CLOTHING

overview of traditional and modern clothes in the middle east.

Most contemporary Muslim societies reflect both old and the new realities. Resurgence of religion and nationalist attitudes of the postcolonial (twentieth-century) era are reflected in the modes of clothing. The traditional modes remain strongly defended and sometimes enforced by the governments of some Islamic nations. The great shift in political, social, and religious participation of women in many Muslim nations has affected clothing styles as well. In the twentieth century, there were two opposing models for Muslim women: the Westernized


lifestyle prominent among minor upperclass and elites, and the more restrictive, traditional "Islamic" way of life for the majority of women. A third, alternative lifestyle that has attracted a large number of Muslim women is both Islamic and modern, the result of more education and an understanding of the difference between the patriarchal interpretation of Islam and the text of the Qurʾan by the religious ulama.

Historical Background

Very little has been written regarding the dress of Arabs in classical historical literature. In terms of the Near Eastern people, more visual evidence survived

in forms of stone carvings. The earliest evidence of Arab clothing from the first and second millennia b.c.e. shows that scant clothing was worn with a variety of headdresses. Men and women wore almost identical clothing in the early Islamic era of the seventh century and the time of jahiliyya (pre-Islamic era), as is still the case today among non-urban inhabitants of the Middle Eastern regions.

Arab material culture was influenced by contact with other great empires. Arab Muslim rulers influenced the clothing styles of the countries they ruled, while the fashion styles of the countries ruled influenced the rulers. Many customs regarding clothes have roots in ancient Near Eastern (Iranian plateau, Iraq) superstition found also in the Talmud, and still are practiced as they were during the jahiliyya. From the time of the Prophet (seventh century forward), early Islamic clothes fashions were an extension of the preceding period, with some modifications for new Islamic moral codes after the prophet Muhammad. The clothes of the villagers and bedouins of the Middle East are simpler, more functional, and more suitable to the climate and geography of the regions than those of urban dwellers, who are far more conscious of conservative modes of behavior.

In the urban Middle Eastern regions, Western styles of dress for the most part have replaced traditional clothing. Westernization of the Middle Eastern clothes styles is in itself unique and innovative at times and, importantly, accepted by the indigenous population. Traditional items of clothing mix with Western styles. For example, it is common to see Arab men of the Gulf region wearing the traditional long, ankle-length jillaba, or dishdasha, kaffiya, and agal along with a Western-style man's suit jacket and dress shoes.

Headgear

Among the most important items of clothing for men is the headgear, and the most common form of head dress for men is the imama, or turban. Historically, turbans were used for purposes other than merely covering the head—for example, for hiding objects, tying down a person, or using as a prayer rug. Turbans were wrapped in a variety of styles, as well. It was customary to leave a corner of the imama free to serve as a veil to protect the wearer against heat, dust, and the evil eye, and to conceal the wearer's identity. The locus of a man's honor and reputation was his head; therefore, to cover the head was proper and dignified and to leave it uncovered was considered shameful. In the book Palestinian Costumes Shelagh Weir notes: "Men swore oaths on their turbans, and the removal of a man's turban in anger was a slur and provocation and could necessitate material compensation."

The turban has long been worn by both Muslims and non-Muslims. The English word turban derives from the Persian dulband via the Turkish turban or tulbent. In Persian, the most common word for turban is amama, from the Arabic form of the word imama. Other less commonly known Persian terms for imama are mandil and dastar-e-sar.

The imama is usually wrapped around a small cap, which is placed at the crown of the head. This small cap is called aragh chin (Persian sweat collector), tubior araqiyya in Arabic. The early turban did not have the symbolic significance that it gained later, when it became associated with Islam and came to be referred to as "the badge of Islam" (sima al-Islam), "divider between unbelievers and believers" (hadiza bayn al-kufr wa al-iman), and "crowns of the Arabs" (tidjan al-arab).

According to an old Arab tradition, removal of a man's imama signified losing his manhood and abandoning his morals. Exceptions to this rule included removing the turban for prayer, to show before God, and for punishment, to show the public that the punished man is not respected. There are contradictory hadiths (Islamic traditions) regarding wearing or not wearing imama. In early Islamic times, the turban was forbidden to a person in a state of ihram (during the Hajj rituals).Turbans had to be removed before entering Mecca as a sign of humility and respect before God. The prophet Muhammad's turban was named al-sihab, "the cloud," and the prophet Muhammad was known as sahib al-imama, meaning "Master of the state turban," which is significant in terms of religious and community leadership. Numerous terms found in Arabic literature refer to different manners of wearing the turban: al-saʿb, al-masaba, al-mikbar, al-mashwad, and al-khamar.

In some Middle Eastern cultures, turbans were associated with sexual and social maturity. For example, in Palestinian culture, different types of headgear marked stages of maturity, and usually young boys were not allowed to wear a turban. The turban remained important even after the death of its wearer, and a traditional Muslim stone grave may have a mark with a turban. Non-Muslims who were ruled by Muslim Arab rulers were required to follow certain sumptuary laws regarding their garments. Among such obligations were the caliphs' orders to wear "the interchange," which referred to headgear, outerwear, shoes, and belts that would differentiate believers from nonbelievers in public. Non-Muslims were required to use special marks on their turbans to segregate them visually from Muslims.

In addition to marked turbans, the size and color of the turban was a badge of identification for certain classes and ages of people. The color associations have changed over time and place with various Muslim Arab rulers. For example, black turbans were associated with officials during the Abbasid period (ca. 750–950), and red was a sign of high rank. The Safavid court of Iran during the sixteenth and seventeenth centuries adopted a particular form of turban that contained a tall, red stick at its center. This red stick became a religious and political divider between the official Shiʿite court of


Iran and its rival, the Ottoman Turks. Safavid soldiers wearing red-stick turbans were known as qizel baş ("red heads"), by the Turks. Religious and learned scholars wore smoothly wrapped flat, white turbans. Yellow was reserved for Jews, blue for Christians. Apparently, at various times the colors red and purple were also reserved mostly for Jews and Christians.

Men in the prime of life wore turbans in bright, warm colors; men of fifty exchanged their colored turbans for plain white ones. Until the early part of the twentieth century green turbans were worn by hajjis (men who have made the pilgrimage to Mecca) and by sada (men who claim descent from the house of the prophet Muhammad) to indicate a religious status with high social value. The extensive use of green turbans by illegitimate users led to the replacement

of the green turban with the black turban, to distinguish the legitimate sada. In Iran after the Islamic Revolution of 1978, where separation of mosque and state is nonexistent, identification as a cleric denotes access to power, so it is significant that white turbans are associated with theologians and scholars, and black turbans indicate an association of the wearer to the house of the prophet Muhammad. There is no way to guarantee the legitimacy of the turban color vis à vis its intended meaning by its wearer. In general, the public trusts the wearer on this issue.

Because the turban originally was considered a part of a man's attire, traditionally, Arab men objected to women wearing this symbol of manhood. However, some literary references indicate that women at times in various parts of the Arab world wore turbans for certain occasions, perhaps in the privacy of the home. Young women sometimes wore turbans to appear more attractive, and when a woman gave birth to her first baby, she wore a turban comprised of six yards of material. After the second baby, she wore a turban with six additional yards. Northern Iraqi women wore turbans made of printed material and decorated with Ottoman Turkish gold coins. The practice of women wearing turbans is not unusual. and it is present even in the modern history of fashion, where there is an affinity for "exotic" headgear.

Another popular form of Arab headgear is the agal, which is a ringed cord or rope that goes over the headscarf worn by men in the Arabian Peninsula, Iraq, Syria, and Palestine. The head rope was originally a camel hobble (the word agal means "to hobble") that was carried on the head when not in use. Later, this rope came to distinguish the bedouins of north and central Arabia (and the ruling families descended from them) from other bedouins. The earliest reliable report on the agal dates back to the early eighteenth century, from a picture depicting the imam Abdullah Ibn Saʿud wearing an elaborate and highly decorative type of agal that is sometimes called mugassab.

Along with the agal, men wear the Arabic kaffiya (or pocu, pronounced poshu in Turkish and the dialect of the Turkish Kurds). The kaffiya (also sham-agh or hatta ) is a head cloth folded diagonally and secured on the head by the agal. Men from the Arabian Peninsula, Syria, Iraq, and Palestine wear the kaffiya. It comes in a variety of designs and colors that denote tribal affiliation. In modern history it has acquired another layer of meaning as a symbol of solidarity among Palestinians and their supporters in their quest for political and geographical autonomy. It is sometimes worn in defiance, as if a substitute for the long outlawed Palestinian flag. Like the black-and-white kaffiya of Yasir Arafat, chairman of the Palestinian Liberation Organization, which is worn by both Palestinian men and women as a sign of unity, the pocu has the same symbolic meaning for independence of the Kurds under the autonomy of the Turkish government. The pocu is also black and white, which are the colors associated with urban Kurdish intellectual men and women. It signifies political leftism, cultural freedom, and rights to an independent state. Both the pocu and kaffiya are draped over the shoulders by men and women, worn like a scarf on the head by women, or worn in the traditional manner with the agal by men only.

Another popular headdress for men is the fez, a word derived from Fez, a city in Morocco where it traditionally is manufactured. It is a brimless, cone-shaped, flat-crowned hat that usually has a tassel made of silk. The fez is made of red felt and is worn in Syria, Egypt, North Africa, and Palestine. Another name for the fez is tarbush or tarboosh. It was banned during the Tanzimat period in Turkey (beginning in 1839), when dress regulation took place. However, the tarbush also played a significant political role after the Young Turk Revolution of July 1908.

Also common among men in the Middle East region is the sidara, an Iraqi cap commonly made of black velvet, black lamb's wool, or black felt. The sidara is brimless, has a crown at the center, and folds like a pocket around the crown of the cap. It resembles the hat worn by the cadets in the U.S. military. This cap at one time was very popular with middle-class, upper-middle-class, and elite members of Iraqi society. The sidara lost its popularity after the 1958 deposition of the last king and the establishment of the Republic of Iraq. Muslim men of the subcontinent of India wear a similar hat in black as a sign of Muslim identity.

The kippah, commonly worn by Jewish men in the Middle East, is a skullcap that is also known in Yiddish as the yarmulke. Ashkenazic Jews wear the yarmulke at all times, and Sephardic Jewish men generally do not. In Israel, wearing a yarmulke also has social significance: Not wearing a yarmulke is like stating, "I'm not religious." The style of yarmulke in Israel can also indicate political and religious affiliation.

The most common headdress for Muslim women is some form of a veil. The generic term for veil, known by Muslims regardless of their cultural and linguistic heritage, is hijab. The hijab refers to a physical veil, a tangible item covering the hair and face of a woman. The word is of Arabic origin, from the verb hajaba, "to hide from the view, to conceal." Hijab also refers to the Muslim woman's dress code in accordance with interpretation of Islamic law. Muslim women around the world wear various forms of veils, each community according to its own cultural and religious interpretations, so there is no universal form of veiling among Muslim women. Other common interchangeable words for veil are yashmek, purda, chador, paranja, burqa, bushia, niqab, pece (pronounced peeche in Turkish), and khimar. Each represents some specific form of head or face veil commonly used by Muslims of various nationalities. The chador, which in Persian literally means "tent," is a form of hijab (head veil), consisting of a full-length semicircular piece of material. It is placed on top of the head and covers the entire body. It is held in place with one hand at all times. Sometimes a corner of it is pulled over the face to cover part of the mouth.

Other Clothing

Other important clothing for men and women are forms of long dress, wrap, outerwear gown, or caftan. The most common outerwear garment is the aba or abaʿa, also known as rida, which is an ankle-length loose mantle or coat worn by Arab men over the shoulders. The aba opens at the front with no fastening device and has two openings for the arms to be pulled through. Piping sewn on the aba goes around the entire edge of the garment and around the sleeves. Customarily the aba is draped over the shoulders rather than worn as a coat. The fabric used for making the aba or rida identifies its region of origin, and a clear distinction is not made between fabric and garment. Traditional wraps or mantles are worn in most traditional Islamic societies, yet there is a considerable variety of draping styles from one region to another. Wearing an aba has religious associations in some regions of the Islamic world such as Iran or Egypt. In Iran, a man wearing an aba and turban is identified as a non-secular person associated with the mosque and theological schools.

Another form of wrap or cloak is the burnoose, which is a large, one-piece, hooded cloak worn by men throughout the Maghrib (Northern Africa). The burnoose is also used in religious ceremony as the chasuble of the Coptic priests in Egypt. Yet another common form of cloak or wrap is the haik, which is a large, voluminous outer wrap, usually white, worn by both sexes throughout the Maghrib. The dishdasha is a long, A-line, ankle-length, long-sleeved, light-colored shirt worn by Arab men in the Gulf region. A similar style of man's garment commonly worn by men in Egypt is the jillaba.

Bibliography

Esposito, John L., ed. The Oxford History of Islam. Oxford, U.K.: Oxford University Press. 1999.

Lindisfarne-Tapper, Nancy, and Ingham, Bruce, ed. Languages of Dress in the Middle East. Surrey, U.K.: Curzon Press, 1997.

Shirazi, Faegheh. The Veil Unveiled: Hijab in Modern Culture. Gainesville: University Press of Florida, 2001.

Shirazi-Mahajan, Faegheh. "The Semiotics of the Turban: The Safavid era in Iran." Journal of the International Association of Costume 9 (1992): 67–87.

Weir, Shelagh. Palestinian Costumes. Austin: The University of Texas Press, 1989.

Faegheh Shirazi