Object Note
Part of a lot along with two other items (ZI2022.501001.2 UK) and (ZI2022.501001.3 UK) also in the collection.
Object History
This article was purchased by Dr. Reem Tariq El Mutwalli from Kerry Taylor Auctions, London in 2022 to add to and enhance The Zay Initiative collection.
It was originally designed by the famous British couture house Thea Porter Couture founded by prominent celebrity couturier Thea Porter.
Dorothea ‘Thea’ Noelle Naomi Porter – née Seale – d of Anglo-French parentage was born in Jerusalem and was raised between Jerusalem, Damascus, and later London. Both her parents were Christian–Presbyterian – missionaries in the Middle East. Her father was the celebrated Arabist and theologian Morris S Seale who authored the book ‘Qur’an and Bible: Studies in Interpretation and Dialogue’ amongst other similar works.
While working at the British embassy in Beirut, Lebanon she married Robert ‘Bob’ Porter in 1953. She eventually moved back to London in 1964 and set up her furnishing store ‘Thea Porter Decorations’ at Greek Street, Soho. She specialized in selling large plush cushions, along with French, Italian, and Turkish fabrics for upholstery. She used to import (kaftan) / (qaftan) from the Near and Middle East for furnishing when suddenly during the 1970s ‘caftans’ became a popular mainstream fashion, especially along the ‘Hippie Trail’. This led her to create her designs from the leftover furnishing fabrics and old braids and trimmings. Ultimately Thea Porter Decorations transformed into Thea Porter Couture leading her to expand to New York as well as Paris. She was known for sourcing her opulent beads and sequin embroidered fabrics from India which were then designed into garments – designs that were influenced by her deep-rooted connections to the Middle East – for celebrities across the West from HRH the Late Princess Margaret, Pamela Lady Harlech, and Pete Townsend to Elizabeth Taylor, Mick and Bianca Jagger, Lauren Becall, Baby Jane Holzer, Edna O’Brien and many more.
This item was spotted by Dr Reem along with a few other items by the same designer at Kerry Taylor Auctions, London in the summer of 2022. She managed to acquire a total of three items to add to The Zay Initiative collection, because of their close resemblance to traditional Arab tunic robes.
Object Features
This is a black silk chiffon loose robe (thawb) popularly termed as ‘caftan’ in the West, featuring a variety of embellishments both embroidered and woven, hanging tassels, and a V-shaped neckline with hook and eye fastening in the front.
The lower front field of the kaftan is made of a series of panels attached to either side of the central rectangular panel in a balanced symmetry. Each side has a total of eight patches of four different kinds of fabrics – a gold, silver, and black brocade woven on a black chiffon base featuring elongated geometric designs (lamé), an ivory silk and gold brocade featuring floral designs, a black silk (georgette) with gold possibly tinsel woven floral motifs, and a metal thread possibly in gold crocheted lace also with floral motifs. Each patch is hemmed with a braided trimming in possibly gold. Similar trimmings reflect along the hems of the large sleeves too along with two silver braided tassels reminiscent of an (‘amayil) hanging from the end of each. The neckline of the robe is adorned with golden-coloured sequins edged with black plastic or glass beads in the form of Art Deco-style feathered wings.
The overall shape of the garment follows the style that visually resembles a type of overgarment (thawb) commonly found in different areas of the Arabian Gulf and Iraq as well as parts of Iran where it is known as a (juma/jama). (ZI2018.500127 ASIA).
Moreover, the braided trimmings along the seamlines resemble the metal thread braided trimmings common to Ottoman dresses as well as traditional Arab wears are often known as (gitan) while the patchwork of panels resembles stylised depictions of the gussets (bitan) found on overgarment thawb and the hanging tassels resemble the ‘amayil often featured in Arab men’s outer cloaks (’aba).
Links:
- Stillman, Yedida Kalfon, and Norman A. Stillman. Arab Dress a Short History from the Dawn of Islam to Modern Times. Brill, 2000.
- Weber, Heike. ANAT and Her Hero BAAL The Embroidery Pattern Language of the Levant. Syrian Handcrafts Limited.
- Kalter, Johannes. Arts and Crafts of Syria. Thames and Hudson, 1993.
- Suleman, Fahmida. Textiles of the Middle East and Central Asia – the Fabric of Life. Thames & Hudson Ltd, 2017.
- Barr, Ann. “Thea Porter When Middle Eastern Fashion Came to London.” The Guardian, 26 July 2000, https://www.theguardian.com/news/2000/jul/26/guardianobituaries
- Kellaway, Kate. “Thea Porter’s Scrapbook Edited by Venetia Porter Review – Queen of Bohemian Chic.” The Guardian, 15 Sept. 2019, https://www.theguardian.com/books/2019/sep/15/thea-porter-scrapbook-edited-by-venetia-porter-review
- Pithers, Ellie. “Inside the Thea Porter Exhibition.” The Telegraph UK, http://fashion.telegraph.co.uk/columns/ellie-pithers/TMG11371756/Inside-the-Thea-Porter-exhibition.html#:~:text=It%27s%20the%20ultimate%20clichéd%20therapy,Seventies%20fashion%20designer%20Thea%20Porter
- Wood, Grace. “UNRAVELLING… ‘Thea Porter: 70‘s Bohemian Chic’ exhibition.” ADDRESS: Journal for Fashion Criticism, 23 Feb. 2019, http://www.addresspublications.com/thea-porter/
- Trebly, Guy. “Thea Porter, 72; Dressed the Elite of the 60’s in Hippie Chic.” New York Times, 27 June 2000, https://www.nytimes.com/2000/07/27/arts/thea-porter-72-dressed-the-elite-of-the-60-s-in-hippie-chic.html
- “Thea Porter’s Scrapbook Edited by Venetia Porter Review – Queen of Bohemian Chic.” 2LUXURY2.COM, 3 Oct. 2019, https://www.2luxury2.com/thea-porters-scrapbook-edited-venetia-porter-review-queen-bohemian-chic/
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