The series "The Magnificent Century" and Ottoman fashion - the charm of the East.

Many would think that due to the custom of women who lived in the Ottoman Empire to completely hide their body and face under a veil, now there is no reliable and detailed information about the clothes of women from Istanbul and other Turkish cities. But Ottoman fashion has always aroused keen interest among foreign guests, and as a result, many images have come down to our times that describe in detail the clothes of Turkish women.

Palace traditions to keep the clothes of the Sultan after his death also played a positive role, and thanks to them we now have examples of what was worn in that era. After so many centuries, a huge collection of the Topkapi Palace has reached our days. The earliest examples date back to the reign of Mehmed the Conqueror (1451-1481). The collection contains wardrobe items of sultans, sultanas and their children.

Costumes of a woman in the Ottoman Empire of the 16th century

If you look at various illustrations, paintings, study written sources, you can easily recreate the image of a woman who lived in the Ottoman Empire of the 16th century. So, an indispensable component of a woman's costume was a shirt with long expanded sleeves covering her legs. On the street, she wore a long veil (veil), yashmak (a scarf covering her face), in some cases a veil was worn.

The veil completely covered the body and arms, leaving the floor. The overskirt opened at the front and was put on when the woman went outside. With a veil they put on either a veil or a yashmak. The veil was fastened on top and fell over the face, the yashmak was tied up from below and covered the lower part of the face to the eyes.

All women, going out into the street, had to hide their faces, so it was impossible to distinguish one from the other. Even the husband could not recognize his wife in such a dress. The yashmak and the veil that concealed the face were of very good material, however, like the rest of the clothes of rich Turkish women. They wore outfits of gold or silver satin, silk, brocade and damask.

In his travel notes, Joachim Zinzendorf, who was a chaplain at the imperial embassy in Istanbul from 1577 to 1581, noted that women on the street wore baggy trousers made of transparent silk. , taffeta or other material of very good quality. On top was worn other loose clothing of the same density of red, yellow or blue. . They also wore a silk shirt on top, reaching to the knees, and she was wearing a silk damask caftan. Bloomers were needed precisely in order to completely hide the legs, which, like the face, should not have been seen by anyone except family members.

On their heads they wore a small silk cap, adorned with gold coins and entwined with a braid of black silk. A translucent veil was attached to this braid, which hid the face. The noble women of the Ottoman Empire wore a veil when going out - they liked to wear luxurious clothes and even that they were paid attention. Poor women appeared in public covered from head to toe with a silk cape.

Caftans or other capes by poor Turkish women were sewn from silk or velvet. At the end of the sixteenth century, rich women wore caftans of stiff brocade with long, wide sleeves, on which another caftan could be worn on top, with short ones. The collar of the caftan changed over time, but by the seventeenth century it settled on the V-shape.

Women's and men's shoes were similar in style, but indoor shoes were much more comfortable. At home, morocco shoes were worn, pointed, sometimes without a back, with embroidery. Shoes (shoes or higher boots) were worn on the street with a wooden platform sole or with heels. The external decoration of shoes, of course, could tell about the state of the one who wears them, as well as headgear.

Turkish women wore long hair, which they braided into braids. Braids from various noble materials could be woven into them, and on the head there was a cap, richly embroidered, adorned with jewels, which certainly indicated belonging to the upper class.

Error of the century

In 2011, the colorful Turkish series "The Magnificent Age" was released on the screens of the whole world, telling about the life of the Topkapi Palace during the reign of Suleiman the Magnificent. The series instantly gained millions of fans around the world, who began to watch with interest the ardent passions and tough court intrigues. Fashion designers have embraced Ottoman fashion and have even begun producing collections inspired by it. And fashion historians and Turkic experts clutched their heads, and there is a reason for that. The century, of course, is depicted as magnificent, but not quite the one that remained in historical reference books.

Complaints about the series began to arrive on Turkish television almost from the release of the first episode. According to experts, there are a huge number of inaccuracies in it, and this applies to both the storyline and the visual component, in particular, the costumes of the characters.

The statement of the Turkish fashion designer Zuhal Yorgancioglu caused the greatest resonance. She has been working with Ottoman motifs for many years, which inspire her to create new collections. According to the designer, the costumes shown in the "Magnificent Century" are certainly very beautiful, luxurious, but ... they are not at all from Turkey of the sixteenth century. Yorgancioglu says that the women of the Ottoman Empire could not wear such tight dresses with a deep neckline, especially during the reign of Suleiman the Magnificent.

In Ottoman palaces, red, green, black, dark blue and light pink caftans were worn. They were not tight at all and not tight at the waist. Bloomers were always worn under the caftan. Hereke fabric, rich embroidery with silk and gold, was very common. Therefore, there is no talk of the Ottoman Empire of the sixteenth century, because what we see on the screen is rather closer to the costumes of nineteenth century France. It is from there that dresses with sexy necklines and corsets are taken, in which court ladies and concubines of the Sultan appear in the series. They also wear luxurious boucles that lie loose on their shoulders or flow down their backs, whereas in the sixteenth century Ottoman Empire hair braided neatly.

The fact that the clothes in the series have too many features from the later Western fashion was emphasized by many. Indeed, dresses and costumes borrowed from the West in design were subsequently worn in Turkey, but this was much later - in the eighteenth and nineteenth centuries.

No wonder that even 500 years later this style fascinates, fascinates and delights. However, if we approach the issue objectively, we admire not the clothes of that era, but its modern interpretations, the most daring of which, perhaps, belongs to artists and costume designers. series "The Magnificent Century". The costumes of his heroines have been criticized more than once for historical unreliability. And that's putting it mildly! The real contemporaries of Sultan Suleiman could not even dream of such seductive styles in which women flaunt on the screen.

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The simplicity is intriguing. For all the exoticism of the image, the clothes of oriental beauties in the Middle Ages were very primitive. Tailors then simply did not know how to create complex outfits, they only had to comprehend this subtle science, improving their skills for at least three centuries. So far, men's and women's clothing is not too different from each other. The basis of the wardrobe was a spacious, straight shirt. As a rule, with a shallow v-neckline or buttoned to the waist. Downstairs, the woman put on trousers - also of a straight and simple cut, which later became somewhat more complicated and took on the form of harem pants. When going out into the street, beauties had to wrap themselves from head to toe, so long and wide prototypes of robes, as well as a veil that covered the head to the shoulders, and a veil that hid the face, acted as outerwear. The greatest liberty they could afford was to slightly lift the veil to kiss, meeting with a friend on the street, this was prescribed by etiquette.

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Too closed robes most of all amazed foreigners - especially Europeans who found themselves in the Ottoman Empire at that time. In travel notes, many of them wrote that Turkish women wrap themselves up so much when leaving the house that even their own husbands often do not recognize them when they meet.

Perhaps, such closeness will seem excessive to someone, but the East is a delicate matter, and the female silhouette, which is barely guessed behind a heap of fabrics and clothes, only kindled interest and aroused the imagination more…

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Freedom or slavery? An interesting pattern: the richer and more noble the lady was, the more closed her street attire was. At the same time, the slave girl who accompanied her mistress to the baths or shopping, as a rule, paced beside her in a much more open toilet and with an open face. Perhaps the reason for such an illogical, at first glance, approach was the enterprising, but overly jealous disposition of Turkish men. The slave-servant was, first of all, an expensive commodity, which it was not a sin to brag about, and, on occasion, to resell profitably. The spouse, no matter what number she was in the harem, should have been protected from extraneous coveted glances. Closed clothing was also a kind of amulet - it hid a woman from someone else's envy and the "evil eye", which at that time were considered a very real and serious danger. By the way, the echoes of medieval superstitions make themselves felt even now - who among us did not bring a traditional souvenir from Turkish resorts - colorful amulets with a large painted eye in the middle - a charm from sidelong glances?

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The art of being beautiful. The classic methods of turning into a beauty, known to any modern woman, did not work in the era of the Magnificent Age. Ottoman women had neither racy cleavage, nor tight-fitting styles, nor miniskirts. The maximum they could do to “refresh” a monotonous attire was to embroider sleeves with ribbons or embroider a picturesque pattern on a shirt. The most daring and courageous chose narrower shirts and brighter trousers for themselves. The one who succeeded in such tricks best of all could claim the increased attention of her husband and a certain superiority in the harem. And that's probably all. After all, none of the outsiders even had the opportunity to appreciate her diligence and taste.

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However, the closeness of existence did not at all cancel luxury and pleasures. Of course, this applied to rich and influential families. Husbands generously endowed their harems with expensive jewelry, and women sewed their own clothes from the most luxurious fabrics. A special role was acquired by a hairstyle. Unable to emphasize the dignity of the figure, the Ottoman women carefully looked after their hair and, trying to charm their spouse, exquisitely intertwined long thick strands with sparkling threads of jewelry. The richest embroidered clothes with threads of gold and silver.

A special decoration for ladies from the rich class was a small silk hat. It was embroidered with gold coins and trimmed with black silk braid. A veil was attached to this braid, with which women were supposed to cover their faces when going out into the street or appearing, if necessary, in front of their husband's guests. The latter was a rarity. Usually, women did not appear next to men, remaining in their own half of the house. For a short time, only a maid was allowed to the meeting place of the guests, who served food to the table.

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Creativity. The costume designers who dressed the heroines of The Magnificent Century unfailingly observed the only rule of the wardrobe of a wealthy family: all women's wardrobes are made of very expensive, textured and bright fabrics, among which silk and velvet predominate. As for the styles, they are exquisite, magnificent, impeccably emphasize the dignity and features of the character and status of the heroines, but ... have nothing to do with historical authenticity. Narrowed waist, lacing, corset elements, finally, fine lace trim - all this will appear in ladies' toilets not earlier than in 300 years.

The only detail of the style that existed during the time of Sultan Suleiman was the neckline. It was invented back in the 14th century, at the court of Isabella of Bavaria in Burgundy. But that was the fashion of enlightened Europe, and in the Muslim Ottoman Empire, a neckline could not appear under any circumstances. However, in fairness, it must be said that at first the Europeans did not use the deep neckline on the chest at all for the purpose of seduction. It's just that dense, not too elastic fabrics that did not fit the figure came into fashion. And the styles demanded the maximum narrowing of the bodice. In a closed, tight, narrow dress, the woman had nothing to breathe, so she had to ensure her freedom of breath due to the deep neckline.

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Ottoman ladies, who had no idea how and, most importantly, why they needed to tighten their clothes tighter, were spared the need to open their chests. Dresses on the floor, cut off and gathered along the hip line, also appeared much later, not to mention the sleeves, the upper part of which resembles a “flashlight”.

These are the “trends” of the 19th century, to which the contemporaries of the Sultan the Magnificent were about as far away as the Turgenev young ladies were to denim trouser suits. But - honestly - who cares about the historical truth in a feature series, where intrigues and passions boil, and in the frame they love and suffer, win and lose bright women in luxurious outfits, on which the best Turkish fashion designers and costume designers worked?

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"The Magnificent Century" is the most expensive in the history of Turkish TV series, and it more than justifies this status. In the end, as the classic once said, cinema is the greatest illusion. Is an illusion true?

People forced to hide under the mask of an executioner all their lives. Who are they?

In the Ottoman Empire, executions played an important part in justice. Many statesmen fell under their influence. Also interesting are those who carry out the execution.

Not everyone could become an executioner. One of the most important requirements for them was dumbness and deafness. Thanks to these qualities, the executioners were ruthless. They simply did not hear the suffering of those who were killed and therefore were indifferent.

The rulers of the Ottoman Empire began to hire executioners from the 15th century. By nationality, they were people from among the Croats or Greeks. There was also a special detachment, consisting of five Janissaries, who were engaged in executions during military campaigns. The executioners had their own boss, he was responsible for their "work".

The executioners knew human anatomy well, no worse than any doctor. But they always started with the simplest, acting as an assistant to an experienced colleague, learning all the subtleties of the craft. Thanks to the knowledge gained, the executioners could both bring the victim maximum suffering, and take his life without suffering.

The executioners did not marry, so after their death, the negative stamp of the executioner ancestor would lie on future generations. Thus, the executioners, as it were, disappeared from society.

The order to execute the offender came from the head of the bostanji (Guard of the Sultan - ed.), who gave him to the chief executioner. Of great importance was the position in society of the condemned to death. So, in the case of the execution of the Grand Vizier, for example, strangulation was most often used. And ordinary Janissaries were cut off their heads.

Members of the ruling dynasty and other members of the "caste of the chosen" were "clean" strangled with a bowstring, with which they were strangled. In this case, there was no blood.

Most civil servants were killed by beheading with a sword. But those who were convicted of theft, murder or robbery were not so lucky. They could be hung on a hook by the rib, put on a stake and even crucified.

The main prisons during the Ottoman Empire were Edicul, Tersane and Rumeli Hisar. In the Topkapi Palace, between the towers of Babus-Salam, there was a secret passage to the premises where the executioners were located and where the condemned Ottoman nobles were taken. The last thing they saw in their lives was the courtyard of the Sultan's palace.

In this place, the famous Grand Vizier Ibrahim Pasha was strangled. In front of Babus-Salam, the executioners erected the heads of the people they had executed on the columns as a warning to the public. Another place of execution was a platform near the fountain in front of the palace. It was in it that the executioners washed their bloody swords and axes.

The accused, whose cases were under consideration, were kept either in the Balykhane castle or in Edikyul. They recognized their fate by the color of the sherbet that the guards brought them. If the color was white, then it meant acquittal, and if it was red, then it meant a guilty plea and the death penalty. The execution took place after the convict drank his sherbet. The body of the executed was thrown into the Sea of ​​Marmara, the heads were sent to the Grand Vizier as evidence of the execution.

It is known from history that the suspects and accused in medieval Europe were subjected to various cruel tortures; Amsterdam even has a torture museum.

There was no such practice in the Ottoman state, since the local religion forbids torture. But in some cases, for political reasons or in order to demonstrate a certain lesson to society, those who committed serious crimes were subjected to torture. One of the most common types of torture was hitting the heels with sticks - "falaka".

The strength of the Ottoman sultans lay in the fact that when they issued their decrees - “firmans”, everyone, without exception, had to obey them and no one dared to disobey, since everyone knew that disobedience was seriously punished.

Women's clothing in the Ottoman Empire (continued)

Kazan researcher Bulat Nogmanov, whose publications are read by Mintimer Shaimiev, continues to acquaint the readers of Realnoe Vremya with his observations about the culture and history of Turkey. In today's column, he continues to talk about clothing traditions in the Ottoman Empire. Let's talk about women's clothing.

"Women of Istanbul are forbidden to go out in coats..."

As we noted in the previous publication, clothing was a matter of national importance in the Ottoman Empire. By clothes, they not only met, but also made far-reaching conclusions. There were a number of laws regulating from what material and for what "social category" this or that piece of clothing was sewn. In particular, this regulation concerned women's clothing, the state strictly ensured that the appearance of the women of the Ottoman Empire complied with Sharia norms. In Tulip Epoch Istanbul, in 1726, Grand Vizier Ibrahim Pasha even issued a decree, according to which a woman could be sent into exile in another city for violating the prescribed norms, although this was an extreme measure. Usually, as a punishment, too long hats and collars were cut off and clothes that did not meet the standards were destroyed. And the tailor, who sewed forbidden clothes, was in for a more severe fate, his workshop could be closed, and he himself could be sent to places not so remote.

Here are some excerpts from the decree: “... Compliance with the appearance of the people with Sharia norms is a matter of public honor, however, some disobedient women, taking advantage of the fact that the Sultan is busy with important state affairs in Edirne, violate this provision and, in order to seduce others, walk the streets in ornamental clothes, imitating non-Muslim women, which has a bad effect on chaste women ... Some husbands, being unable to provide their wives with elaborate and expensive outfits or not wanting their wives to walk the streets in such outfits, in desperation reach a divorce ... In In connection with this, women in Istanbul are forbidden to go out in a coat whose collar is more than one span, the size of the Yemeni scarf should not exceed three degirmi, and the ribbon adorning the coat should not be thicker than one finger.

Husbands in debt as silk because of their wives

Here it is necessary to give some explanations. The reader may wonder where the women of the Ottoman Empire might have a desire to imitate non-Muslim women, because on the street everyone was ordered to dress the same way? The fact is that a characteristic feature of the era of tulips (1718-1730) was a fairly close acquaintance of the inhabitants of the Great Porte with European culture. It was during this peaceful period that the passion for Europe began, typography, painting, architecture and many other forms of art developed. Embassies were organized in major European cities, which, in turn, led to the emergence of European outfits in the Ottoman Empire. However, it is worth noting that the influence was mutual, so thanks to the Ottomans in the 15th century, the Turkeri style appeared in Europe.

After the end of the tulip era during the time of Sultan Mahmut I (1730-1754), especially during the summer months, the women of Istanbul again begin to test the patience of local authorities and wear light and revealing outfits in public places. This "confrontation" ends with the decree of the Sultan, who forbade women to appear in carriages in such districts of Istanbul as Uskudar, Camlıca, Merdivenköy, Bulgurlu, Kasikli, etc.

The 15th century is also notable for the fact that wearing expensive clothes and the use of precious stones is becoming popular among the inhabitants of the Ottoman Empire. This leads to the fact that some people, striving to be "no worse than others", begin to get into debt. The economic condition is deteriorating, which causes fear of the palace. For this reason, in 1764-1765, a decree was issued ordering women to dress according to the rank of their spouse. This decree also states that most of the items of clothing are imported from other countries. The volume of imported clothes and fabrics can be judged by the fact that the state is beginning to worry that the country's reserves of gold and silver are declining due to the import of clothes. To support local manufacturers and to keep the money in the country, the law prohibits the purchase of Indian fabrics and requires tailors to use fabrics that are produced in Bursa and Istanbul.

One of the interesting historical facts regarding women's clothing is the decree of Abdulhamit II (on the picture) of 1889, requiring women to wear clothes that cover the body from head to toe, like a veil. Photo wikipedia.org

ban the burqa

Until the first quarter of the XlX century, all laws and decrees of the sultans regarding clothing and appearance were aimed at preserving Asian traditions and Sharia norms. The turning point is the period of the reign of Sultan Mahmut II. It was at this time that the beginning of the Tanzimat era fell, which, according to some researchers, laid the foundations of laicism (secularism) in modern Turkey. Tanzimat was characterized by a turn towards Europe (the army and officials began to dress according to the European model), however, women's outfits were still subject to many prohibitions regarding the length, color, number of buttons, material, etc. Despite this, women continued to wear that what they considered necessary.

One of the interesting historical facts regarding women's clothing is the decree of Abdulhamit II from 1889, which orders women to wear clothes that cover the body from head to toe, like a veil. This law was repealed in 1892 by Abdulhamit II himself, and there were several reasons for this. Here are two main ones:

1. Returning from Friday prayers, the Sultan saw women in a veil, which was very thin in appearance, and a black veil covered their faces. This clothing could easily be confused with the mourning attire of Christian women.
2. Cases have become more frequent when men, wearing a veil and pretending to be a woman, entered the homes of wealthy people and committed robberies.

In order to prevent such cases, a law was passed prohibiting the wearing of a veil.

Bulat Nogmanov

Reference

Bulat Nogmanov - researcher, translator.

• Born on 10/31/1985 in the village of Apastovo, Apastovsky district of the Republic of Tatarstan.
• In 2008 he graduated from the International Kazakh-Turkish University. HA. Yasawi majoring in International Relations.
• In 2010, he graduated from Ankara University with a master's degree in the same specialty.
• Member of ethnographic expeditions.
• Member of the Tatarstan branch of the Russian Geographical Society.
• Speaks English, Turkish and Kazakh.

Each country is proud of its history and traditions, including national cuisine, clothes, rituals, etc. Turkey is one of the most ancient states, on the territory of which different nationalities lived, preserving their customs and peculiar attire. Therefore, it is not surprising that the Turkish national costume has undergone changes for a long time. This was influenced by the rich history of the development of the empire and, of course, the cultural heritage of its inhabitants.

historical sketch

Beginning in the 16th century, the Ottoman Empire experienced its heyday, and from that time on, clothing gradually began to be perceived by society as an indicator of status. By the appearance of any person, it was possible to determine the financial condition, marital status and religious views. Even the place of work or service was easy to recognize by the outfit. By the way, almost until the beginning of the 20th century, the Turkish national costume retained its original appearance.

Features of women's outfits

For example, the first wife of the Sultan had the legal right to wear only the best and most expensive silk with an impressive neckline, long slits and a magnificent belt with precious stones.

Women practicing Islam wore loose-fitting outerwear called "feradzha", cotton shirts and loose trousers. The most important element was the veil, which completely covered the head (except for the eyes) and shoulders. However, according to some researchers, the face should have been covered exclusively by young ladies from a rich class, while slaves and poor girls were not required to do this.

A hat or fez was put on the head, and later hotoz and veil came into fashion. Clothes were sewn mainly from silk and velvet, and as for colors, green and blue shades were preferred.

For non-Muslim women (Armenian, Hungarian, Greek women), a fustanella skirt, loose-fitting blue trousers and a headscarf were allowed in the wardrobe.

Men's clothing

Men, regardless of status and class, wore wide trousers, a shirt, a caftan, a camisole or a jacket. An upper caftan and a sash were also added. Trousers (or "zagshin") were worn on the naked body and girdled. Later, their shortened version appeared to the knees, which was worn Over the pants, they always wore a long-sleeved shirt, which was usually made of silk or cotton fabric. The caftans were also long, their hem was sometimes tucked up and fastened to the belt. As for the Janissaries - the military - they preferred sleeveless caftans so as not to hinder movement.

After the 16th century, instead of a caftan, they began to wear a camisole, decorated with embroidery and buttons, and a jacket. All this was girded with a sash, and the soldiers - with a special belt made of leather and metal.

Major changes

The Turkish national costume changed noticeably at the beginning of the 18th century. The reason for this was the cultural and trade exchange with the countries of Western Europe. For the manufacture of feraji, fabrics of lighter colors and lower density are now used. The veil also changes - there is no need to fit the face, it can hang freely to shoulder level.

Home attire becomes more relaxed, transparent fabrics and fabrics with floral patterns, fitted styles come into fashion. At the end of the 18th century, a new thing appeared in the women's wardrobe - a shawl that was tied around the hips.

The 19th century does not bring significant changes in outfits. Only the veil is now sewn from a transparent fabric through which jewelry is visible. Also in the home outfit there are corsets and lace collars.

Clothing reforms

Since the Ottoman Empire has always been a Muslim power, the fairer sex dressed according to Sharia law. In other words, women were required to observe modesty and restraint in outfits and hide their bodies from the eyes of strangers. For this, the feradzha was invented - outerwear (cape), covering the dress, which was worn when going out into the street. The face was covered with a veil, and a headdress called a turban was put on the head.

Everything changed after the reform of 1925. It was then that Turkish women were allowed to wear absolutely any outfit that, in their opinion, was considered fashionable. This right is still enshrined in the Constitution of the country.

Distinctive elements of Turkish clothing

Turkish national and male versions) necessarily include harem pants - loose trousers made of thin material, draped and decorated with complex patterns. Their difference lies in the fact that they are quite wide along the entire length and narrow only at the level of the ankles.

Another obligatory element of the traditional attire is a long shirt with a free cut. Representatives of the stronger sex, as a rule, tuck their shirt into their pants, and women, on the contrary, wear trousers over them. In addition to the shirt, ladies also wear a dress that looks like a bright caftan. These dresses can be made with both long sleeves and short sleeves. This outfit "fixes" a special belt - a sash.

What fabrics were used to make the Turkish national costume? Men's attire was mostly sewn from muslin, velvet, fur, taffeta, and women's - silk, brocade, etc.

Modern national clothes

Interestingly, each region of Turkey has its own traditions regarding attire. For example, only merchants and wealthy merchants lived in some villages, who could afford clothes made from expensive fabrics. And in other villages - poor peasants who do not have extra money.

However, now, despite constant changes, Turkish national costumes, photos of which can be found in our article, have retained their overall original appearance. The first thing that catches your eye is bright colors: blue, bright blue, green, crimson, yellow, orange, etc. Men's clothing is made in darker colors, including brown, dark gray, blue, black. Shirts must be white. As for the belts, you can see multi-colored stripes, lilac or yellow laces on them.

Mostly free cut, but the figure can be emphasized. A woman's outerwear is often adorned with embroidery of silver or gold threads. It can be national or floral ornaments.

It is noteworthy that modern designers have borrowed some elements of the Turkish wardrobe to create their collections in oriental style. So, bloomers, elongated tunics, beautiful shawls came into fashion.

Shoes and additional accessories

It is worth noting that the Turkish national costume for a girl (or woman) necessarily includes a multi-layered scarf. Sometimes young ladies put on several scarves at once to cover their head, neck and shoulders from prying eyes. In addition to scarves, you can see headdresses with an additional front part - a veil that covers the face.

To decorate clothes and demonstrate status in society, the outfit is decorated with precious or semi-precious stones, various jewelry. An interesting element of clothing are socks that are high enough to cover the legs. They are often hand-embroidered.

Men's headwear is a fez or turban. A military suit for men can be recognized by cropped bloomers. Shoes must be leather.

Costumes for children

Children's national clothes in their composition do not differ too much from adults. So, the Turkish national costume for a boy includes bloomers, a shirt, a belt and a vest. Girls, like adult young ladies, put on loose pants, a shirt (or, as they call it now, a tunic), an overcoat, and a hat. Decor is sometimes sewn onto a hat for beauty, for example, small coins. Usually, there are no expensive embroideries and rare fabrics on a children's costume, that is, the materials are used a little easier. As a rule, outfits for babies are made of fabrics of bright colors with colorful ornaments.