Brochure about costumes (Italy-Romania-Bulgaria-Turkey) by Violeta Dragut

„EUROPEAN SCHOOLS WITHOUT STEREOTYPES PROMOTING THE EUROPEAN INTERCULTURALITY“ № 2016-1-RO01-KA219-024675_2

FASHION EVOLUTION 1600 - 2018

This project has been funded with support from the European Commission. ,, The European Commission is not responsible for

any uploaded or submitted content. The content reflects the views only of the European Commission cannot be held responsible for any use which may be made of the information contained therein”

Coordinators Teachers: Mrs. Drăguț Violeta, Tehnological High School Costești, ROMANIA Mrs. Anna Maria Lo Bue, I.I.S.S. "Carlo Maria Carafa" Mazzarino and Riesi, ITALY Mrs. Mandzhukova Evlogiya, Vocational School of Tourism “Mihalaki Georgiev”-Vidin, BULGARIA Mr. Onur Arslan, Sule Muzaffer Buyuk Vocational and Technical Anatolian High School, Manavgat, TURKEY

COORDINATORS ON CHAPTERS

Teachers: Mrs. Tsetska Kamenova, Vocational School of Tourism “Mihalaki Georgiev”-Vidin, Bulgaria Mrs. Drăguț Violeta, Tehnological High School Costești, ROMANIA Mrs. Anna Maria Lo Bue, I.I.S.S. "Carlo Maria Carafa" Mazzarino and Riesi, ITALY Mrs. Canan Kartal, Sule Muzaffer Buyuk Vocational and Technical Anatolian High School, Manavgat, Turkey

COLLABORATORS

Teachers: Mrs. Ghițulescu Daniela, Tehnological High School Costești, ROMANIA Mrs. Oprea Alexandra, Tehnological High School Costești, ROMANIA Mrs. Mureșan Georgeta Monica, Tehnological High School Costești, ROMANIA Mrs. Nicolae Gherghina, Tehnological High School Costești, ROMANIA Mrs. Caterina De Maria, I.I.S.S. "Carlo Maria Carafa" Mazzarino and Riesi, ITALY Mr. Luciano Sgarito, I.I.S.S. "Carlo Maria Carafa" Mazzarino and Riesi, ITALY

STUDENTS: I. Valentinova, R. Di Legami, S. Mancuso, F. Ligotti, M.Ligotti , S. Russo, D. Cosmin, T. Dumitru, E. Grigore, I. Lorenlai, Nil Su Tarla, M. Melek Avci, T. Ersoy

Editor Mrs. Anna Maria Lo Bue, I.I.S.S. "Carlo Maria Carafa" Mazzarino and Riesi, ITALY 2

PROJECT FUNDED BY THE EUROPEAN UNION

INDEX

INTRODUCTION…………………………………………………………………………………………………………………………….5 EVOLUTION OF FASHION IN BULGARIA 1660-2018 HISTORICAL REVIEW…………………………………………………………..…………………………………………..………………..6 NORTHERN COSTUME……………………………………………………………………………………………………………..……….7 DOBRUDZHA COSTUME………………………………………………………………………………………………………..………….8 COSTUME OF THE SHOPS – THE AREA AROUND SOFIA:……………………………………………………………….…..9 THRACIAN COSTUME FROM THE ETHNOGRAPHIC AREA OF STRANDZHA:……………………………………..9 COSTUMES IN PIRIN REGION ………………………………………………………………………………………………….………10 BIBLIOGRAPHY………………………………………………………………………………………………………………………………..11 EVOLUTION OF FASHION IN ITALY: 1600-2018 SEVENTEENTH CENTURY COSTUMES…………………………………………………………………..............................12 EIGHTEENTH CENTURY COSTUMES………………………………………………………………………………….……………..13 NINETEENTH CENTURY COSTUMES…………………………………………………………………………………………….…..14 THE 20th CENTURY……………………………………………………………………………………………………………………......16 COMTEPORARY CENTURY AND BIBLIOGRAPHY……………………………………………………………………………….18 EVOLUTION OF FASHION IN ROMANIA: 1660-2018 HISTORY………………………………………………………………………………………….…….……………………………..………..19 THE MAN COSTUMES……………………………………………………………………..……………………………………………...20 THE FEMALE COSTUMES…………………………………………………………………………………………………………..….…21 BIBLIOGRAPHY………………………………………………………………………………………………………………………………..23 EVOLUTION OF FASHION IN TURKEY:1600-2018 HYSTORY……….............................................................………………………………………………………………….…24 THE PARTS OF THE CLOTHES BELONG TO WOMEN………………………………………………………………………..25 THE PARTS OF THE CLOTHES BELONG TO MAN…………………………………………………………………….…..…..26 FASHION1980s -1990s……………………………………………………………………………………………………………..…….29 TODAY…………………………………………………………………………………………………………………………………………...30 BIBLIOGRAPHY……………………………………………………………………………………………………………………………….31

INTRODUCTION

The book is one the products of the Erasmus Project called European Schools without Stereotypes Promoting the European Interculturality that has been developed over the years 2016/2018 by the Schools from Liceul Technologic. Costesti (Romania), I.I.S.S. Carlo Maria Carafa di Mazzarino e Riesi (Italy), Vocational School of Tourism Mihalaki Georgiev. Vidin (Bulgaria), Sule Muzzaffer Buyuk Mesleki ve Teknik Anadolu Lisesi. Antalya (Turkey). Students and teachers from these four schools have examined the history of costume evolution from the 1600s to the present day. It is fascinating to study how fashions have changed over the centuries. Clothing is vital for humans in order to protect us from the elements, but it is also used to represent status and other aspects of our being. With this project we want to examine the evolution in the way of dressing in the different countries of the project partners throughout this span of time in order to find out the similarities and differences of our history of costume. Thus we have found out how in 1900s the differences in clothing have almost completely broken down and we are increasingly becoming similar in our way of dressing. In fact, today people wear nearly the same kind of clothing from whatever country they come from. This also represents a way of breaking down the differences between peoples. So we can say that we are equal even in this.

Mrs. Anna Maria Lo Bue

EVOLUTION OF FASHION IN BULGARIA 1600-2018 Authors: E. Mandzhukova, T. Kamenova, I. Valentinova

HISTORICAL REVIEW The history of clothing in Bulgarian lands begins with settlement of the Slavs and the ProtoBulgarians. They brought a new way of life that affects both the lifestyle and the clothing. The typical garment for Slav men and women is the wide and straight shirt, usually made of flax or hemp. The shirt for men was knee-long, and for women its length reached the ankles. Unlike the garments of the Slavs, which had been made of plant materials, the everyday clothing of the Bulgarians was made of animal skin, which reflected their lifestyle. The textile traditions of the local Thracian population also influenced the clothing of the Slavs and Bulgarians. Thus, over the centuries, the common hereditary characteristics of clothing have shaped the typical clothing of the Bulgarian population during the Middle Ages and the Renaissance. After the adoption of Christianity in 865, the new religion influenced the Bulgarian aristocracy, which began to follow the clothing and lifestyle of the Byzantine rulers and aristocracy. Thus their clothing differred from the traditional Bulgarian clothing. These differences disappeared after Bulgaria lost its independence and state during the Turkish yolkat the end of the 14th century. During the period of Turkish rule, the rich decoration of the Bulgarian official and traditional costume disappeared. The new historical reality imposed new clothes requirements. The Bulgarian population in the towns and villages, called raya, was forbidden to wear beautiful clothes. The dress should only be in dark colors, black or brown, so it would not attract attention. The clothing materials had to be rough. The Bulgarians had no right to wear expensive and richly decorated clothes. These restrictions were mainly applied to the Bulgarian aristocracy. The traditional Bulgarian clothing was preserved in black version for the winter and white for the summer. After the Liberation in 1878, along with the formation of the state and the institutions a novelties appeared and again there was formed urban and rural clothing. The social clothing did not differ significantly from that before the Liberation, while in urban clothing again the fashionable European tendencies began to emerge. So for the 16, 17, 18, 19 century we can summarize that the 6

traditional Bulgarian clothing was almost unchanged for the whole period, but there were some specific features in the different ethnographic areas.

Northern costume Traditional Northwestern clothing for north and northwestern Bulgaria, where Vidin is located, is spread from Pleven to the north to the Danube and Romania, and to the West to the Republic of Serbia. The women's costume is two-sided and consists of a front and a back embroidered apron, white cotton embroidered shirt with lace sleeves and skirt with red wool embroidered belt. The male Northern costume is includes white pants, called benevretsi, with a top embroidered garment with sleeves to the elbows or sleeveless and without a collar.

Dobrudzha costume The costume of Dobrudzha is characteristic of the region of Northeastern Bulgaria - Dobrudzha region. This is the region of Dobrich, Silistra and Varna. The female Dobrudja costume consists of a red sleeveless dress with embroidery, a long white cotton shirt with embroidery, a red wool apron with embroidery, a yellow towel with fringes on the head and a belt. The men's costume consists of black trousers, a white cotton shirt with embroidery around the neck, a wavy red belt, a characteristic towel and a specific thick leg calf for the legs.

Costume of the Shops â&#x20AC;&#x201C; the area around Sofia: The costume is beautiful and varied. It was spread in the region of Sofia, Ihtiman, Pernik and Dupnitsa. The women's costume consisted of a black or blue sleeveless dress with a bayonet, a long white shirt to the ankle with embroidery, a belt of white and red piping. The typical decoration for the women was called coilo / gathered in a bundle a bunch of grass, painted in the rainbow colours. They also wore white lace headscarf. Men's costume consisted of black or dark blue vest with piped/ pants / with white or black piping, red or black belt.

Thracian costume from the ethnographic area of Strandzha: That was the traditional costume for the Bulgarians who inhabited Southeastern Bulgaria in the region of Plovdiv, St. Zagora, Bourgas. There were different costumes for men, women and children. Characteristic for all of them was the red color of the outer garments in combination with a white embroidered shirt. The ladies' set consists of a red embroidered sleeveless dress, a white lady's shirt with embroidery, an embroidered apron, a belt and gold mugs. The men's set consists of a red vest with rich embroidery and braids, men's trousers / pants / black or brown with braids, a white shirt with embroidery and a belt.

Costumes in Pirin Region This traditional clothing was characteristic of Southwest Bulgaria, at the foot of the Pirin and Rila mountains near the borders with Greece and Macedonia over the centuries. The women's costume consists of a shirt, a top dress, a red or coloured in strips woolen belt, a narrow apron with colorful motives, coloured socks and stitches. Women wore a long cloth on their heads - headscarves with bright fringes - red, yellow, green, blue. Around the waist women wore belt buckles, on the chest - a string of pendants.

The men's costume is white-coloured, light, clinging to the body, attached to a belt. Men wore a short woolen jacket, a black cap, tunics and a dark red woolen belt.

BIBLIOGRAPHY http://www.museology.bg/bg/museums/i44/%D1%80%D0%B5%D0%B3%D0%B8%D0%BE%D0%BD %D0%B0%D0%BB%D0%B5%D0%BD%D0%B8%D1%81%D1%82%D0%BE%D1%80%D0%B8%D1%87%D0%B5%D1%81%D0%BA%D0%B8%D0%BC%D1%83%D0%B7%D0%B5%D0%B9%D0%B2%D0%B8%D0%B4%D0%B8%D0%BD.html#.WtA0hC5ubIU https://www.nosii.com/

EVOLUTION OF FASHION IN ITALY 1600-2018 Authors: A. M. Lo Bue, R. M. Di Legami, F. Ligotti, M. Ligotti,S. Russo, C. De Maria, L. Sgarito.

SEVENTEENTH CENTURY COSTUMES During this period male costumes were characterized by a shirt, a vest and a jacket on the upper part of the body, while on the lower part they were characterized by a pair of trousers enriched with some lace and pom-pom. They were also adorned with a mantle and a cap. In the first half of the seventeenth century Italy broadly reflects the fashion trends emerging in the emerging European countries, such as the Netherlands, England, France and Spain. Male Costumes The men usually wore the giuppone, the tunic, rather large trousers and stopped by the poses below the knee and the cloak, whose length could reach the calf. The giuppone and trousers were preferably black, brightened by the white of the flat collars and cuffs and by the posts of white lace. The hair, initially worn short, stretched up to touch the shoulders. Along with long hair, he had a curled mustache and the goatee. In the second half of the century the lapel of the overalls disappeared and the collar moved to the front, forming two wide folds: rabat. At the end of the century, the collars were replaced by a tie: a linen strip knotted and finished with lace.

Among the accessories: the wide-brimmed felt hat, garnished with feathers, often with one side of the brim folded up and stopped by a jewel, typical of the beginning of the century. Later it became fashionable to wear the wig of long black curls that covered the face (second half of the century). In the Seventeenth century the use of the boots accompanied by spurs, which reached up the half of the thighs, was replaced by shoes with heels and square toes. Female Costumes The woman wore: the giuppone, a buttoned-up corset to the waist, the sub-skirt, a skirt that covered the body from the waist to the feet. The complete garment had sleeves and cuffs, usually wide sleeves open at the elbow that could reach the ground. After 1630, the skirt became softer and took on the domed shape, worn on some petticoats and padding around the hips. The sleeves of the robes shortened to the forearm, exposing the swollen sleeves of the shirt, garnished with lace, ribbons and decorations. The bust was tight and shoulder-to-shoulder, open at the front to show the sub-shirt and full of flimsy creases on the back: the stuff. The hairstyles changed in the course of the century. At the beginning of the century, when the ruffs were in vogue, the hair was gathered on the head. Later the hairstyles were arranged in curls on the sides of the face and adorned with brooches, ribbon rosettes, jewels, feathers and flowers. The shoes were generally in white leather with square points. Some were made of silk, velvet, or gold or silver fabric and adorned with precious stones, embroidery and ribbons. The make-up was used a lot: powder, lipstick, eye shadow. They also used make-ups. The jewels were very in use: necklaces, rings, earrings, clasps of gems to hold the edges of the garments and to adorn the necklines. Watches that are linked to life are very fashionable. The fans and the parasol were very popular in the summer. In winter, fur sleeves were very used.

EIGHTEENTH CENTURY COSTUMES Since the early decades of the eighteenth century, the passion for everything that came from France was shown. So in Italy we develop French fashion, with imitation of the elegant fabrics produced in Lyon, received as a sin of taste and elegance. Male Costumes The tailcoat, the undershirt, and the trousers represent the basic garments of men's clothing. In the first thirty years the marsina is wide, long up to mid-calf. Subsequently, the sleeves become adherent, the front of the shirt is en13

riched by the Japot, a lace garment in fine linen fabric and the wrists are made of lace that reaches about half of the hand. The trousers, made from the same fabric as the marsina, or in knitted fabric, were long up to the knee and fastened by buckles or buttons. The fabrics used were: velvet, cloth, or precious fabrics enriched by embroidery of gold and silver threads, decorations of precious stones. After the middle of the century the color of the trousers became dark, while the suit was light colored or viceversa. In the last twenty years of the century, the tailcoat becomes flack, made of dark wool fabric, embroidered with a slender line, with flaps contained towards the back, worn over a waistcoat. The trousers become longer, adherent and fit into the boots. Female Costumes RococĂ˛ fashion shows the feminine charm: wide necklines, very thin waist, uncovered forearms, widened petticoats, slightly shorter on the front, highlighting precious shoes. The underarm could be worn with the cosacchino, a close-fitting jacket with short flaps. The hairstyles acquired a lot of volume. The socks were white silk or combined with the color of the dress. The shoes with high heel and accentuated toe, made in leather or the same fabric of the dress. The parasol umbrella became an essential object of elegance. The gloves were very much in vogue like the sleeves.The use of the fan characterized the costume of the time.

NINETEENTH CENTURY COSTUMES The Napoleonic period, after the proclamation of the Empire, marked a revival of luxury and pomp in the field of fashion.The greatest interpreter and inspiration of fashion was Josephine Bonaparte. Male Costumes In men's fashion the division between court dress and dress for civil use was accentuated.The Napoleonic and court dress was represented by: tailcoat, waistcoat, knee - length trousers, japot in lace, cape to the knees,plumed hat. Napoleon established clothes of the same style for the offices of court and state.The most used fabric was the cloth. For everyday clothing, men preferred clothes that were simpler, more comfortable and less colored. The garments in use remained: the tailcoat, the frock coat, the gilet and the trousers. The innovation of men 's clothing was the use of tight-fitting trousers of various colors and leather boots that in summer gave way to low shoes.

The male masks are: the redingotes, the spencer, the carrick. The men used as accessories: the top hat or the tuba, the bamboo stick, the leather gloves. Since 1850, men's fashion has evolved. The jacket was shortened and the jacket was introduced without short flaps at the waist. The trousers remained tight and taut under the foot by the bridge of the same color as the jacket and the crossed vest. The overcoat was represented by the paletot whose prevalent color was black. They used the long whiskers up to the cheeks, the Hungarian mustache and the beards. On the head they continued to wear the cylinder and a very flattened hat, the gibus. An Italian hat appeared with slightly raised flaps and folds over the center of the dome. Female Costumes Throughout the Napoleonic period the female dress kept its vertical setting of light and fluctuating fabric in muslin, crepe, cotton, and soft pastel colors. The dress had a tight-fitting spur, cut at the height of the breast front and back, lined, sometimes with short inserted whale cues. The wide and ruffled skirt was attached to it. The sleeves are balloon with sleeves inserted to the wrist. The necklines were reduced and were balanced by blouses that were worn under the dress. Later the long lace collar appeared, light but very well-rounded: the canezou. The low-cut dresses were limited to dances and worldly rituals.The silk or muslin shawl was used a lot. The spencer is also used to cover the necklines, a short jacket at the waist with long, narrow sleeves, worn both in summer and in winter. For the winter they used dogliette: comfortable overcoats, crossed on the front, lined with fur or with a light padding.The hats were of various shapes and sizes. The hair was gathered at the top of the head in high chignon but also soft curls hanging down the cheeks.The shoes were closed, without heels, tied around the ankle. From 1816 also appeared the ankle boots.The jewels were represented by coral necklaces, pearls, bracelets, earrings and combs with stones and gold threads. From 1850, fashion underwent new transformations. The skirt widens on the bottom because supported by the crinoline that gives the skirt the dome shape. The bust is well wrapped by corsets. The sleeves are snug. The width of the clothes imposed the use of cloaks as overcoats. Headdresses, hairstyles and various accessories represented the completion of the female toilet. 15

From 1870 the crinoline was substituted by the semi-crinoline, crushed on the front with a development of width on the back. Very cured hairstyles and hats lowered on the forehead. The fan with ostrich feathers and the large umbrella harmonized with the dress was very charming.

THE 20th CENTURY In 1950 Italian fashion was born. Giorgini, the Fontana sisters, RoberoCapucci, Emilio Capucci, Brioni, Litrico represent the most famous names in Italian high fashion. Male Costumes The three-piece suit is the basis of the look of the twenties, both formal and casual. Compared to the clothes worn in the 19th century, these tailor-made suits are made of wool and, therefore, relatively lighter and more comfortable.The jackets were designed to slender the figure and could be with a single or double breast, with three or four buttons. The absolute novelty is the fold that characterizes the pants, wide or narrow.This fold comes up to waist, which is quite high, and since then it has become obligatory for all the elegant trousers. Finally there is the "third piece", the essential gilet, usually in a lighter color than the suit. The white collar is commonly known as the distinctive detail of the twentiesâ&#x20AC;&#x2122; shirt. The lines of men's clothing in the 50s include jackets with wide lapel. The most fashionable dresses include single-breasted and double-breasted jacket, smoking with shawl collar for elegant occasions, frac for official occasions and tight for ceremonies. The Borsalino hat is fashionable in the accessories. English-style shoes made of leather are moccasins or closed with laces (Rossetti, Della Valle, Gucci). In the youth clothing appears the jeans combined with the white T-shirt and the bomber jacket, the rider's jacket. The young shoes were the sneakers of white or blue canvas or moccasins. The 60s with Giorgio Armani Italian fashion shows elegance. The cuts are classic and aim to slim the figure. During the day the broken pieces with darker trousers of the jacket prevail, in the evening the smoking with collar with lapels. The elegant fashion from day confirms the classic pinstripe. In the seventies, the man prefers sports and informal items: comfortable jackets, leather and suede jackets, pants with pences, cardigans, shirts and pullovers.

In the eighties, man flaunts practicality but shows the well - being achieved. Great Italian designers: Armani, Versace, Ferrè, Moschino, offer single and double-breasted blazers. Among the young people prevails jeans and knitwear Missoni. Female Costumes At the beginning of the 1920s Jeanne Lanvin (18671946) became the spokesman of a "restorative" trend, reintroducing the crinoline and decorations obtained with embroidery that contrasted with the essentiality of Gabrielle Chanel's proposals. Inspired by sportswear, the latter were characterized by simplicity of cut and sobriety. It began the tendency to short dress above the knee supported by two thin straps, trimmed with beads and fringes, together with the garçonne hairstyle, the long string of pearls, the mouthpiece and the socks. In 1952 the dresses and skirts basically had two lines: the wide skirt, a godet or a wheel and the other suits with a very narrow skirt (Fontana, Capucci, Veneziani, E. Pucci sisters). The pants become part of the clothing women, linked to sporting occasions or for sea or mountain clothing. The most used models are: a narrow leg, a cigarette, short to the knee. Shoes, bags, gloves, hats, umbrellas, cosmetics, have a precise function in completing the clothing that must be perfect in every respect. In the '60s, new stylists came to the forefront of fashion: Valentino, Lancetti, Krizia, Missoni, R. Camerino, who became fashion designers of international fame until today. The 70s represent the years of the counter-fashion. In the seventies the pret-a-porter was born and Milan became the fashion capital with Armani, Versace, Ferrè. The women's clothing of the woman in career is represented by: tweed jackets, trousers, knee-length skirts, elegant shirts and wool sweaters. The unisex style appears. Among young people, clothing has the function not to distinguish the sexes but to connote the specific social status. In the eighties the woman wears a men's cut suit (Armani, Versace, Ferrè, Coveri, Moschino, Ferretti, Gigli) combined with very feminine and sexy details. The fur decorates it. The nineties are characterized by minimalism. The sportswear becomes informal clothes to wear on vari17

ous occasions. Many dresses are made of leather, low-waisted trousers that let you glimpse the underwear (Cavalli). Since the beginning of the Nineties the garments are comfortable and based on flowing lines. Both in the casual and formal genre, the lines are directed towards quality. The trousers are of wide line with open pences and the jackets are of comfortable line.

CONTEMPORARY CENTURY Male Costumes Neutral shades have always been appreciated by the most practical men because they are easy to combine and allow to have a simple and clean style. Since 2016, both on the catwalks of men's fashion and on the streets, we have seen more and more items of clothing in neutral tones, in particular in the various shades of gray with tone-on-tone combinations. In 2017 the trendiest color range goes from cream, beige, to brown shades. Female Costumes In the contemporary century, the style is renewed in fact the skirt has been abandoned in favor of a more decisive and masculine style. The so-called 'boyfriend' jeans give more freedom and carefree to the woman who wears them. They are worn with a leather jacket, which has never gone out of fashion. With high-heels, the outfit becomes smarter.

BIBLIOGRAPHY • • • • • • • • • • • •

Storia della moda e del costume. Calderini http://www.costumiperlospettacolo.com/prodotto-143523/Vestito-Maschile-Storico-del-Seicento.aspx http://www.baroque.it/abbigliamento-e-moda-nel-barocco/l-abito-femminile-nel-periodo-barocco-e-rococo.html http://www.musei.re.it/percorsi/la-moda-del-settecento-attraverso-la-collezione-escosura/ http://www.costumiperlospettacolo.com/prodotto-143124/Costume-Storico-Abito-dEpoca-del-1800.aspx https://it.wikipedia.org/wiki/Moda http://www.collinaditerme.it/indossare-4225.cfm http://www.imurr.com/donne-e-bellezza-nel-novecento-e-tutta-una-questione-di-canoni/ http://www.teladoiofirenze.it/fashion/lmoda-a-firenze-la-storia-di-pitti-uomo-in-5-tappe/ http://www.chicstyle.it/moda-anni-2000/ https://www.grazia.it/stile-di-vita/tendenze-lifestyle/vestiti-mode-anni-2000 G. Rinaldi. Historical Parade in Mazzarino 2018

EVOLUTION OF FASHION IN ROMANIA 1600-2018 Authors: V. DrÄ&#x192;guČ&#x203A;, D. Cosmin, T.S Dumitru, I. Lorenlai

HYSTORY Throughout history, clothing patterns have highlighted the way of life, the influence of the peoples who came into contact with the Romanians, the way of thinking of the people who created them and who carried them, highlighting the manner of the Romanian people to create an ethnocultural identity by keeping traditional elements in direct synthesis with oriental and Western fashion items. Starting with the 18th and 19th centuries, the documents provide us with data for reconstructing fashion in Romanian space. In the 18th century prevailed the influence of the Phanariots, the presence of the Greek gentlemen at the Court imposed a Byzantine-Greek-Turkish fashion, except for the hat that was made after the Polish fashion. The hat was surrounded by lamb's black fur with curly hair. High officials wear a samurai fur hat. Del Chiaro gives us information about the women's port, which is a mix of Greek and Turkish fashion, but the women of Wallachia do not wear the face covered by the veil.

At the end of the eighteenth century, Western fashion spreads in the Romanian space, especially the Parisian one, with emphasis on silk suits, decorated with different precious stones. Women were very stylish, worn earrings, necklaces, fashionable were Westerns in general. Including the Western style hairstyle, they were wearing all sorts of ornaments in the richest hair.

In the nineteenth century a series of combinations between the traditional port, which differed in deifferent regions and the predominantly western influences, were produced, but the traditional clothing predominated, especially among the popular folk masses. THE MEN'S COSTUME. Specific headwear covers are hats. The hats are of two kinds: with and without tassel. The tassel hat was made of lamb's fur or younger sheep, generally of the Merino breed. Being a bit tall, the other hat did not have a peak. She is bevelled and bigger to the bottom. The men's shirt is an important element in the men's clothing. Different types of shirts are distinguishable: peasant shirt with cling; skirt shirt; barber shirt; the flat-topped shirt and the split shirt. The cling shirt, known as the peasant shirt, has the body cut along with the foot. Tapes woven in war, wool painted with different ornaments, wore 20

to tighten the shirt in the waist; The belt, made of bovine leather, was bought by taste and size, in fairs; it was dressed on the shirt; the goods were worn in the belt; In the cold season the men also wore a male vest, made of white lamb skins, tanned, ornamentation, mostly arranged on the chest; At the bottom is provided with two pockets, on the left is a pocket for the clock; on the left, under the arm, it ends with buttons (all of the leather); The shoess were made of pork or beef skin, made of alder or oak, cut to the size of the foot, beaten with the knives or sometimes with cow leather; THE FEMALE COSTUMES The female port has also borrowed from the richness of colors and the originality of environment, flora and fauna. The field of flowers and the green grass, the high grass through the meadows - all are in the decoration of the fountains and in the watermarks, in the beads on the vest or in the refinement of the woven fabrics made i the machine. Traditional costumes are different from area to area, but generally the pieces that make up the traditional Romanian port are: â&#x2014;? Shirt - ia, from warp cloth, adorned with

stitches (handmade, with a needle) on the front and back, on the sleeves and above; for working days, with simple but very complex ornamentation, and vividly colored for holidays dedicated to holidays; the sleeve, from a sheet, broad or wrinkled to the wrist (like a bell), and with corners on the edges, clinches or other ornaments. The women's shirt is made up of two parts: the body and the foot. The upper part of the body is made of the same material, while a lower quality cloth is used for the foot, only a narrow stripe (15 cm) of the same quality being added at the end of it, on which the for the rivers. The cloth used was weaved in hemp, in cotton, burgundy, with the exception of the Hungarians who always dangled from the city cloth, especially chiffon cloth; â&#x2014;? The cover, worn over the skirt, caught in the girdle with flowered sticks; made of woolen yarn woven in machine, and simple choices for everyday work, with hand-made flowers, using all yarns dyed in red, green, yellow and less blue for the feast days; Belts, painted with woolen woolen patterns, with geometric ornaments, at the ends with long warp tassels; â&#x2014;? Shoes made from pork or beef skin; knotted with knives, woolen threads that tie to the foot;

Women also used to wear shoes, scarves, slippers, boots. Under the name of scarfs, there were slippers made of thick figures, with the sole made of scraps of figures, catching sideways with a lace around the foot. Slippers made of straws; they were wearing summer when it was not raining; The women also wore a black vest made of wool, then of black velvet, adorned with beads (different shapes, colors and sizes), butterflies for holidays and simplfor working days; For the cold days, women wore a thick, white lambskin leather coat, unbuttoned in front, with buttons, with different ornaments; On the head, the women were wearing ladybugs, maramas, ligaments, tinsel (worn by brides), brood, and on the neck were embellished with saber or beads For special occasions, such as the wedding, everyone dresses with the most beautiful ones. An eloquent example we have in this photo of 1934. The wedding of the two young people took place in the north of Arges County, in southern Romania, and they wore folk costumes sewn at least 20 years before. The costume of the bride has the following pieces of clothing: - Shirt- ia, hand-sewn on cotton cloth with white silk thread and stylized floral pattern; - skirt woven in machine using golden yarn next to the goldensilk, with geometrically stylized flowers;

- Belt warp with darker shades than those used in the photo - Natural flower silk veil. At the bride's neck there was a heap of gold coins of various size. The costume of the son-in-law has the following pieces of clothing: - Cotton shirt, sewn with silk thread and having a geometric pattern specific to the geographical area - Velvet jacket - pants - fine cloth Today, the popular costume is the symbol of the Romanians and is generally worn at festivities, at the interpretation of various popular songs, at patriotic occasions.

In Romania, today clothing is globalized, wearing clothes produced in Romania but also imported from all continents based on a free market.

BIBLIOGRAPHY Foreign travelers about Romanian Countries, Vol. VIII, Scientific and Enciclopedic Publishing House, Bucharest, 1983 http://www.hetel.ro/index.php/2011/10/4392/, accessed at 02.02.2018 http://www.nationaltv.ro/filme-artistice/chirita-la-iasi accessed at 02.02.2018 http://www.icr.ro/viena/moda-si-identitate-sociala-la-inceput-de-epoca-moderna-tarile-romane-sec-18-19-26826, accessed at 02.02.2018 https://www.google.ro/search?q=vestimentatia+in+spatiul+romanesc+in+epoca+moderna&rlz=1C1GCEA_enRO777RO777&tbm=isch &tbo=u&source=univ&sa=X&ved=0ahUKEwij3r3FyKDaAhWEiKYKHfS3AbAQsAQIcQ&biw=1324&bih=615#imgrc=YMhdn842IQbTZM:, accessed at 02.02.2018

EVOLUTION OF FASHION IN TURKEY 1600-2018 Authors: M. AÄ&#x;ar, C. Kartal, Ä°. Nil Su Tarla, M. Melek Avci, T. Ersoy

HISTORY We can not seperate clothes according to certain periods especially between the 1600 and 1900 centuries. During this periods, the Turkish people were under the reign of Ottoman Empire and there were not so many remarkable changes in wearings. Here are some examples below.

The parts of the clothes belong to women; Kofi: The edges are surrounded by a fabric similar to broadcloth, and the top is a silk or like yarn.

Fistan : It’s an upper body costume made of velvet having long sleeve and long neck It’s called fistan or entari in some places. It’s mostly flower-patterned dress.

Üçetek: It is a self-patterned top garment made from velvet fabrics, usually with front and side slits. It is mainly selected from vivid colors and floral patterned models. It is a garment used according to the season and business conditions in the region.

Salwar (Şalvar): It is a generalwear which has narrow crotch and flat, normal trouser cuff. The waistbend and trouser cuff are elastic. Waistcloth (Kuşak): It is usually made of yellow or light colors with embroidered waistband wrapped around it. It is fold in a thin line and tightly wrapped.

Fes: It is a kind of hood from head to back which is made of felt. The ones used by women were ornamented with some jewels. Yemeni: It’s made of leather and it’s generally chosen from different colours.It’s laceless footwear.

The parts of the clothes belong to men Fes: It is a kind of hood from head to back which is made of felt.

Robe (cübbe) : a kind of garment worn over clothes.

Puşu: It is a head link with almost every color that is woven from a special fabric, named for its color and touch. It is wrapped around the kofi by being wrapped around the back of the head and knotted. It is usually selected from vivid colors and can be multiplied on demand. Waistcloth (Kuşak): It is usually made of yellow or light colors with embroidered waistband wrapped around it. It is fold in a thin line and tightly wrapped.

Waiscoat (Yelek): It’s a clothing made of gaberdine. It has front pockets and it’s sleeveless. There are ties back of it and tied together. Shirt(Gömlek): It’s made of flat or striped fabrics. It’s crewneck and sleevess costume. Yemeni: It’s made of leather and it’s generally chosen from White, cream or black colours. It’s laceless footwear.

Clothing and finery, are the most important and natural indicators in a society where the geographical conditions, cultural and economic characteristics, owned value judgments, about their traditions and customs. Clothing and finery have been considered as a natural consequence of the structure of multi-national social, economic, religious analyzer and identifier factor of Ottoman Empire. Therefore, costume and clothing have become the determining factor that shows one’s religion, occupation, status, and even to belong to a which social group. Until the early years of the Repuclic from the period of Reforms, speed up the modernization policy by the state and western life style began to have influence on the Turkish social life, significant changes have occurred in clothing and finery. Modernization of Turkish society first of all a “living case”, an “existence” struggle accepted by Ataturk, believed that everything ends in a dark and hopeless case he made an attack with courage and heroically thus he establised 27

the new Independent Turkish Republic thus he actualized the incredible. His main objective is always Turkey never return to old situation and to keep up the national independency. This can be happen only to take the whole of contemporary civilization: Turkish society, in the early years of the republic by to set aside from the old fashion customs and attained a modern appearance. Which is led by Ataturk the revolutions, brought order and discipline to the social life, significant steps were taken towards to modern civilization. Costumes are the way of life and culture of people. There was no unity in clothing during the Ottoman period. In the Ottoman state, clothing was organized according to the custom of every nation. M. Kemal has worked for the Turkish people to gain a contemporary appearance and to assemble clothing. AtatĂźrk introduced the hat to the Kastamonu. On 25th November 1925 the hat law was introduced. With this law, the modernization on costumes started.

FASHION 1980s -1990s In the 1980s and 1990s, it was seen that the aesthetics perception in the fashion was weakened, that it was not harmonious, and that the styleness in fashion was peaked. After the 1980s, many colors are seen in fashion. For men, colorful, patterned shirts and fairly flared trousers drew attention. For women, colored pantyhose, tights, glittery coats and jackets, dresses were remarkable. Color and exaggeration were dominant in all types of clothes.

TODAY Today, we see various modern examples in fashion. Some women use scarves in a modern way. People wear what they want freely with their own choices.

Bibliography * Öğr. Gör. Dr, Ankara Üniversitesi Türk İnkılâp Tarihi Enstitüsü Md. Yrd. (aysal@ankara.edu.tr). * http://www.sosyalbilgiler.gen.tr/forum/2-donem-113/kilik-kiyafet-kanunu-(3-aralik-1934)-ve-sapka-kanunu-(25kasim-1925)/ * https://www.google.com.tr/search *https://www.google.com.tr/search?q=80lerde+moda&oq=80lerde+moda&aqs=chrome..69i57j0l5.7278j0j9&sourceid= chrome&ie=UTF-8

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