century imposed by religious reasons entered a transformation phase of the Republican period. In this period the 'şapka' and the following 'kılık kıyafet' reform realized with the leadership of Mustafa Kemal Atatürk in Kastamonu in 1925 had a full impact in Istanbul. Woman's 'Çarşaf' and 'peçe' were replaced by coat, scarf and shawl. Men began to wear hats, jackets, shirts, waiscoats, ties, trousers and shoes. With the industrialization process of the 1960's women entered the work life and tailors were substituted by readymade clothes industry.

22.  The contemporary fashion concept, as it is in the whole world, is apparent in both social and economic dimensions in Turkey as well.  The concept is conveyed with all its aspects in various educational institutions not only in the field of application but also from the point of design and employees required by the sector are trained.  Designers that have been drawing attention with their universal works; Rıfat Özbek, Cemil İpekçi, Vural Gökçaylı, Yıldırım Mayruk, Sadık Kızılağaç, Hakan Elyaban, Bahar Korçan and many more creative personalities have been contributing original and modern works.  As the developing Turkish economy owes a lot to textile exports, the general framework deserves a historical outlook on the concepts in question.

23.  Through the centuries the most important aspect of Turkish female dress is that they maintained traditional lines, and, apart from the materials used, they did not reflect the financial position of the wearer. Information regarding women's dress and head wear of the 12th. to 14th centuries are to be found in examples of tiles, stone carvings, and miniatures of the period.

24.  Seljuk women's housedress consisted of chemise, baggy trousers, and an over dress. The trousers had large gussets, the overdress long and had full sleeves, it was collarless and usually open down the front. Generally the edges of the skirt and split sides, and if open, the front edges, had a wide binding, and the top of the sleeve decorated with a band known as a 'tiraz' taken from Arab culture. The full overdress came down to between knee and ankle length, and they used either a sash or a belt at the waist. The dress was embellished with rich accessories, such as tiaras, earrings, pearl necklaces, and arm and ankle bracelets.

25.  One of the sources giving information about the Selcuk period women's dress is from a plate made by at the prominent center of ceramic's in Rey, Iran in the 12th.to 13th century. On this plate, of the 'perdah' (glazed) technique, which is displayed in The Metropolitan Museum of Arts in New York, the woman depicted has long plaited hair. On her head there is a string of pearls, and in the middle of the forehead there is a round stone forming a diadem. From one of her ears there hangs an earring decorated with three gold rings, and she is wearing an overdress that is open down the front. This forms a V shape from the neck downwards; there is a band at the top of the sleeves.  An important source of Seljuk period costumes is the miniatures included in the 'Romance of Varka and Gulshah' that was produced in Konya at the beginning of the 13th. century. The first thing that strikes the eye as being different between female and male dress is the string of pearls on the woman's head, and the single stone on the forehead forming a crown like diadem. The lovers are both wearing overdresses of the same length; Gulshah's trousers are wide in the leg, and she is wearing small shoes; the neck of her dress is cut in a V-shape, and around her neck are seen a strings of pearls. Ones attention is drawn to a crown with leaf like decoration on her upper forehead. Gulshah, if need be, will dress like a man and go to war.

26.  The figures of the women are wearing revealing clothes, and at the entertainment, groups of women and men are seen together; some of the people are listening to female readers, and watching dancers, so we understand the Seljuk women were allowed a great deal of freedom.  Another book, 'Kitab el-Tiryak' which was produced in Mosul Iraq in the 13th century, show palace scenes with men and women together. In another copy of the same work dated 1199 that is in the Bibliotheque Nationale Paris, the introduction page shows figures of women. The woman with a crown on her head in the center of the composition has plaited hair, and the two plaits are knotted and thrown back. The overdress has banded sleeves, and is open in front to the waist and she is wearing wide legged trousers. On her ears are gold earrings and two gold necklaces round her neck drawing our attention. The angels hovering in the four corners of the scene are wearing similar dress; but instead of crowns they are wearing diadems of precious stones.

31.  From the 13th century onwards, when the Ottomans ruled Anatolia, women's dress can be traced mostly in the palace art of the miniature. In the reign of Fatih Sultan Mehmet (1451-1481) women continued to wear the free styles of the old Anatolian and Mid Asian traditions. To present the style of life and the dress of the Ottoman palace it is important to look at the 'Kulliyat-I Katibi' miniatures produced in Edirne in about 1460 (TSMK R 989). In the miniature depicting young female musicians at the Sultan's Assembly, around the Sultan, servants presenting food and drink, officials, and male and female musicians are seen. From the point of view of official dress the most striking thing is the headgear. These headdresses that are not found elsewhere are clues to the way in which early Ottoman women covered their head, as well as helping to date the work.

32.  One of the female musicians is playing a harp, and the other a tambourine; the one sitting at the side keeps time by snapping her fingers. The girl playing the harp wears a head covering thrown back that has a conical hat over it, and around her brow she has tied a tight band. (Kasbasti) The woman who is keeping time wears the same type of headdress. The musician playing the tambourine had no hat, only a tight band around her brow. The overdresses have small collars, and the front has buttons that are open to the waist. Copied in Sultan Mehmet's reign in the Edirne decoration workshops, the 'Dilsuz-name' miniatures dated 1455-56 depict women wearing the same type of headdress. But in the miniatures produced at the end of that century, in the time of Sultan Beyazid the Second (1481-1512) this type of headdress are not seen.

33.  The taking of Istanbul, and the passing into local order, was responsible for the widening of the Empires boundaries, changes in economy, the separation of the lives of men and women, and the passing of laws concerning women's street dress.

39.  Some examples to current Turkish women's fashion are provided below from designer Zuhal Yorgancioglu collection. The collection of Mrs. Zuhal Yorgancioglu, a world-known designer, reflects the splendor of the Harems of the Palaces of the Ottoman era to colorful silk dresses with Anatolian motifs and collage of old Turkish embroideries accompanied by modern night dresses. Mrs. Yorgancioglu woves the culture of East and West into a unique synthesis through the antique embroideries of the Turkish heritage.

41.  OTTOMAN  Ottoman imperial style was not dominated but inspired by other cultures in the course of centuries, such as the Chinese, Mongolian, Persian, Arab, as well as the Byzantine, Hungarian, Italian, and Austrian. The Sultan's court was the melting pot for all of these influences.  Ottoman male dress of high rank was distinguished by features such as length, colors, and patterns. Other than the turban, dress in the court consisted of a shirt (gomlek), inner garment (entari), sash (kusak) or metal belt (kemer), baggy trousers (salvar), outer garment (kaftan) which was an overcoat usually lined with fur, high boots (basmak), and shoes (mest)  Some selected examples (please click on pictures to enlarge):