Metal embellished velvet jacket – Türkiye

Object Note
Part of a lot with seven more pieces (ZI2021.500972.1 EGYPT, ZI2021.500972.2 EGYPT, ZI2021.500972.3 EGYPT, ZI2021.500972.5 ASIA, ZI2021.500972.6 PALESTINE, ZI2021.500972.7 ASIA).
 
Object History 
This object was purchased by Dr. Reem Tariq

Ṭariq: (Arabic; Synonym: tulle_bi_talli; talli; badla; khus_dozi ), series of small metal knots made on a woven net ground as embellishment. The term is commonly used in the Levant Arab region specifically in Lebanon.

El Mutwalli Dr. Reem Tariq

Ṭariq: (Arabic; Synonym: tulle_bi_talli; talli; badla; khus_dozi ), series of small metal knots made on a woven net ground as embellishment. The term is commonly used in the Levant Arab region specifically in Lebanon.

el Mutwallī: Founder (CEO) of the Zay Zay: (Arabic: costume, Pl. azyaā’), a set of clothes in a style typical of a particular country or historical period. Initiative, a public figure, speaker and author. An expert curator and consultant in Islamic art and architecture, interior design, historic costume, and UAE heritage. from an independent dealer in London in 2021 to enhance the collection of The Zay Zay: (Arabic: costume, Pl. azyaā’), a set of clothes in a style typical of a particular country or historical period. Initiative.
 
Object Features 
This is a purple silk velvet women’s traditional jacket (entari Entāri: (Turkish; Synonym: Antari), a traditional Turkish long jacket-like unisex garment worn during the Ottoman era. It often featured an open front with long sleeves and was worn over an undershirt and a pair of trousers and was sometimes layered by a short waist or hip-length jacket. ) featuring metal thread embroidery with straight full sleeves and high-side slits.
The field of the entari Entāri: (Turkish; Synonym: Antari), a traditional Turkish long jacket-like unisex garment worn during the Ottoman era. It often featured an open front with long sleeves and was worn over an undershirt and a pair of trousers and was sometimes layered by a short waist or hip-length jacket.  is embellished with traditional Turkish (dival Dīval: (Possibly Persian: divan – throne), an embroidery technique prominent during the Ottoman era done with metal threads or wire with a cardboard base usually over velvet. The motif is cut out on a cardboard and the metal thread is then embroidered over it using satin_stitch and gimped couching style embroidery.) style embroidery done with a combination of metal threads possibly gold or brass and silver (sirma Sirma: (Byzantine Greek: súrma – a dragging motion, from Ancient Greek: súrō – to draw; Synonym: Tel_sirma Tel_sirma: (Ottoman Turkish: tel – wire, thread, chord; Byzantine Greek: súrma – a dragging motion from Ancient Greek: súrō – to draw; Synonym: Sirma), a metal lace or thread traditionally made of silver or gold and sometimes even copper often used textile embellishments such as embroidery and weaves like brocades. ), a metal lace or thread traditionally made of silver or gold and sometimes even copper often used textile embellishments such as embroidery and weaves like brocades. )/(tel_sirma Tel_sirma: (Ottoman Turkish: tel – wire, thread, chord; Byzantine Greek: súrma – a dragging motion from Ancient Greek: súrō – to draw; Synonym: Sirma), a metal lace or thread traditionally made of silver or gold and sometimes even copper often used textile embellishments such as embroidery and weaves like brocades. ).
A combination of different embroidery techniques has been used here primarily (couching

Couching: (Latin: collocare – Place together), in needlework and embroidery couching is a technique in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn

) and (satin_stitch Satin_stitch: (Synonym: Damask Stitch), is a type of flat embroidery stitch that creates a satin like smooth and shiny surface by closely spaced stitches, covering an entire area or shape.) styles. The style of the embellishment and the base fabric make this piece very similar to an entari Entāri: (Turkish; Synonym: Antari), a traditional Turkish long jacket-like unisex garment worn during the Ottoman era. It often featured an open front with long sleeves and was worn over an undershirt and a pair of trousers and was sometimes layered by a short waist or hip-length jacket.  with a full skirt often displaying floral and foliage motifs consisting of dense arrangements of branches all over called (bindalli_entari Bindallī_entari: (Turkish: bindalli – thousand branches, entari – a type of traditional Turkish garment; Synonym: thawb_mekhmal Thawb_mekhmal: (Arabic: thawb – ankle length tunic, mekhmal – velvet; Synonym: bindalli_entari), an ankle-length ceremonial overgarment with a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet or plush fabric unique for its raised foliage embroidered patterns with vines and branches inspired by European Rococo art. ), an ankle-length ceremonial overgarment with a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet or plush fabric unique for its raised foliage embroidered patterns with vines and branches inspired by European Rococo art. ).
The high slits on the sides and the front opening sets it apart from a bindalli_entari Bindallī_entari: (Turkish: bindalli – thousand branches, entari – a type of traditional Turkish garment; Synonym: thawb_mekhmal Thawb_mekhmal: (Arabic: thawb – ankle length tunic, mekhmal – velvet; Synonym: bindalli_entari), an ankle-length ceremonial overgarment with a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet or plush fabric unique for its raised foliage embroidered patterns with vines and branches inspired by European Rococo art. ), an ankle-length ceremonial overgarment with a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet or plush fabric unique for its raised foliage embroidered patterns with vines and branches inspired by European Rococo art.  by dividing its skirts into three parts thus making it an (üçetek_entari).
The wavy vine patterns that are repeated around the edges form a border with a large floral bouquet in the shape of a crown near the fall on all three panels – two front and one back are of a European Rococo style that was gradually been adopted within the Ottoman society during the last phase of the Ottoman Empire.
This crown-shaped bouquet is flanked by several medium and small floral branches featuring a flower and two leaves. The cuffs and the hems feature herringbone braided metal wire trimming in a scalloped zig-zag pattern.
The trimming is (appliqued Appliqued: (French: appliquer – Apply), ornamental needlework where small pieces of decorative fabric are sewn on to a larger piece to form a pattern.) to the hem of the piece covering the front neckline, the fall, the side slits as well as the cuffs.
Completely hand embroidered and hand stitched, this piece is lined with a fine ivory cotton fabric.
 
More Info
The dival Dīval: (Possibly Persian: divan – throne), an embroidery technique prominent during the Ottoman era done with metal threads or wire with a cardboard base usually over velvet. The motif is cut out on a cardboard and the metal thread is then embroidered over it using satin_stitch and gimped couching style embroidery. technique is a complex and intricate form of embroidery involving multiple processes, from pattern preparation to final execution. It requires carving the pattern from artificial leather with a special knife, neatly cutting it, and supporting it with thick cardboard on a special loom.
The top is then embroidered with metal thread or sirma Sirma: (Byzantine Greek: súrma – a dragging motion, from Ancient Greek: súrō – to draw; Synonym: Tel_sirma Tel_sirma: (Ottoman Turkish: tel – wire, thread, chord; Byzantine Greek: súrma – a dragging motion from Ancient Greek: súrō – to draw; Synonym: Sirma), a metal lace or thread traditionally made of silver or gold and sometimes even copper often used textile embellishments such as embroidery and weaves like brocades. ), a metal lace or thread traditionally made of silver or gold and sometimes even copper often used textile embellishments such as embroidery and weaves like brocades.  in 3 or 6 layers, while the bottom is bonded with fabric-coloured thread that is waxed. This labour-intensive process resembles Turkish wrapping on the front and crocheting in reverse.
A unique feature of this embroidery is that the upper thread is invisible from the bottom. The technique is often referred to as "Maraş work" due to its extensive application in Kahramanmaraş.
Initially crafted by hand, modern advancements have led to machine-produced dival Dīval: (Possibly Persian: divan – throne), an embroidery technique prominent during the Ottoman era done with metal threads or wire with a cardboard base usually over velvet. The motif is cut out on a cardboard and the metal thread is then embroidered over it using satin_stitch and gimped couching style embroidery. embroidery, which is more cost-effective. The fabric materials used for dival Dīval: (Possibly Persian: divan – throne), an embroidery technique prominent during the Ottoman era done with metal threads or wire with a cardboard base usually over velvet. The motif is cut out on a cardboard and the metal thread is then embroidered over it using satin_stitch and gimped couching style embroidery. embroidery include velvet, satin Sātin: (Arabic: Zaytuni: from Chinese port of Zayton in Quanzhou province where it was exported from and acquired by Arab merchants), one of the three basic types of woven fabric with a glossy top surface and a dull back. Originated in China and was fundamentally woven in silk., leather, silk, and taffeta

Taffeta: (Persian: tāftan – to shine), a plain woven fabric with a crisp and smooth finish and feel on both sides traditionally woven with silk yarns. Traditionally, taffeta fabric has been known for making European women’s court dress especially and became particularly famous under the patronage of Madame de Pompadour.

and vary in cost based on their pattern size and processing technique.
At its peak, the Ottoman Empire spanned three continents and served as the crossroads between the east and the West – the Fertile Crescent, the Levant, Eastern Europe including the Balkans till the southern edge of the Great Hungarian Plain, Northern Africa, and Eastern Mediterranean.
After the conquest of the Arab world in c. 1516-1517 CE its control over the Middle East lasted for four centuries until the early 20th century with the onset of WW I and the Arab Revolt.
These four hundred years witnessed many instances of mutual Arab and Ottoman cultural influences and exchanges.
Through areas such as social life and art – decorative and performing –we come across several instances of Arab and Turkish culture blending together through the centuries.
Just as European fashion was often inspired by the French court this socio-cultural blending between Ottoman Turkey and the Middle East was clearly reflected in its fashion and material culture.
Thus, while emulating Ottoman fashion as the mark of class in the Arab world was one side of the puzzle adapting Eastern European fashion particularly Balkan as part of mainstream couture culture because of the sizeable Balkan population within the Empire was another. Therefore, it is not surprising to find several articles of clothing and their terms similar between these cultures.
As such The Zay Zay: (Arabic: costume, Pl. azyaā’), a set of clothes in a style typical of a particular country or historical period. Initiative has in its possession pieces that were constructed in a similar style that were sourced from the Levant region of the Arab world, especially Palestine and Syria. Velvet pieces such as this embellished with dival Dīval: (Possibly Persian: divan – throne), an embroidery technique prominent during the Ottoman era done with metal threads or wire with a cardboard base usually over velvet. The motif is cut out on a cardboard and the metal thread is then embroidered over it using satin_stitch and gimped couching style embroidery. style embroidery were often used for ceremonial purposes especially weddings by the women of the Arab world and were often colloquially known as the velvet robe or (thawb_mekhmal Thawb_mekhmal: (Arabic: thawb – ankle length tunic, mekhmal – velvet; Synonym: bindalli_entari), an ankle-length ceremonial overgarment with a full skirt, small neckline, and straight full sleeves often made of dark-coloured velvet or plush fabric unique for its raised foliage embroidered patterns with vines and branches inspired by European Rococo art. ).
 
Links

• Cangökçe, Hadiye, et al. Osmanlı İmparatorluğu’nun Son Döneminden Kadın Giysileri = Women’s Costume of the Late Ottoman Era from the Sadberk Hanım Museum Collection. Sadberk Hanım Museum, 2010.  


• Küçükerman, Önder, and Joyce Matthews. The Industrial Heritage of Costume Design in Turkey. GSD Foreign Trade Co. Inc, 1996.  


• AĞAÇ, Saliha, and Serap DENGİN. “The Investigation in Terms of Design Component of Ottoman Women Entari Entāri: (Turkish; Synonym: Antari), a traditional Turkish long jacket-like unisex garment worn during the Ottoman era. It often featured an open front with long sleeves and was worn over an undershirt and a pair of trousers and was sometimes layered by a short waist or hip-length jacket.  in 19th Century and Early 20th Century.” International Journal of Science Culture and Sport (IntJSCS), vol. 3, no. 1, Mar. 2015, pp. 113–125.  https://dergipark.org.tr/tr/download/article-file/91778 


• Parker, Julianne. “OTTOMAN AND EUROPEAN INFLUENCE IN THE NINTEENTH-CENTURY BRIDAL COLLECTION OF THE AZEM PALACE, DAMASCUS, SYRIA.” Journal of Undergraduate Research: Brigham Young University, 18 Sept. 2013. http://jur.byu.edu/?p=6014 


• Koç, Adem. “The Significance and Compatibility of the Traditional Clothing-Finery Culture of Women in Kutahya in Terms of Sustainability.” Milli Folklor, vol. 12, no. 93, Apr. 2012. 184. https://www.millifolklor.com/PdfViewer.aspx?Sayi=93&Sayfa=181 


• Micklewright, Nancy. “Late-Nineteenth-Century Ottoman Wedding Costumes as Indicators of Social Change.” Muqarnas, vol. 6, 1989, pp. 161–74. JSTOR, https://doi.org/10.2307/1602288. Accessed 13 July 2023. 


• Micklewright, Nancy. “Looking at the Pst: Nineteenth-Century Images of Constantinople and Historic Documents.” Expedition, vol. 32, no. 1, pp. 24–32.  https://www.penn.museum/documents/publications/expedition/pdfs/32-1/micklewright.pdf 


• Ozgen, Ozlen, et al. “Henna Ritual Clothing in Anatolia from Past to Present: An Evaluation on Bindalli.” Textile Society of America Symposium Proceedings, 2021, https://doi.org/10.32873/unl.dc.tsasp.0122. 


• Denny, Walter B., and Sumru Belger Krody. The Sultan’s Garden: The Blossoming of Ottoman Art. The Textile Museum, 2012.  https://museum.gwu.edu/sites/g/files/zaxdzs3226/f/Sultans%20Garden%20Catalogue.pdf 


• Ersoy, Ayla. Traditional Turkish Arts. Ministry of Culture and Tourism Publications, 2008. https://teda.ktb.gov.tr/Eklenti/6593,traditionalturkishartspdf.pdf?0 


• https://www.metmuseum.org/art/collection/search/451160 


• https://collections.vam.ac.uk/item/O90892/entari Entāri: (Turkish; Synonym: Antari), a traditional Turkish long jacket-like unisex garment worn during the Ottoman era. It often featured an open front with long sleeves and was worn over an undershirt and a pair of trousers and was sometimes layered by a short waist or hip-length jacket. -unknown/ 


• https://www.metmuseum.org/art/collection/search/85546 


• https://www.metmuseum.org/art/collection/search/85540 


• https://islamicart.museumwnf.org


• https://www-kutahya-gov-tr.translate.goog/geleneksel-giysi


• https://archive.aramcoworld.com/issue/200703/the.skill.of.the.two.hands.htm 


• http://www.turkishculture.org/textile-arts/clothing/womens-garments/womens-garments


• http://jezebeljane.blogspot.com/2015/09/womens-clothing-in-16th-century-turkey


• https://www.issendai.com/16thcenturyistanbul/visual-dictionary/kaftan/ 


• https://babogenglish.wordpress.com/2016/02/25/turkey-general-information/ 


• https://ertugrulforever.com/turkish-fashion-2021/ 


• https://northamericaten.com/turkish-clothing-of-ottoman-times/ 


• https://www.al-monitor.com/originals/2019/04/turkish-traditional-costumes-from-head-to-toe


• https://reconstructinghistory.com/blogs/blog/an-ottoman-turkish-outfit-part-iii-the-yelek Yelek: (Old Anatolian: yélek – Vest; Synonyms: Jelick Jelick: (Old Anatolian: yélek – Vest; Synonyms: Yelek, Jilek Jilek: (Old Anatolian: yélek – Vest; Synonyms: Jelick, Yelek), a short waist or hip length vest traditionally worn by both Ottoman men and women throughout the empire. Ranging from sleeveless to full sleeves, these vests were usually front open and without any fastenings. Often cepken jackets were used as yelek. ), a short waist or hip length vest traditionally worn by both Ottoman men and women throughout the empire. Ranging from sleeveless to full sleeves, these vests were usually front open and without any fastenings. Often cepken jackets were used as yelek. , Jilek Jilek: (Old Anatolian: yélek – Vest; Synonyms: Jelick, Yelek), a short waist or hip length vest traditionally worn by both Ottoman men and women throughout the empire. Ranging from sleeveless to full sleeves, these vests were usually front open and without any fastenings. Often cepken jackets were used as yelek. ), short waist or hip length vest traditionally worn by both Ottoman men and women throughout the empire. Ranging from sleeveless to full sleeves, these vests were usually front open and without any fastenings. Often cepken jackets were used as yelek.