OF ORIENTAL DRESS (_continued_)
"And never the twain shall meet," lilts Kipling of the East and the West;
and in the province of dress, as everywhere else in the Orient, caste,
ruling supreme, writes incontroversial laws of separation.
In India, the article of masculine attire to which most importance
attaches is the turban, its shape and general aspect denoting the social
and spiritual status of the wearer.
Until the founding of the Mogul Empire in 1505, the women of Hindostan
were strangers to the tyranny both of the Zenana and of the veil, but
from that time onwards traces of Mohammedan influence are plainly visible
in the habits and costume of the people.
The utmost magnificence and display characterised the dress of the Mogul
Emperors and their Court; and although differing in colour, texture, and
certain minute details, the costumes common to the period were identical
in broad outline and general design; and Fashion moved so slowly in a
country where tradition was regarded as law, that the sleeve and collar
in vogue at the end of a century were very like those obtaining at the
beginning.
A prince of the Mogul dynasty, who is depicted in a dress typical of
his time and rank, wears long, tightly-fitting pyjamas of striped red
and gold material, very much rucked at the calf and terminating at the
ankle. His feet are encased in embroidered slippers, which leave the
heel bare, the pointed toes curling upwards. The over-dress reaches to
below the knee, and is of transparent white tissue, the skirt pleated
and held at the waist by a sash, worked in gold, scarlet, and black,
knotted in front and with fringed ends falling in unequal lengths. A
jewel-hilted dagger is worn at the left side, and a narrow scarf, in
white and gold, crosses the breast, passing under the right arm and
over the left shoulder, where one end hangs down behind and the other
before. The closely-fitting sleeves are rucked, and bracelets are drawn
over them at the wrist and above the elbow, while several rows of pearls
appear at the neck. The small white turban is arranged in a point on the
forehead and encircled by a broad gold band and a string of pearls, the
latter raised in front by an enormous emerald, a superb aigrette waving
above an ornament glittering with diamonds and other precious stones; and
on state occasions a large sword, sheathed in crimson velvet, and with
a cross-shaped hilt studded with jewels, was carried, another mark of
Imperial dignity being the umbrella which overspread the throne.
The dress of high-born ladies was very similar to that of the men, for
it, too, consisted of rucked trousers, of brilliantly-coloured silk,
decorated with embroidery and confined at the feet with plain gold
bangles or jewelled anklets. The pointed slippers curved up at the toes
and left the heels exposed, and the pleated robe of transparent muslin
terminated at the calf. From the waist in front a width of gold tissue,
fringed and worked in various bright shades, hung apron-like, while the
bust was supported by a corselet contrived from polished wood so light
and so supple as in nowise to interfere with the lithe movements of the
body. The arms were bare, excepting for bracelets at the wrists and above
the elbow, and the head and upper portion of the figure were enveloped
in the graceful folds of a sari, or immense veil of diaphanous texture
bordered with gold and patterned in vivid colours. The hair was parted,
and fell in plaits behind, a jewelled ornament being worn in the centre
of the forehead; while a pearl was fastened into one nostril, and the
nails were stained vermilion.
[Illustration: AN OLD INDIAN FESTIVAL DRESS.]
Court dignitaries are represented in long, loose garments coming
below the knees and cut low at the throat to reveal a vest of fine
white material, but otherwise identical in design with the ordinary
dressing-gown of a man of to-day. The waist was encircled by a broad
band of embroidery, and the trousers completely encased the feet. On the
head was the inevitable turban, round in shape and wide of brim.
Under the British Raj, India retains her picturesque variety of costume,
and remains the one land faithful to the traditions of the turban. Hardly
less splendid than in the gorgeous days of the Mogul Empire is the dress
of a modern prince of the caste of Rajput. A small red turban is wound
tightly about the head, one short gold-bedizened end falling behind.
The big ear-rings are crescent-shaped, and the necklace is composed
of several rows of pearls. A white robe falls to the ankles, and is
surmounted by a shorter yellow jacket embroidered in colours and held
together at the waist by a sash of peacock blue satin, the gold fringed
ends falling unevenly in front. The tight sleeves terminate at the elbow,
where they are supplemented by white ones, which extend to the wrist.
Scarlet and white are the favourite contrast, and the effect is to make
the crowded bazaars brilliant and attractive to the eye.
A costume characteristic of a Pathan, a Musulman by religion, consists
of a white turban of voluminous proportions wound in such a manner as
to form a wide brim. The tight trousers are clearly visible through a
flowing robe of figured white cotton, which reaches nearly to the ground,
and, crossing over at the breast, is kept in place by a striped shawl
folded about the waist, the picture being completed by velvet slippers
turned up at the toes. The coolies are generally naked except for a
loin-cloth and turban, but some wear a white cotton shirt, short-sleeved
and held by a folded belt in some bright shade.
Brahmins are distinguished by the sacred cord, in reality a twisted rope
of cotton, which hangs from the left shoulder to the middle of the thigh.
A typical costume is evolved from a long, straight piece of material
wound round the body from the waist downwards, and drawn between the legs
to form a trouser-like division. A shawl, draped about the upper portion
of the figure, is manipulated in such a way as to cross on the left
shoulder, one end hanging in front and the other behind. A shako-shaped
turban and a chaplet of beads put the finishing touches, while on the
forehead, breast, and bare arms the mark of the sect is painted with
white powder.
From the age of seven, Parsees of both sexes don the sadra or sacred
surplice emblematic of the coat of mail worn in ancient times by the
Guebers to ward off the attacks of Ahriman, spirit of evil. The dress of
the men comprises light, baggy trousers, white stockings, flat-heeled
slippers, a tight black coat, usually of alpaca, buttoned down the front,
and a high sugar-loaf hat of shiny black.
Nothing more charming could be devised than the dress peculiar to the
female followers of Zoroaster. Until she marries the Parsee girl wears
wide trousers fashioned from brilliantly-hued silk or satin, and the
hems of the legs are adorned with bands of embroidery in quaint designs
of birds and beasts worked in the most gorgeous tints. Her inner
garment is a long sleeved jacket of white muslin, over which comes the
sadra, or loose, square tunic lacking sleeves, and distinguished by the
magnificence of its embroideries. The hair, divided in the centre and
hanging down behind, is crowned by a little circular cap of black velvet
covered with gold and silver embroidery and studded with seed pearls,
while on the feet are gaily-embroidered slippers. Etiquette decrees
that before her wedding the Parsee woman must submit to having her head
shaved, a martyrdom which is responsible for the nun-like band of white
material drawn low on the forehead. She continues to wear the trousers,
but exchanges the decorative sadra for an even more superb sari. This
voluminous drapery is of gold-bordered muslin in warm weather, at other
seasons a long, straight piece of silk or satin wondrously coloured and
exquisitely embroidered. It is wound round and round the body, outlining
it tightly at the back, and hanging in straight folds in front, each
evolution being accomplished in pleats, to attain sufficient fulness; and
finally the end is drawn over the head, concealing one ear and leaving
the other exposed, a practice which explains the single earring worn by
Parsee women. In warm weather the sari is of muslin and boasts a wide
gold border.
The principal item in the wardrobe of the Hindu woman is likewise the
sari, which she arranges as the Parsee does hers. The texture varies
according to the means of the wearer. The poor employ cotton, but they
invariably endeavour to have an ornamental border of some kind. The
simply-made skirt reaches to the ankles, and the chuli, a short-sleeved
jacket of diminutive proportions, terminates immediately below the bust,
leaving the middle of the figure uncovered excepting for the sari. The
hair is twisted in a heavy coil low down on the nape of the neck, a
style rendered necessary by the custom of carrying weights on the head.
The poor Hindu, distrustful of other securities, invests such worldly
wealth as he possesses in jewellery for his wife, who appears laden
with bracelets, of painted wood or coloured glass. As many as twelve
rings jingle from the much-pierced rim of either ear, while an ornament,
frequently of preposterous size, is affixed to one nostril, and in
addition there are anklets, necklaces, and toe and finger rings.
If the outdoor dress of Persian women be any criterion, their husbands
must be the most jealous in the world, for not one of the charms
accredited to frail femininity is allowed to transpire. The veil and
all-enveloping mantle maintain a profound reserve, so that whether the
wearer be old or young, slender or stout, attractive or repulsive,
remains for ever an impenetrable mystery. Before quitting the seclusion
of the Andaran, the Persian woman assumes an effective disguise. First
she draws on a pair of dark green or grey trousers, one leg at a time,
for there is no connection between the two, and these are fastened at
the waist by a belt. Their shape is peculiar; for, baggy to the knees,
they fit closely at the calf and encase the foot after the manner of a
stocking. Over these is worn an ample mantle of black silk, cotton, or
muslin, covering the head and shrouding the entire figure, the ends drawn
up at the bust and held by strings, which are crossed and tied round the
neck. A thick white veil--an essential item from the age of nine--falls
from the forehead to the waist in front, and is pinned at the back of the
head to keep it in place, a narrow insertion of net appearing at the
eyes, to allow sight to the wearer.
The indoor dress of a Persian lady consists of a full skirt to the
ankles, fashioned from cloth of gold, velvet, or some other costly
fabric, trimmed with beautiful embroidery. A loose jacket of soft white
muslin, decorated with a peculiar kind of lace, forms a vest in front
beneath an open embroidered jacket of a shade contrasting with that
of the skirt. This jacket reaches to the waist, and has long sleeves
conspicuous for turned-back cuffs. A cashmere shawl is draped on the
shoulders, and a white veil is arranged kerchief-wise on the head and
fastened under the chin with a jewelled brooch, leaving only the oval
of the face visible. The brows are encircled by a golden fillet, from
the centre of which depends a jewel, while the hair is parted and hangs
down behind in three or more plaits, their ends tied with gay ribbons or
weighted with pearls or silk tassels.
A variation of this style is noted in the dress of the ladies of
Trebizond, their cashmere shawl being smaller and arranged over the skirt
in such a way that a point falls down behind. The snowy muslin chemisette
is cut low at the throat, and the embroidered coat shows a heart-shaped
opening fastening only at the waist with two buttons; and on the head is
a small round cap.
Female servants are generally barefooted, their full skirts terminating
midway to the ankles, and pulled low down on the hips, so that the short
white under-jacket and little coat of coloured material terminating at
the waist, expose the centre of the body to view.
The official classes have discarded the turban in favour of the fez,
a closely-fitting cap some six inches in height, contrived from black
cloth or astrakhan. These are plain, with the exception of the jewelled
fez peculiar to the Shah, and of the caps of certain high military
authorities, which bear a distinctive badge of a gold lion and sun
affixed above the forehead, a field-marshal wearing two lions surmounted
by a crown. The turbans of the priests are large and round, those
characteristic of the Seyyids, the direct descendants of Ali, being in
a bright shade of green. As a rule, the official classes wear trousers
and black frock coats that differ from those customary in Europe only
in that they are arranged in numerous pleats, which, commencing at the
hips, continue round the back. Infinitely more characteristic is the
costume affected by merchants, this section of the community exhibiting a
partiality for lightish blue cloth of native manufacture. The long coat,
or ghaba, is loose and flowing. Double-breasted, it laps over and fastens
with two buttons, while about the waist a shawl is wound several times,
knotted, and the ends tucked out of sight. The overcoat, or aba, is of
rough brown material, open in front, and the wide sleeves terminate at
the elbow. A towering fez or a rolled turban is worn, according to the
taste of the wearer.
The priests, or Mullahs, affect much the same style of garb; and, as
I write, one whom I knew rises up before me. His was a most imposing
personality. Of middle height, he seemed much taller by reason of his
large white turban and ample robe of dark blue that flowed to his ankles,
revealing heel-less shoes of bright yellow leather. Round in shape, his
head was shaven, and his beard was trimmed to a point and stained with
henna. About his waist a white shawl was wrapped six times, and into it
was tucked a big striped cotton handkerchief. In his hand he carried a
rosary composed of a hundred clay beads, and, when he walked, the dignity
of his demeanour was further enhanced by a long white mantle which he
wore flung over his right shoulder.
Persians eschew gaudy colours and striking contrasts in dress, preferring
quiet shades and harmonious combinations; dull reds, dim blues, and
sombre greens being favourite tints. The diplomatic uniform is black, the
front of the tight coat one blaze of gold embroidery; and the official
sword is suspended from a narrow belt.
In Turkey, as elsewhere, international intercourse has gradually led
to the disappearance of those salient features which make for the
characteristic in dress. In Constantinople the official classes wear the
conventional garb of Western Europe, with the one noteworthy exception
of the fez, a red cloth cap surmounted by a black silk tassel. French
fashions are permitted in the privacy of the harem, but etiquette decrees
that the women, before they go out, shall exchange these for a simple
toilet of nun-like severity; and the ladies of the Sultan's household,
who are never seen in public unless in a carriage or boat, don an
all-enveloping mantle of black silk in winter and of some light shade
in summer; and over this two white veils are worn. The first covers the
face as far as the bridge of the nose, and the second is drawn across the
brows, shrouding the head and leaving only the eyes visible. But in truth
these yashmaks are so transparent that they serve to enhance rather
than conceal the charms, natural and artificial, of the wearer. Through
the shimmering white drapery the flower-decked hair is clearly seen, and
romantic in the extreme is the effect of a small boat with three rowers,
and a veiled figure under a fluttering lace parasol, gliding swiftly over
the sun-kissed waters of the Bosphorus.
The walking dress in vogue in modern Constantinople is even plainer.
It consists of a black silk skirt and a silk cape to the waist, the
cape being provided with an additional piece to cover the head, and an
essential complement is a short veil of close black net. In summer black
is exchanged for light colours, but the style remains the same.
The priests, with true ecclesiastical fidelity to tradition, have
remained constant to the old-world style of dressing; and to this day
they cut picturesque figures in a red fez encircled by a narrow white
turban, loose trousers kept in place by a cashmere shawl, dark yellow
in colour and of great beauty of design, and a black caftan, a garment
almost identical with that of the cassock worn by the clergy of the
Church of England.
Another survival which is familiar to the casual visitor to
Constantinople is the dress of certain labourers, consisting of baggy
pantaloons to the knee or a little beyond, red shoes, a long sleeved
cotton shirt, and a short, sleeveless jacket of blue or black material,
a red fez, and a coloured shawl about the waist.
Formerly fur trimmings denoted great opulence and luxury, and the skins
most favoured were ermine, sable, marten, white fox, and squirrel, which
were changed according to a prescribed formula. The date for one to be
discarded and another substituted was fixed by the Sultan, who usually
elected to appear in new clothes on a Friday, when attending mosque. The
Grand Vizier was officially notified of the intended change, whereupon
he immediately sent word to the entire Court, who hastened to follow the
sovereign's example.
The outdoor dress of ladies in those days was a lengthy mantle of dark
material, which boasted long sleeves and a deep sailor collar of red,
blue, or green satin; essential accessories being the two white veils
and top boots of yellow morocco. Heavy and sumptuous, the gown worn at
home consisted of baggy trousers of thin texture drawn in tightly at the
ankles, supplemented by a long sleeved chemisette of white muslin trimmed
with a peculiar kind of lace. This was met at the bust by the dress
proper, a trailing robe of rich material encircled by an embroidered
belt fastened by a jewelled clasp and drawn down very low in front. The
sleeveless velvet mantle was edged with velvet and fell to the ground,
and on the head was a high turban of embroidered muslin surrounded by a
gold fillet set with diamonds, rubies, and emeralds. The hair was cut in
a straight fringe across the forehead, and arranged in bands over the
ears.
Turkish women have always displayed a great fondness for jewellery, and
modern etiquette renders a diamond tiara incumbent upon the bride of any
social standing whatsoever.
Much of the fascination of the desert, its mystery and its appeal to
the imagination, is embodied in the Arab. The eye travels over the tall
figure, straight as a palm tree, draped in the long folds of the burnous,
with the same baffled sense of inquiry, the same subdued excitement
and expectation with which it looks across the arid sand stretching out
to the horizon and beyond. What restless fever consumes this statuesque
figure, impelling him ever to be on the move? Where does his quest lead
amid the dunes and burning sand, and what is the power that keeps him
eternally a wanderer in that silent land? Vaguely one realises the subtle
affinity between the two--the nameless spell which the desert casts over
her sons.
The dress of the Arab, picturesque though it is, would seem to have
been expressly designed with a view to affording the utmost possible
protection to the head. The cachi, a little felt cap, red, brown, or
white, and surmounted by a silk tassel in a contrasting shade, is common
to all. Two, and frequently three, are worn, one above the other, the
topmost being invariably red. Concealing the cachi is the haïk, an ample
white drapery drawn low on the forehead and falling curtain-wise about
the face. It is held in place by one or more tightly-fitting rings
composed of camel's or goat's hair, pressed firmly down on the head, and
is of such liberal dimensions as to envelop the entire figure above a
shirt contrived from fine white wool. Over all is flung the burnous, a
voluminous mantle of plain or striped material which can be arranged in a
variety of ways. Sometimes it is tied at the throat with strings tipped
with tassels, and at others it is wrapped about the body in classic folds
with one end flung over the left shoulder. Sandals are worn on the bare
feet, and the beard is long and pointed.
The costume of the chief of a warrior tribe differs in detail, although
retaining the characteristic features. The sandals are supplemented by
high leather side-pieces, open up the front and with the tops decorated
with tassels. The short, tightly-fitting coat is trimmed with embroidery
and more tassels, and reveals a wide expanse of white vest and a folded
belt of brilliantly-hued silk. The baggy trousers terminate at the
knees, where they are met by striped stockings. The hips are encircled
by a shawl, which is knotted at the left side; and on the head is the
inevitable haïk, surmounted by a large saucer-brimmed hat composed of
feathers and conspicuous for a dome-shaped crown. The burnous fastens
with tassels at the throat, and is flung back from the shoulders, tassels
reappearing at rare intervals round the hem.
In towns Arab women are always more or less veiled, while those leading
the free life of the desert dispense with what they deem superfluous
drapery and choose for ordinary occasions attire of the scantiest
description, merely consisting of a simple robe to the ankles, sleeveless
and confined by a narrow girdle. On days of grand ceremonial this is
exchanged for a long, flowing gown, the hem and elbow-sleeves edged with
fringe, and draped with big cotton handkerchiefs in vivid plaid designs.
One of these is drawn closely round the head, and the ends are flung back
to float behind in picturesque disarray; a second is pinned at the right
hip and again on the left shoulder; from the neck hang bead chains, and
every available item of enamelled jewellery is displayed on different
parts of the body. The pendent silver ear-rings are of imposing size and
weight, and wide bracelets cover the arms, while, in the case of a woman
fortunate enough to be the mother of a son, a distinguishing ornament
dangles in the centre of the forehead, whence the hair is drawn back and
arranged in a coil on the nape of the neck. This jewel she forfeits upon
the birth of a daughter, and she recovers it only if she be blessed by
another son.