Object History
This combination overgarment tunic dress (thawb_kandurah), previously worn by Sheikha Fakhra Bint Saeed al Nahyan, wife of Sheikh Nahyan bin Mubarak al Nahyan was displayed at the exhibition accompanying the launch of the first edition of the book: Sultani: Traditions Renewed; Changes in Women’s Traditional Dress in the UAE during the reign of the late Shaikh Zayed Bin Sultan Al Nahyan 1966-2004, by Dr. Reem el Mutwalli.
Where two launch events took place; a public launch at Abu Dhabi International Book Fair 2011, under the patronage of Sheikh Nahyan bin Mubarak al Nahyan; and a private reception at the palace of Sheikh Sultan bin Khalifa bin Zayid al Nahyan, son of UAE president, hosted by his wife Sheikha bint Saif al Nahyan. Attended by most female members of al Nahyan family, when each donated one outfit to said exhibit, to be preserved by the author and added to the Zay collection. Sheikha Fakhra Bint Saeed al Nahyan close friend of Dr. Reem Tariq El Mutwalli.
Object Features
Before the 1980s, it was common to employ contrasting colours and techniques within the components of the traditional dress. Women used to wear an overgarment (thawb) that contrasted with the tunic dress (kandurah). Soon this evolved into a matching set known as (thawb_wa_kandurah). By the 1990s, it developed further, as the two identical pieces were merged into one, attached at the neckline as they became a unified piece or combination overgarment tunic called thawb_kandurah reserved for social events.
The thawb in this version of thawb_kandurah is in the traditional panelled (myaza‘) style, in two types of gold brocaded (khus) or (zari) organza silk. A fuchsia silk brocaded with large gold medallions forming the central front and back panels (bdinah) and segments of the horizontal panelling on the sleeves. While a green and another yellow of a matching smaller, coin size, gold brocaded medallions creating the alternating horizontal panels on the sleeves.
The neckline and over-exaggerated central axis (bidhah) extending below the knee line, as well as all joining hemlines on the thawb, are adorned in metallic gold machine embroidery (zari) in floral and geometric motifs creating overall arabesque running lines. This is further accentuated with clusters of coloured iron-on (fsus) in matching green, yellow, dark fuchsia and rainbow lustred white.
The sleeve cuffs (hyul) of the inner fuchsia satin silk tunic (kandurah), now lining, are treated in the same matching embroidery and adornment.
In these overgarment tunics, with time, as in this example, the cleavage opening widened to reveal more of the neckline and upper chest area, thus accentuating the look of contemporary western style, jewel-encrusted necklaces that became more popular as the region’s wealth increased. This in turn pushed the decorative heavy embroidery work out until it spilled over the shoulders and flowed down the upper sleeves.
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