FASHION Theory

An
Assignment Work
on
Fashion Theory
Submitted by
LAKSHAY KAUSHAL
B.Sc. FASHION TECHNOLOGY
Department of FASHION TECHNOLOGY
D.B.U.
Under the Guidance of

MS. GAGANDEEP KAUR
Assistant professor
Department of Fashion Technology
Desh Bhagat University
DEPARTMENT OF FASHION TECHNOLOGY

DESH BHAGAT UNIVERSIY
A Thesis By
LAKSHAY KAUSHAL
ROLL NO. 20261140002
SUBMIT TO
MS. GAGANDEEP KAUR
(Lacturer B.Sc. Fashion Technology )
The Department of Fashion Technology

ACKNOWLEDGEMENT
At first, grateful acknowledgement are made to the Almighty who is

the most gracious and merciful. This assignment and work was carried
out at DESH BHAGAT UNIVERSITY, MANDI GOBINDGARH. It is a
nice feeling the opportunity to express gratitude for them who have
relentlessly encouraged and helped throughout the assignment. Obviously
the special credit goes to the person, Ms. Gagandeep Kaur lecturer
department of FASHION TECHNOLOGY, DESH BHAGAT
UNIVERSITY. He has an energetic and enthusiastic mind which is really
inspiring. His scientific excitement, integral view on research and his
positive attitude towards his mission for providing knowledge has made a
deep impression. It gives always a pleasant experience while working
with him for his endless support and guidance throughout the project
and thesis period.
The authors would like to heartedly acknowledge with a deep sense of

gratitude to Prof. Ms. GAGANDEEP KAUR, DESH BHAGAT
UNIVERSITY for the constant support to get the job done successfully.
He took possible measures to provides all types of facilities during this
project. Every moment he gave appreciation with special eagerness and
cordial support.
The supportive attitude of administration has the project and thesis

possible. So a special thanks goes to this excellent administration.
Persian clothing
Detail of a relief showing two men (left and right) wearing kandys. Apadana of Persepolis, 550-330
BC.
Traditional Persian clothing can be seen in Persian miniature paintings, employ

both vivid and muted colors for clothing, although the colors of paint pigment often
do not match the colors of dyes.
The clothing of ancient Iran took an advanced form, and the fabric and color of
clothing became very important at that time. Depending on the social status,
eminence, climate of the region and the season, Persian clothing during
the Achaemenian period took various forms. The philosophy used in Persian
clothing, in addition to being functional, also had an aesthetic role.
Traditional Persian clothing, although not worn in urban areas, has been well
preserved in texts and paintings throughout history.
Men's dress
The traditional men's garment included the Shalvar, and Jameh combination, often
with a wide belt called Kamarband, from which English gets the word "cummerbund".
Headdresses were also worn by men in traditional wear, known as the Sarband.
[
Long robes and loin cloths were also worn by the women and men in Persia. They
often used gold jewelry.
Women's dress
Along with wide - legged trousers and colourful embroidered knee-length dresses,
women adorn themselves with gold bracelets, necklaces and brooches, and a
second, longer shawl often covers their head and shoulders. Long pants, loose-fitting
shirts and a turban are customary for men.
Gallery
Darius III of Persia.
stairs of the Apadana
Detail of a relief of the eastern stairs of the Apadana at Persepolis


A possible imitation of Persian clothing. (Two-piece)
Modern shape of women's Persian clothing.
References
1. Ancient Egyptian, Mesopotamian & Persian Costume (Dover Fashion and

Costumes) – November 2, 2011
2. ‫ هاجر ضیاء سیکارودی‬:‫ت‬/ ‫ فریدون پوربهمن‬،‫پوشاک در ایران باستان‬
3. Iran: 5000 Years of Clothing, Jewellery and Cosmetics - ISBN 978-
0980971446
0. ^ Jump up to:a b 2007 .‫ امیرکبیر‬،‫ هاجر ضیاء سیکارودی‬:‫ت‬/‫ فریدون پوربهمن‬،‫پوشاک در ایران باستان‬. pp. 24,
25, 57.
Ancient Greek Dress
Terracotta statuette of Nike, the personification of victory

Marble grave stele of a little girl
Marble funerary statues of a maiden and a little girl
Terracotta lekythos (oil flask)
Bronze statuette of a young woman
Limestone priest
Marble statue of a member of the imperial family
Marble grave stele with a family group
Bronze statuette of a veiled and masked dancer
Marble statue of a wounded Amazon
Terracotta bell-krater (bowl for mixing wine and water)
Marble statue of a woman
Limestone statue of a veiled female votary
Ten marble fragments of the Great Eleusinian Relief
Marble relief with a dancing maenad
Terracotta amphora (jar)
Terracotta oinochoe: chous (jug)
Marble statue of Eirene (the personification of peace)
Roman copy of Greek original by Kephisodotos

Department of Greek and Roman Art, The Metropolitan Museum of Art
October 2003
In antiquity, clothing was usually homemade and the same piece of
homespun fabric could serve as a garment, shroud, or blanket. Greek vase
painting and traces of paint on ancient sculptures indicate that fabrics were
brightly colored and generally decorated with elaborate designs. Clothing
for both women and men consisted of two main garments—a tunic (either
a peplos or chiton) and a cloak (himation). The peplos was simply a large
rectangle of heavy fabric, usually wool, folded over along the upper edge
so that the overfold (apoptygma) would reach to the waist. It was placed
around the body and fastened at the shoulders with a pin or brooch.
Openings for armholes were left on each side, and the open side of the
garment was either left that way, or pinned or sewn to form a seam. The
peplos might not be secured at the waist with a belt or girdle. The chiton
was made of a much lighter material, usually imported linen. It was a very
long and very wide rectangle of fabric sewn up at the sides, pinned or
sewn at the shoulders, and usually girded around the waist. Often the
chiton was wide enough to allow for sleeves that were fastened along the
upper arms with pins or buttons. Both the peplos and chiton were floor-
length garments that were usually long enough to be pulled over the belt,
creating a pouch known as a kolpos. Under either garment, a woman might
have worn a soft band, known as a strophion, around the mid-section of
the body.
Men in ancient Greece customarily wore a chiton similar to the one worn
by women, but knee-length or shorter. An exomis, a short chiton fastened
on the left shoulder, was worn for exercise, horse riding, or hard labor. The
cloak (himation) worn by both women and men was essentially a
rectangular piece of heavy fabric, either woolen or linen. It was draped
diagonally over one shoulder or symmetrically over both shoulders, like a
stole. Women sometimes wore an epiblema (shawl) over the peplos or
chiton. Young men often wore a short cloak (chlamys) for riding. Greek
men occasionally wore a broad-brimmed hat (petasos), and on rare
occasions, Greek women donned a flat-brimmed one with a high peaked
crown. Both women and men wore sandals, slippers, soft shoes, or boots,
although at home they usually went barefoot.

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An

Under the Guidance of

DEPARTMENT OF FASHION TECHNOLOGY

MS. GAGANDEEP KAUR

(Lacturer B.Sc. Fashion Technology )

The Department of Fashion Technology

At first, grateful acknowledgement are made to the Almighty who is

The authors would like to heartedly acknowledge with a deep sense of

The supportive attitude of administration has the project and thesis

Traditional Persian clothing can be seen in Persian miniature paintings, employ

Darius III of Persia.

stairs of the Apadana

Detail of a relief of the eastern stairs of the Apadana at Persepolis

A possible imitation of Persian clothing. (Two-piece)

Modern shape of women's Persian clothing.

1. Ancient Egyptian, Mesopotamian & Persian Costume (Dover Fashion and

Terracotta statuette of Nike, the personification of victory

Roman copy of Greek original by Kephisodotos

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