the Thobe

"OIMPalcost2" by Trjames - Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons.
this is the design of one of the oldest designs for the Bedouin Thobe or dress, its proportions are huge, but the Bedouin women would fold and hitch it to brooches or tie and overlap it in such a way that it would be practical and worn for everyday work in the fields or herding sheep.The folds are usually used as pockets.

It is confusing to read terms defining this area, since it had never been one big united Empire, but, separate kingdoms changing many times  in history...

The Near East is traditionally regarded by archaeologists and ancient historians as the region of southwest Asia, specifically the area encircled by the Mediterranean Sea, the Black Sea, the Caspian Sea, the Red Sea and the Persian/Arabian Gulf. In modern times this region includes the countries of Israel/Palestine, Lebanon, Syria, Turkey, Jordan, Iraq and western Iran. Some scholars also include Cyprus and Transcaucasia (Georgia, Armenia, Azerbaijan) in their definition of the Near East, though these should probably be considered "eastern Mediterranean" and "the Caucasus" respectively. Egypt, though certainly a player in terms of Near Eastern ancient history, is often excluded from traditional definitions of Near East. For modern political scientists and journalists, the term "Middle East" is used to refer to the same geographic area. The Near East is generally regarded as the "cradle of civilization" as many milestones in human history, such as the earliest agriculture,writing, and cities, derived from this region.
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the story of the Egyptian dress

Tarkhan complete sheet First Dynasty (about 3000 BC) UC 28670

This ‘rectangle’ (Egyptian ifd, often translated as ‘sheet’) represents the basic item of Egyptian dress. This very early example, measuring c.283 x 105 cm and of good quality, no doubt would have belonged to a wealthy person. Before being put on it would have been folded end-to-end, creating a central transverse fold. If, rather than being used as a simple cloak, it was worn by a man in the manner of a kilt, it may also have been folded side-to-side, making a longitudinal fold. Worn thus it would have been tied on itself at the waist, with the fringed edge uppermost; the central transverse fold was at the front, reaching from the front of the waist down to the right shin. A belt or sash may have been worn over.

An even longer version, up to 20 m, and attested by surviving examples dating from the late Old Kingdom through to the early 18th Dynasty, must have been folded into additional layers before draping. By the 18th Dynasty, tied versions of this garment are shown being worn by women, but arranged so as to cover the upper arms and breasts as well as the lower torso and legs. The ifd survived into the Ptolemaic and Roman periods - it was known in Greek as ‘othonion’ and the later woman’s method of draping is represented in good detail on Roman-period Isis statues.

Deshasheh dresses Fifth Dynasty (about 2400 BC) UC 31182 and 31183

The two dresses from Deshasheh illustrate the sleeved version of the woman’s long narrow dress that was worn throughout the early dynasties, Old Kingdom and Middle Kingdom. The version more commonly shown in art (early New Kingdom example) has one or two broad straps rather than sleeves as such. The cutting diagram shows how such dresses were made from a rectangular ifd, the fringe of the ifd reappearing down one side of the dress and along one side of the V-shaped neck opening. Click on the image below, showing one of the two dresses, for a larger picture.

Tarkhan dress First Dynasty or Old Kingdom (about 3000-2300 BC) UC 28614Ai

Many of the extant early dresses are pleated and the little dress from Tarkhan, tomb 2050, made in the same way as those from Deshasheh, retains pleating in the upper area.

Tarkhan headband First Dynasty (about 3000 BC) UC 16355

Among the mass of fragmentary clothing recovered by Flinders Petrie at Tarkhan, headbands identify themselves by their small proportions and often very fine quality. This example is not especially finely woven but is decorated with carnelian beads; it can be compared to the headband with a pattern of red flowers worn by the Princess Nefert from Meydum in the Cairo Museum. It is made from a narrow width of cloth, c.17 cm wide, gathered in at the ends by sewing. The beading suggests that is was folded on itself once more than shown here, that is giving a width of c.4 cm.

Gurob sleeves New Kingdom (about 1400 BC) UC 8980A and B

The pair of sleeves from Gurob, solidly woven and neatly sewn, retain the remains of a seam at the wider end. This shows that they were once attached to tunic.

The ‘bag tunic’

A wide rectangular tunic, mss, translated by the modern term ‘bag tunic’, began to be used in Egypt in the New Kingdom. It was worn by both men and women in addition to the ifd ‘rectangle’. The great majority of surviving bag tunics are sleeveless, but plain sleeved examples were found in the tomb of the architect Kha while elaborately decorated examples in the tomb of Tutankhamun (both late 18th Dynasty).

Tarkhan bag tunic Third Intermediate Period (about 800 BC) UC 28616Bviii

Extant New Kingdom bag tunics normally have a ‘keyhole’ shaped neck opening (a cut circle with a slit below). The very ragged bag tunic from Tarkhan, dating to the Third Intermediate Period, shows a later style of neck, a long vertical slit. The hem fringes front and back are also a later feature. This garment, very worn and extensively darned, illustrates well the typical condition of clothing found in 1st millennium burials (such semi-complete items were used for the lowest level of mummy wrapping).

The diagram of the Tarkhan bag tunic illustrates how the bag tunic grew out of the older ifd ‘rectangle’: the central transverse fold of the rectangle became the tunic’s shoulders, a neck hole being created through this; below the arms, the woven selvedges were seamed together.

Deshasheh kilt (Third Intermediate Period, about 800 BC?) UC 31173

The one-layer garment with tying cords from Deshasheh.appears to be a purpose-made kilt. Here a rectangle of linen approximately 103 by 75 cm, although very ragged, retains parts of two original transverse edges and one longitudinal selvedge; a hem along the second longitudinal edge may represent repairs to the second selvedge. One of the tying cords is integral to the original textile and is perhaps the cord used to attach the warp to the loom before weaving (the base of the second cord has been repaired and here the original arrangement is no longer apparent).

Unprovenanced folded textile late Third Intermediate Period (about 670 BC) UC 55013

A narrower folded textile measuring c. 155 x 73 cm may be a man’s sash. The long inscription, parallel to the fringe, is poorly preserved but parallels indicate a date in the 670s or 660s BC.

This folded textile is a reminder that all these linen garments were stored folded up in chests. After laundering and before being put away they were folded several times down their length, as here. Wider items were additionally folded in the opposite direction. Any garment, when newly put on, would have exhibited the lines of these storage folds. Unlike pleating, however, storage folds were seldom represented in contemporary art

 source

The Red Tunic Preservation

Height: 131 cm, Width: 209 cm including sleeves, Width: 124 cm excluding sleeves

After the Arab conquest of Egypt in 642, the long-standing traditions of Roman and Byzantine dress continued alongside Islamic fashion.

 Textiles were made for and used by the widest possible segment of the population of late Roman and Byzantine Egypt. They were made commercially in small workshops and by individual weavers. While most textile decorations were made in large numbers, many must have been individually ordered both for dress and the household.

The construction of the tunic was similar for men, women and children — one piece of cloth was folded over the shoulders and sewn together down the sides. Around the 5th century, tunics begun to be made in two or three pieces, with a horizontal seam in the centre positioned slightly above the waist. A belt, woven, braided, knitted or tablet woven, was worn to hold the folds of the garment in place. The bands and stripes that commonly decorate Coptic tunics are possibly Roman in derivation.

Curator’s Notes

(1) Two shoulder-bands, clavi, with standing haloed figures, floral devices and busts; the large pendant medallions, orbiculi, each contain a half-length figure; 

(2) two large roundels below, segmenta, and two on the shoulders, each containing a seated figure in the middle, surrounded by floral ornament partly issuing from four vases; 

(3) two large oblong panels on the sleeve, each containing a seated figure within a circle in the middle, and floral ornament and busts to the right and left. Some Greek letters. All these ornaments have borders of floral stems on a white ground, with a polychrome geometrical edging on either side. A small tapestry band, sewn across at the neck, has pairs of birds in circles. 

S-spun wool, probably Egyptian. 

The tunic is made up from several pieces: seam at the waist, and across the sleeves (the seam down centre front is secondary and probably from the time of discovery). The wrists and sides of each sleeve end in selvedges. The size of the tunic is huge with narrow sleeves. The hem is torn and raw; the side seams are turned in and stitched up (now unpicked); the sleeves are open under the armpit and the sewn tuck around waist has been unpicked. The tunic is stained and decayed in a number of places on the back and missing its two back roundels (only discolouration and stitch marks remain).

670-870 (made)

Construction 

Tunics, almost straight, shirt-like dresses, reaching to the knees or somewhat longer, appear to have been in fashion among several groups of citizens in the Roman empire from 100-1000 AD. This type of dress was also adopted by the Egyptians. The construction of the tunic was similar for men, women and children - it was made in one piece which was folded over the shoulders and was sewn together along the sides. Around the fifth century tunics begun to be made in two, or more often three, pieces with a horizontal seam in the centre positioned slightly above the waist. A belt, woven, braided, knitted or tablet woven, was worn to hold the folds of the garment in place. The bands and stripes that commonly decorate Coptic tunics are possibly Roman in derivation. Less certain is the origin of the decorated squares, circles and ovals that are an equally common features of Coptic tunic ornamentation. On tunics, the ornaments were often positioned to lie above the shoulders and in front of the knees of the wearer, vulnerable points, susceptible to disease and crippling injuries. One suggestion is that the positioning of these ornaments originated in a widespread belief that glances from the eyes of certain people could cause harm. Defenses against the evil eye are of several types: designs that are in the form of an eye, or designs of such fascination or complexity that they trap the eye, or gestures such as an upraised hand. All are found in Coptic ornamentation.

Use 

Tunics were woven from sleeve to sleeve in one piece with integral tapestry-woven ornaments (see T.7-1947), but from around the fifth century tunics were also made in two, or more often three, pieces with a horizontal seam in the centre positioned slightly above the waist, and from at least the Arab conquest (AD 639-642) there was a gradual decline in integral ornaments. This one has been made up from several pieces stitched together. All the tapestry woven decorations are applied, and on the sleeves, it is even cut and tucked into the seam, turning the straight woven sleeves of ‘Coptic’ style into shaped and narrowly fitted sleeves of the Arabic fashion.

One tunic, usually very simple, was worn as an undergarment; another, decorated with ornaments and usually wider, was worn over it. In the 3rd century the custom of burying the dead fully clothed and wrapped in multiple layers of fabrics began. Although found in graves, only a small number of tunics were actually made as funerary clothing and shrouds. Much of the clothing of the corpses was not new, and all the padding and wrapping were done with discarded and otherwise available textiles. There are also examples of tunics in graves that have never been made up, maybe suggesting a sudden death or a wish to dress the dead in new clothing, it not being deemed important to finish the garment. It is also evident that re-use was practised. A new tunic might be used as background for old, well-liked and costly decorations of which this tunic might be an example.

 V&A medieval and rennaisance

V&A museum collection

ancient Assyrian costumes by Mary G. Houston

Thia is an Excerpt from the book  Ancient Egyptians. Assyrians, Persians Costumes.

In my humble opinion, this is one of the best technical surveys written on the subject.

Every illustration of costume given has been actuallycut out and made up before being sketched, exceptin a few cases which are of the nature of duplicates, sothat by following the directions given it will be easy for anyone to reproduce them in material. Where decoration is required, the exact drawing and colouring of the various styles of Historic Ornament, which are the work of F. S. Hornblower (who has also coloured the costumes where necessary), will enable such details
to be appropriately applied.
Throughout the book, the illustrations are given by means of facsimiles of drawings by artists of the
various centuries, so that a historic survey of the History of Figure Drawing will be included. Where
the drawings of primitive artists do not clearly express the ideas intended to be conveyed, a modern drawing of the garment on a dress-stand will be used for explanation of the measured drawings of the cut-out garments. The growing appreciation of the beauty and value of the earlier and more primitive systems of cutting shown in modern dress designing for the last decade, when the so-called Magyar blouse (really the simple tunic common to all primitive folk) began to be popular, will make the present volume a convenient form of inspiration for designers ; also, where more exact reproduction is needed, as in theatrical work, pageantry, and so forth, the careful working out of the details of cut and decoration will expedite production and save hours of fruitless searching in reference libraries.

There are practically two types of garment found  generally in the representations of Ancient Assyrian costume: (1) the Shawl, and (2) the tunic.. These vary in size and proportion, and are worn either alone, or more generally in combination.

DECORATION

Except in the earliest examples, decoration in Assyrian costume; may be said to be absolutely covered with ornament. Jewelry, woven and embroidered  patterns, and fringes are used in the utmost profusion.

See the illustrations of  te most characteristic ornamental details of this style.

MATERAL

The materials used seem to have been of linen and wool. The skins and furs of animals and etal were also in use, but chiefly for military and hunting costume.

DATES

The earliest type of costume here shown is a rather elaborate shawl drapery worn without any tunic underneath. Later comes the tunic with various fringed shawl draperies worn in addition, and some of the latest types have the tunic worn alone without the shawl draperies. The dates given for the costumes illustrated  in this style have been verified by theBritish Museum. It should be remembered, as in the case of ancient Egyptian costume, that the dresses changed very slowly indeed, and most styles of this era were worn literally for hundreds of years.

MEN AND WOMEN: THE DIFFERENCE IN THER DRESS

The representations of costume which Assyrian art has left us are almost entirely those of men´s dress. Two examples of women´s dresses are shown in this volume. The first wears a plain ungirded tunic and  a simply draped shawl covering the figure partially. The second is the dress of a queen, and has the tunic almost entirely covered with a voluminous shawl. The wide belt with narrow belt over t seems to be confined to the men´s costume, as is also the tighter and scantier shawl draperies which exist in singular variety.

 Figs. 26, 27, and 28: This drapery is from the figure of the king Gudea, 2500BC (see British Museum). To drape, place the corner b of fig. 26a under left arm-pit, and draw the edge b-a round the back of shoulders under the right arm-pit, across the front of chest, and round the back again, and under the right arm-pit once ore; then throw the edge b-a upwards across the chest and over the left shoulder; the corner a will then hang down the back. Take this corner a and tuck it in at the right side of breast as shown in illustration (Fig. 26) It should be noted that, unless the left hand is raised, the left arm and hand are entirely covered by this drapery,  the right arm only being left free for movement. This drapery presents points of similarity to the Roman “toga” of a much later period.

 Fig 26- Fig 27- Fig 28- Fig 28a

Plate XI.- This type of dress, which in the British Museum is described as worn by “a Mythical Figure in attendance upon King Assur-nassir-bal” ninth century BC, might be dated about 1000BC, as following the usual custom of the ancients who dressed like sacred figures in the costume of some previous generation as a rule, consists of a simple tunic with short sleeves, and reaching to the knee, cut in similar fashion to the Egyptian; then, a small shawl (Fig. 29b) is wrapped round the hips, beginning with the corner a on right hip, and passing the edge a-b across the front towards the front and round the waist. The triangle b-e-f can be tucked in at waist line; then the wide belt, probably leather, which is coloured buff in the illustration, is put on, and kept in position by a narrow belt, which is coloured red; this belt is much better seen in Fig. 80. Lastly the large shawl (Fig. 29a) has the corner b tucked into the narrow belt at left side of waist, and the edge a-b passed round the back towards right side of waist upwards across the chest, and hangs down the back over the left shoulder. The original of the figure is winged, the wings being omitted here.

 Fig 29a-Fig 29b

Plate XI

                                 

Plate XI represents Kng Assur-nassir-pal (ninth century BC) Tied at his waist and covering the back half of his figure is a small richly decorated shawl about 20” square. Note the tassels hanging from right hand bottom corner; these would be the same as on the left hand bottom corner. He also wears the belt mentioned in connection with Plate XI. The wavy tassels which look like horse hair, hang from his sword belt; a tassel also hangs from the back of his necklace, and two ribbons from his cap-band. Note the similarity of this cap to the so-called fez or tarboush worn in Modern Assyria at the present day.

 Fig 30

Fig. 31: The point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist, is thrown over one shoulder, and hangs down the back.

 Fig. 31:

The point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist, is thrown over one shoulder, and hangs down the back.

Fig. 32: This man in hunting dress, ninth century BC, has a small scarf, fringed only at the ends, wrapped tightly round the limbs, reaching to the knee.

Fig 32

Fig. 33: This woman, a captive of  Sennacherib who reigned in eighth and seventh centuries BC, wears a long tunic, and over it a long shawl fringed at the two ends and measuring 50” x 80”, To drape this shawl, place one corner under the left arm-pit, and draw it across the back under the right arm-pit, wrapping it once round the body; draw it across the back and up over right shoulder. A corner of the fringed ends will hang down in front of the right shoulder.

Fig. 33

Plate XII, shows a number of characteristic Assyrian ornaments.

a, The sacred tree.

b, c, d, e, f, Repeating patterns on costumes.

g, h, I, j, k, l, Borders on costumes.

m, One of the many rosettes much used in Assyrian decorations.

These should be compared with the decorated costumes shown in the plates; they would be either woven or embroidered.

 Plate XII

Plate XIII,- A facsimile drawing, from an enamel tile, is one of the many representations of the king Assur-nassir-pal, ninth century BC. The description of his dress will be better understood by referring to Fig. 34, 35, and 36. The king wears over his long tunic a very beautiful and dignified shawl drapery, which  is fringed, recalling certain Egyptian types already illustrated, and indeed, has points of similarity with certain Greek and Roman draperies.

To drape this shawl (see Fig. 34a) fold over on the line e-f  so that e-f, a-b, hangs down outside; then attach the cord e-g  as illustrated, and hold g at right side of waist in front, throwing the rest of the shawl backwards over the right shoulder. Draw the edge e-f round the back of neck, and form a sling over the left arm as shown.

Fig 34a

Plate XIII

Figs. 34, 35, 36,

To complete the draping, continue to pass the edge e-f  round the waist towards the right, passing under the right elbow, then on round the back and left side until it reaches about 6 inches in front of left side of waist; now fold remainder of drapery  underneath, as shown in the drawings, and tie a cord round waist to keep all firmly in positon; knot the end of the cord e-g  to this waist cord. Fig 35 shows the back view, and Fig 36 shows the drapery thrown off the left shoulder to give freedom to both arms, Figs.  34 and 35 only giving freedom to the right arm. If the cord e-g is pulled down so that e touches the waist, then both shoulders will be covered by the drapery. Fig 34 is the most usual arrangement of this type of drapery, but, in looking at Plate XII closely, it will be seen that the modern drawing  (Fig 37) is a more exact rendering. This drawing is from a draping of the same shawl as Fig. 34 is wearing, but the fold-over is somewhat deeper, the point e is tied closely to waist belt, and the drapery is rolled at waist while it is being adjusted. When worn thus, with a roll, the drapery will remain in position without the waist cord being tied over it, but it is more secure when it has been thus confined. Fig. 38 is still another variety of this type of draping, and is taken from a statue of Assur-nassir-pal in the British Museum; there we have two shawls, one square and one semi-circular (see Figs. 38a and 38b). To arrange this drapery, take the square shawl and fold outwards about 20 inches, as at e-f. Tie a waist cord on the tunic, and tuck the corner f deeply into it at left side of waist cord; then draw tightly round the figure in front and round again across the back of waist till the left side is reached again. Now double about  inches of the shawl inwards, and tuck again into waist cord. Take the semicircular shawl g-h and attach the cord to another waist cord, throw backwards over the right shoulder, and arrange a sling over the left arm as before in Figs. 34 and 37. The corner h of the shawl shows in front about 8 inches below the waist towards the left. Tie the second waist cord tightly over this shawl to keep in position

Figs. 37, 38, 38a, 38b

NOTES ON THE COLOURING OF ANCIENT ASSYRIAN AND PERSIAN COSTUMES

Though we do not possess the actual specimen of these costumes, still we can infer from the lavish ornament, and from references in the Hebrew Old Testament writings, that rich colouring prevailed. The dyes were probably similar to those of Ancient Egypt, and this table will suggest the particular ue of each colour:

ANCIENT EGYPTIAN AND ASSYRIAN COLOURS

Blue: Usually rather dark indigo, sometimes paler.

Red: Much like the colour known as Indian Red.

Yellow: Similar to yellow ochre.

Green: Much like the paint known as green blue, but rather more dull.

Purple: Dark, and quite a brownish hue of purple.

All these colours could be used as embroideries on white or natural coloured ground of linen, the embroideries being of wool. In other cases the whole garment might be coloured throughout.

Fig 39. Is the tunic of king Assur-nassir-pal, seventh century BC. It will be noticed that it is cut very much in the same manner as the Egyptian tunic; the neck opening, which is a slit large enough to admit the head, does not show in the drawing, but three buttons on either side of neck will be seen. A row of fringe decorates the bottom, and the whole is richly embroidered; over this tunic were worn the wide and narrow belts.

Fig. 39

Plate XIV.

Plate XIV. Is the queen of Assur-bani-pal, seventh century BC. She wears a similar tunic to the king, but the sleeves reach half-way down the lower arm; her shawl, which is fringed all round, would measure 50” x 130”. It is wrapped once round the lower limbs, and so covers the bottom of her tunic; it is then wond round the upper part of her body in similar fashion to that of the woman in Fig 33, save that it goes in the opposite direction.

Plate XIV

Plate XV.

Plate XV, shows further details of Assyria decoration; attention may be particularly drawn to the varied forms of the tassels.

A, b, c, Bracelets

D, e, f, Ear-rings

G, h, I, j, Tassels from costumes and harness on horses.

K, Winged globe.

L, Palm tree.

M, Lappet of a King´s tiara.

N, Bronze vessel.

O, Sword handle.

Plate XV

From the book: Costume of the Ancients, by Mary G. Houston, printed for William Miller and published by W.Bulmer and Company, Cleveland-Row, st. James s, 1812

For Assyrian and Ancient Persian Styles consult : Layard's '^ Monuments
of Nineveh"; Flandin and Coste, "Voyage en Perse"; Botta,
/'Monuments de Ninive"; Victor Place, " Ninive et Assyrie"; Perrot
and Chipiez, " History of Art in Persia "; Racinet, " Le Costume
Historique"; Hottenroth " Le Costume." Also reproductions and
handbooks of the collections in the British Museum.
The costume plates presented at the heading are from the book A History of Costumes in Pictures, Published by Braun and Schnieder c. 1861-1880