Object Note
This overgarment (thawb bu_tilah mzarai, khwar zari) is part of an ensemble (thawb_wa_kandurah) and is worn with a matching tunic dress (kandurah_arabiyah mzarai, khwar zari) (ZI1980.50043a UAE).
Object History
This ensemble was commissioned by Sheikha Salama bint Hamdan Al Nahyan from the late Fatima bint Saad, a renowned palace dressmaker. Sheikha Salama is the wife of Sheikh Mohammed bin Zayed Al Nahyan, President of the UAE Ruler of the Emirate of Abu Dhabi. She is a childhood friend of Dr. Reem Tariq El Mutwalli.
The dress was designed for the elite as occasional wear and Dr. Reem watched her friend wear it at many different social occasions before it was gifted to her. Dr. Reem, in turn, wore it through the 1990s before it became an early and core part of the Zay Initiative Collection.
Object Features
Prior to the 1980s, it was common to employ contrasting colours and techniques within the components of traditional dress. Women used to wear an overgarment (thawb) that contrasted with their tunic dress (kandurah). This later evolved into a matching set known as thawb_wa_kandurah as is the case in this example.
By the late 1990s, the thawb_wa_kandurah evolved further, as these two separate articles of dress were merged into one, becoming attached at the neckline, using the inner tunic as lining and creating a combination overgarment tunic (thawb_kandurah).
The main fabric is light grass green, French silk chiffon brocade (mkhawas) or (mzarai), in 3 cm diameter gold polka dots, known as (bu_tilah).
The neckline (halj) and the chest area (bidhah) are densely machine embroidered in gilded metallic thread (zari). This is accentuated by a repetitive line of hand embroidered gold glass beads in large paisley (gazuwah) motifs. An emerald green, almond-shaped, glass crystal is fastened at the center of each paisely (gazuwah) motif. The outer border lines of the chest area (bidhah), overall, are outlined with hand-applied, protruding, ready-made, metallic chain adorned with clear glass stones.
The heavy and embellished workmanship, applied on such a delicate sheer fabric, stiffened and pulled the entire overgarment (thawb) at the front end. To secure the thawb in place, safety pins were used on the inside, along the shoulder points, to attach it to the tunic dress (kandurah) underneath. In later examples, this evolved into silver snaps (siq_w_biq), then into plastic snaps, and eventually into transparent plastic snaps.
In time, as is the case with this article of dress, the neckline opening became wider, allowing the decorative work on the neckline of the tunic dress (kandurah) underneath to be visible. This prompted the decorative heavy adornment work to be carried outwards, spilling over the shoulders and cascading along the upper sleeves. The length and width of the adorned central axis also became more exaggerated and elaborate over time.
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