Clothing as Status:

Decorating a Medieval Islamic Tunic

By Sayeda Samee’nah al-Zahra bint Ayyub

“Clothes were the extreme expression of status and wealth in the Islamic world” (Rogers 31). This paper will share some of the design elements that went into these status fabrics. It is not comprehensive and doesn't focus on any one Islamic culture in particular. I have tried to synthesize elements that were more generic to the Islamic world and highlight decorative elements from particular cultures that may be useful for re-enactors who have concepts of European decoration, but are uncertain where to begin once they step out of Christian cultures.

Garment Shape and General Construction

The basic item of dress is the tunic. Tunics were worn in Roman holdings until about 1000 AD and were adopted by the Egyptians (Erikson 67) and other Islamic groups. Early tunics were natural colored linen, but later garments were made entirely from wool, in many colors. For the most part these garments were woven in one piece with straight arms and no flair at the hem. Some were made with the sleeves and chest piece of one cloth, and the front and back “skirt” pieces sewn on (Erikson 67). Neck openings were formed during weaving and may be a short slit down the front or along the left shoulder. One fragment appears to have a placket on an opening, but it is unclear where the opening would have fallen on the garment. (See image 1) Some of the “straight woven sleeves were made narrower by stitching” (Erikson 67), though the type of stitching used has not been indicted so far in my research. On some tunics the armscye is left open (as one might do to set in an underarm gusset).

Necklines were often trimmed with ornamental fabric. Additionally, trim can be found around hems, vents and around the underarm opening as can be seen in Image 2.

On several Egyptian tunics a large tuck is taken at the waistline on both children's and adult garments. It apparently did not serve as a belt casing or pocket since it is entirely enclose, lying in a position where it would be belted over (Erikson 68). On children's clothes this could have been explained as growth tuck. As to the adults garments, other

Image 2

research has indicated that tunics were not gender specific as they were woven, so men might have used the tucks to shorten some garments, while women's were mostly left long.

Heads are almost never seen uncovered in medieval Islamic cultures. Men would wear caps, and often have turbans on over them. Women covered their hair with scarves in a variety of lengths ranging from just covering the hair, all the way to wraps, resembling a Roman palla and reaching to the floor. All of these head-coverings could come in a variety of colors.

Medieval Islamic etiquette dictated that careful attention should be paid when selecting the clothing for the day, watching for the combination “of specific brands of silks, linens and cottons”(Baker 17) and taking care that colors and textures “harmonize” (Leix 1582) without being to bright or loud. Still, color was important and specific for the Islamic public, with records showing specific desired shades as “pistachio green” and “Egyptian onion purple” (Baker 41).

Fabrics and Availability

Many different fabrics were available to Islamic peoples, with specific types becoming more available as Islam spread and trade increased. Linen appears to be by far the most common of the existing garments, though most of the textile finds we have come from Egypt, which may or may not skew the data. Wool was considered by the greater Islamic world to be the cloth of “simplicity, honesty and piety,” suitable for religious officials and good rulers (Baker 21). It was both felted and woven to make garments. Angora is introduced into Egypt and blended with other wool by the 7^th century and Erikson suggests that it may have been introduced with Persian rule (619-626 AD) (Erikson 40). By the 9^th century short-staple cotton was being cultivated in Egypt, and by the 13^th century the cotton industry was growing aggressively (Erikson 40). In the Gulf area, cotton was being produced and exported to China by the 6^th century and followed the spread of Islam into Sicily and Spain (Baker 23).

It is argued that silk weaving spread with the Islamic conquests, although Erikson suggests that the Muslims were prohibited from wearing silk robes. Perhaps much of it was exported as “other groups were more liberal and could at least tolerate that the warp was of silk” (Erikson 41). Some of these blended fiber fabrics, called mulham, “Were among the most delicate to be made in the 10^th century” but their decoration “was restricted to a line of Kufic text and the surface was glazed which made it almost as lustrous as pure silk”(Erikson 41). Other resources indicate that, despite any prohibitions, silk was a hot commodity. A study of documents of medieval Islamic merchants shows twelve different kinds of silks, four types of striped fabric, and decorations like circles and spots looking like gold coins and animal eyes were apparently extremely popular (Goitien, as referenced in Baker 40). Collecting garments and textiles seemed to be a like a game for the medieval Islamic consumer. During the 10^th century people would brag to each other about what new fabrics were acquired and describe them in detailed writings (Baker 41). Many scholars indicate that fabrics were used to pay taxes and tribute during the medieval period.

Color

Most scholars of Islamic textiles recognize the difficulty of dyeing linen. Rogers indicates that the Egyptians picked up from Greeks the practice of weaving in stripes of brightly dyed wool with their linen garments. In Coptic Egypt this evolved into highly decorated tunics, with roundels, stripes and squares as illustrated in Image 3 (Rogers 5). Many of these decorative elements can be found in Arab Egyptian garments as well. (See Image 4)

Beyond Coptic Egypt, solid colored garments in a rainbow of hues were worn throughout the Islamic world. (See Image 5) Garments could be patterned, striped and even the occasional low-key plaid appears (as in Image 1). Both men and women's garments are occasionally lined in a contrasting or complimentary fabric, and both sexes wore trim at the hem.

White is said to be the “most fitting” color for Islamic men. It is associated with purity and loyalty. It is also the color one is buried in, (except for the man who dies in battle– he can be buried dressed the way he died) (Baker 17). Red has quite the history according to Baker, being linked to Mars in greater medieval Islam, and was required wear for prostitutes in Mamluk Egypt. The colors yellow, blue, red, and black were each designated for non-Muslims while outdoors at different times in the Islamic world (Baker 17). During the eight century, yellow was said to be worn by those leading a hedonistic lifestyle (Baker 17). 7^th century Sassanid Persians were said to enjoy a range of deep blues, greens, and a variety of reds and purples (Varron 366).

Resist dyed fabrics, often called batik, have been found in Egypt from the 6^th and 10^th centuries, though not in abundance (Baker 31). More commonly found patterned textiles are ikat fabrics (found in medieval Yemen, Central Asia, Syria, and Turkey) (Baker 32). Ikat is produced by dyeing the tightly wrapped, unwoven (usually warp) threads and then carefully weaving them to achieve the desired look.

Embroidery and Tiraz

Embroidery can be found in copious amounts throughout Islam. Cheaper than patterned fabrics, it also could produce more complex and varied designs (Baker 32). Writing was extremely important to the Islam person, as we find large numbers of garments embroidered with text. These could be worshipful, asking for blessing or protections, or pseudo-script filled with meaningless letters (it is suggested that pseudo-script found on later tiraz is a result of privatization and relaxed official control (Rogers 32). One personal inscription from a 10^th- 11^th century tunic read “This garments is made for a beloved woman”(Erikson 64). Large numbers of garments can be found with text on them making whole patterns. These inscriptions often follow a formula. Beginning with the basmal, or confessions (“In the name of Allah, the Merciful, the Compassionate...”) and then, as Erikson states, “the name of the Caliph, his title, a blessing to him, sometimes the name of the vizier, the manufacturer, the town and finally the year.” (Erikson 64) Kufic style text is the most commonly found, probably because it's blocky style lends itself more easily to application on fabric. Rogers believes that this style of script is an attempt to lend to writing the same rhythmic form found in the spoken Koran (Rogers 32).

The word tiraz had different meanings through the period. Erikson explains, “Royal or private and State or public [textile] production centers were known as tiraz-- workshops-- and were established all over the Arab world from China to Spain. The word tiraz is, in fact, Persian for embroidery. It also came to mean the garment itself, decorated with embroideries and worn by distinguished persons. Finally, it became the name of the workshop and fabric-- often a delicate linen cloth with decorative bands of silk and gold– which were made there”(Erikson 53). For the purposes of this paper, the word refers to the latter.

People serving the Caliphate as officers were given an item from these workshops every year that they served (Erikson 53). When included on garments tiraz bands could be worn at the mid-biceps and did not always wrap around the whole arm, often ending about where they would be hidden underneath the arms when kept at one's sides. Other placements include the hem. On many turbans a small gold square can be seen in the wrappings that resembles a tiraz piece (see Image 5). It should be noted that garments are not the only items decorated with tiraz as “domestic” textiles have been found with similar decoration (Rogers 31).

One interesting embroidered piece is the mandil, or kerchief. They appeared to be an important accessory to the medieval Arab man as they were carefully selected to coordinate with each outfit. Usually carried or worn in the belt, this little piece could cost as much as an entire garment! They would be dyed in a rainbow of colors, sometimes decorated with fringe, gold embroidery or painted inscriptions. Inscriptions could include a short story of its destiny or fate (Baker 41).

Stitches used to embroider tiraz have been recorded as the spilt-stem-stitch on early examples and under the Abbasid rule included chain-stitch with blanket and back-stitch used for minor details (Baker 57, 60). During Fatimid rule, depiction of animals (including birds, dogs and rabbits) began showing up and uniting with “floral Kufic epigrams” (Erikson 65). But under the reign of the Ayyubids (1171-1254) this practice was suppressed. Erikson notes that "the Fatimids were Shi'a Muslims and allowed images, as opposed to the [Ayyubids who were] Sunnites [and] did not" allow them (Erikson 65). Geometric embroideries are then found in greater numbers.

Interestingly, the Koran does not actually prohibit images, only idolism. "However, in the hidith – stories about the traditions and resurrection of the Prophet – the following is written: ‘Those who copy living things shall be answerable for their actions on the Day of Judgment and shall be punished’.” (Erikson 65) According to Baker, the idea is that such depictions are attempting to “imitate the Creator in His work” (Baker 16).

Works Cited

Baker, Patricia L. Islamic Textiles. London: British Museum Press, 1995.

Erikson, Marianne. Textiles in Egypt 200-1500 A.D. in Swedish Museum Collections. Goteborg: Graphic Systems AB, 1997.

Leix, Alfred. "Early Oriental Textiles" from Ciba Review 45, May 1942.

Lewis, Suzanne. Early Coptic Textiles: Stanford Art Gallery, Stanford University, May 4 to May 25, 1969. Stanford Art Book 9. Stanford: Department of Art, Stanford University, 1969.

Rogers, Clive. Early Islamic Textiles. Brighton: Rogers & Podmore, 1983.

Varron, A. "The Early History of Silk". Ciba Review 11, July 1938.

Image Sources

Image 1:

Rogers, Clive. Early Islamic Textiles. (Brighton: Rogers & Podmore, 1983) p 41.

Image 2:

Rogers, Clive. Early Islamic Textiles. (Brighton: Rogers & Podmore, 1983) p10.

Image 3:

Lewis, Suzanne. Early Coptic Textiles: Stanford Art Gallery, Stanford University, May 4 to May 25, 1969. Stanford Art Book 9. (Stanford: Department of Art, Stanford University, 1969) p 9.

Image 4:

Baker, Patricia L. Islamic Textiles. (London: British Museum Press, 1995), p 37.

Image 5:

Baker, Patricia L. Islamic Textiles. (London: British Museum Press, 1995), p 51.

Sayeda Samee'nah al-Zahra bint Ayyub is an 11th century Islamic woman living with her family in the city of Codorba, Spain (al-Andalus). As a literate woman she enjoys reading poetry with her family when she gets a break from her daily tasks

Julia Spiritstone is a soon-to-be graduate living in Fargo, ND. She enjoys sharing with her friends a passion for both textiles and history and loves the forum the SCA provides for combining all of these things. She is currently serving as the Chatelaine for the Shire of Korsvag.