Fashion In

Ancient Greece

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 Contents of this template
Here’s what you’ll find in this presntation:

1. Clothing Style and Garments

2. Fashion and social class
3. Costume design in Ancient Greek Theatre
4. Clothing in Art and Sculpture
 Introduction to Ancient Greek
Fashion!
Ancient greek fashion? Now that's a fun
concept! When we think of "greeks" today, it
often refers to people passionate about niche
interests, like technology, comics, or science.
In the ancient world, while they didn’t have
computers or superheroes, people did have
their own intellectual pursuits, and fashion
played a part in expressing their social status,
knowledge, and cultural interests.
CLOTHING STYLE

AND GARMENTS
 GREEK CLOTHING
Ancient Greek clothing was designed with simplicity, functionality, and elegance in
mind. The Greeks favored draped garments over tailored clothing, and their
fashion was often symbolic of social status, gender, and occasion. The key types of
garments in ancient Greece can be broken down into several basic styles, each
serving a different purpose but following similar design principles.
 TYPES
1. Chiton (Chitonion)

 The chiton was one of the most

common garments worn by both men
and women in ancient Greece. It was
a loose-fitting tunic, typically made
from a rectangular piece of fabric
that was draped and fastened at the
shoulders with pins or fibulae
(brooches).
• Men wore a shorter version of the
chiton, which ended at the knees,
often belted at the waist. This version
was practical for everyday activities
or military use. Women wore longer
 TYPES

2. Himation

The himation was a large rectangular piece

of fabric, similar to a cloak, worn by both
men and women over their chiton. It was
draped over the body and often thrown over
one shoulder or wrapped around the body,
leaving the other arm free.It was made from
heavier wool or linen.
 TYPES
3. Peplos (Peplon)
The peplos was a distinctive garment worn by
women. It was a large rectangular piece of cloth,
which was folded over at the top to create a sort
of double layer, then fastened at the shoulders
and waist. The peplos could be worn with a
himation over it for warmth or decoration.

• Variations: While the peplos was largely a

women's garment, in the earlier periods, some
men also wore a version of it, though this
style faded by the 5th century BCE.
 TYPES

4. Exomis
The exomis was a garment worn by working men, slaves, or
soldiers. It was a simpler, shorter tunic than the chiton,
typically fastened at one shoulder and left open on the other
side.
 Function: The exomis allowed for greater freedom of
movement, which made it ideal for manual labor, farming,
or military activities. It was typically made from rough
wool or linen.
 TYPES
5. Chlamys
The chlamys was a short, cloak-like garment typically worn
by men, especially soldiers and travelers. It was similar
to the himation but shorter and typically fastened with a
clasp or brooch at the right shoulder. It was often worn
by young men, particularly soldiers, as a more practical
alternative to the longer himation.

6. Fibulae (Pins/Brooches)
While not a garment in itself, the fibula was a key accessory
in ancient Greek fashion. These metal pins or brooches were
used to fasten clothing, such as the chiton or himation. They
were often elaborately decorated and could be a sign of
wealth and status.
 Materials
Used
The materials used in ancient Greek clothing
were practical and closely linked to the
environment and social structures of the time.
Wool and linen were the mainstays of Greek
fashion, with wool providing warmth and linen
offering lightness and breathability for the hot
climate. More exotic materials like silk and
cotton were introduced through trade, and the
use of precious metals in fabrics became a
hallmark of wealth. These materials,
combined with intricate weaving, dyeing, and
decorative techniques, created the distinctive,
functional yet beautiful garments that are
iconic of ancient Greek culture.
 MATERIALS

WOOL LINEN

Wool was one of the most Linen, made from the flax
common and versatile plant, was another common
materials used by the ancient textile in ancient Greece,
Greeks, particularly for colder particularly for lighter
weather, outer garments, and garments worn in the hot
formal wear. Mediterranean climate. It was
more lightweight and
breathable than wool, making
it ideal for warmer weather.
 COTTON SILK LEATHER

While less common than Silk was not native to Leather was used for
linen or wool, cotton was Greece but was shoes, sandals, and
occasionally used by the introduced from the East, accessories, as well
Greeks, though it wasn’t particularly China, as armor for
as widely available as in through trade and the soldiers. It was a
later periods. Cotton was growing Hellenistic durable, flexible
known in the ancient influence after Alexander
material that could
world, especially in India the Great’s conquests.
and parts of Persia, and be easily shaped
Silk remained an exotic
became more widespread luxury item for wealthy into practical items.
during the Hellenistic Greeks and was used in It was also used for
period. the later periods of some bags, belts,
ancient Greek history, and straps.
especially during the
Hellenistic period.
 MATERIALS

FUR GOLD AND SILVER

Fur was used sparingly in While not a fabric in itself,

ancient Greece, mainly for gold and silver threads
luxurious or ceremonial were often woven into textiles
garments. It was more to create decorative patterns
commonly used in colder areas and symbols, especially in
or for special occasions, such garments for the elite. These
as robes for royalty or gods. metallic threads would have
been woven into garments
made from wool, linen, or even
silk to enhance their opulence.
 Textile production
techniques
Textile production in ancient Greece was a multifaceted process that involved
the careful spinning of fibers, weaving of fabric, and intricate dyeing
techniques. It was an essential part of daily life and the economy, producing
everything from simple household textiles to elaborate garments worn by the
elite. The techniques used by the Greeks were highly skilled, and the
resulting textiles were valued not only for their utility but also for their
beauty and craftsmanship.
 SPINNING WEAVING
The first step in textile production Weaving was the process of interlacing threads
was the spinning of raw fibers into (warp and weft) on a loom to create fabric.
yarn or thread. This was done by Weaving was typically done on a vertical
hand using a spindle and distaff. loom, though some looms were horizontal. The
Greeks used simple, hand-powered looms to
produce a wide range of fabrics for clothing,
decoration, and household use.
 DYEING FINISHING
• Dyeing was a complex Once a piece of fabric was woven
process, and the colors and dyed, it would undergo
various finishing techniques to
achieved were often symbolic
turn it into a finished garment or
of status, wealth, or occasion.
item.
The Greeks used a wide
variety of natural dyes
derived from plants, insects,
and minerals.
• One of the most famous dyes,
purple was produced from the
murex sea snail. This dye was
labor-intensive to make and
very expensive, making it a
color often associated with
royalty and high-status
individuals.
 HOME
AND
WORKSHOP
Textile production in ancient
Greece was primarily a
household activity, especially
for women. Spinning and
weaving were considered
important domestic skills, and
the creation of textiles was
often integrated into the daily
routine.
 FASHION
AND
SOCIAL CLASS
 FASHION AND SOCIAL CLASS
● Wealth and social standing had a significant impact on fabric preferences in
ancient societies, such as Ancient Greece, Rome, and other classical
civilizations. Finer, rarer, and more opulent materials were available to wealthy
people, signifying their social standing and bolstering economic dominance.
Fabric selection was influenced by the type of material used as well as how it
was made, colored, and embellished. I shall describe below how fabric
selections in the ancient world were impacted by fashion and wealth.

●ACCESSORIES and JEWELLERY

The Ancient Greeks loved to wear jewellery made from precious metals such as
silver and gold. They wore rings, necklaces, bracelets and earrings, but these
items were reserved for the wealthiest families, because they were made from
rare and expensive materials. Another very common accessory was the decorative
brooch or pin, often sewn into their clothing or used to attach fabric wraps and
cloaks across the body.
 MATERIALS TECHNIQUES
• Gold and silver were the key • Granulation: Granulation was one of the
materials used in Greek jewelry. most notable jewelry-making procedures used
Gold was particularly valued for by the ancient Greeks. This required making
its shine and malleability, which little gold pearls or granules, which were then
made it perfect for complex painstakingly placed and soldered onto a
patterns. metal surface to create elaborate designs.

• Silver was also commonly • Filigree: Filigree was another complex

utilized, usually in conjunction method employed by Greek jewelers. It entails
with gold or for simpler designs. soldering intricate motifs created by twisting
tiny threads of gold or silver onto a metal
• Gemstones: Greek jewelry was foundation.
heavily adorned with
gemstones. These included • Repoussé and Chasing: Metal surfaces may
more common stones like quartz be decorated with relief patterns using
and agate, as well as semi- methods like repoussé and chasing.
precious ones like emeralds,
garnets, and amethysts.
 MATERIALS TECHNIQUES

• Ivory and Bone: Greek jewelry • Casting: Ancient Greek jewelry makers used
occasionally had ivory and bone the lost-wax casting technique extensively.
components, especially for This method was making a wax model of the
inlays and ornamental intended object, covering it with plaster or
embellishments. clay, then heating it until the wax melted and
left a hollow cast. The finished object was
• Enamel: Greek jewelry was then made by pouring molten metal into the
colored using enamel, a mold.
substance created by fusing
glass powder onto a substrate. • Greek craftspeople were exceptionally
Enamel was heated to a molten skilled and creative, as seen by the
state and then adhered to the materials and methods utilized in
metal surface to create durable, ancient Greek jewelry. Their skill at
colorful artwork. sculpting precious stones, gold, and
silver into elaborate patterns has left a
long-lasting legacy that now serves as an
inspiration to modern jewelry designers.
FOOTWEAR IN ANCIENT GREECE
● In ancient Greece, footwear was relatively simple and practical, often tailored to the climate, terrain, and social
customs of the time. Here are some common types of footwear and characteristics of ancient Greek shoes:

● Sandals (Sandalia): Sandals were the most common footwear, consisting of a flat sole tied to
the foot with leather straps. They were lightweight and allowed air to circulate, suitable for
Greece’s warm climate. Sandals varied in style and were often worn by both men and
women.

● Boots (Krepides and Embades): Boots were worn by soldiers, hunters, and travelers who
needed more durable protection. They were made from leather and covered the foot and
sometimes the lower leg. Boots offered better support and were often used in rougher
terrain.

● Slippers and Slip-Ons: Some people wore slip-on shoes that were easy to take on and off,
particularly indoors. These were usually softer, lighter, and often less formal than sandals or
boots.
FOOTWEAR IN ANCIENT GREECE
● Cothurni (Cothurnus): This style was popular among actors in ancient Greek theater,
especially for tragedies. Cothurni had high, thick soles that added height to the actor, giving
them a more imposing presence on stage.

● Symbolism and Status: Footwear often indicated social status or occupation. Wealthy Greeks
might have more decorative shoes or use dyed leather, while lower classes wore simpler,
utilitarian shoes.

● Barefoot Tradition: Many Greeks, particularly those involved in physical activities like
athletics, would go barefoot. Philosophers, like Socrates, were also known to walk barefoot
as a sign of simplicity or asceticism.

● While ancient Greek footwear varied by purpose and social class, it was generally
minimalistic, designed for comfort and function over style.
DISTINCTION IN MEN AND WOMEN FOOTWEAR

MEN WOMEN
Women’s footwear in ancient Greece
Men’s footwear in ancient Greece reflected their lifestyles and the
was mostly utilitarian, designed cultural emphasis on simplicity and
for comfort and ease of functionality. While women of higher
movement. While some wealthier status may have had access to more
men might have more ornate decorative options, most footwear
footwear, most footwear was remained practical, emphasizing
minimalistic and functional, comfort over extravagance.
suited to everyday life and
activity.

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 HAIRSTYLE AND GROOMING IN
ANCIENT GREECE
In ancient Greece, hairstyles and grooming were important aspects of personal appearance,
reflecting one’s social status, gender, and cultural values. Here’s an overview of the main trends
in hair and grooming practices for both men and women:

Women’s Hairstyles and Grooming

● Elaborate Hairstyles: Wealthy Greek women often wore intricate hairstyles, sometimes
styled by servants. Popular styles included chignons (low buns), braids, and elaborate updos
that were pinned or tied with ribbons, bands, or gold and jeweled accessories.

● Curls and Waves: Soft curls and waves were favored, and many women curled their hair to
achieve this look. Curls often framed the face or were arranged in rows around the head,
which was considered attractive and elegant.

● Ribbons, Headbands, and Diadems: Accessories played a significant role in women’s

hairstyles. Women adorned their hair with ribbons, headbands, and metal diadems, often
decorated with leaves, flowers, or other natural motifs. These accessories showed wealth
and added style to the hair.
Men’s Hairstyles and Grooming

● Short Hair for Adults: Adult Greek men usually wore their hair short,
particularly in the classical period. Short hair was associated with maturity
and discipline, especially in city-states like Sparta, where warriors kept their
hair short for practical reasons.

● Long Hair for Young Men: In youth, some boys wore their hair longer, as longer
hair could symbolize youth and vitality. This practice sometimes continued
until a man reached a certain age or status and cut his hair as a sign of
adulthood.

● Beards and Shaving: In early Greek history, men wore full beards, as beards
were associated with wisdom, masculinity, and respect. Around the 4th
century BCE, Alexander the Great popularized the trend of shaving, as he
believed it reduced vulnerability in battle. This led to a shift, especially in
Athens, where beardlessness became a fashionable look among young men.
 HAIR AND GROOMING FOR
SPECIFIC SOCIAL CLASS
● Upper Classes: Wealthy individuals had more time and resources to maintain
complex hairstyles and invest in perfumes and accessories. They often kept
slaves or servants who assisted in their grooming rituals, especially for
elaborate hairstyles.

● Lower Classes: Working-class men and women had simpler hairstyles and less
access to grooming products. Practicality and ease were key, so men typically
had short hair and women wore simple, manageable styles.

Hairstyles and grooming in ancient Greece were deeply

influenced by societal values, with elaborate grooming
practices reflecting wealth, beauty ideals, and
cultural identity.
COSTUME
DESIGN IN
ANCIENT GREEK
THEATER
 COSTUMES IN ANCIENT GREECE

Costume has played an integral role in the development

theatrical spectacle for the entirety of the theatre's
existence. Originally, in the ancient Greek and Roman world,
costumes were heavily exaggerated so as to convey each
character to those observing the production from as far as
300 feet away. Bright colors and heavily overdone features
helped to portray gender and size as well as and
most importantly, emotion.

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 -CHORUS
COSTUMES
In ancient Greek theater, the chorus was an essential element, providing
narration, commentary, and thematic insights. Their costumes and masks
were specifically designed to enhance their collective identity and
communicate character or mood to the audience.
 LONG ROBES:
They were of three kinds, chiton, peplos and himation.

CHITON HIMATION PEPLON

Essentially a sleeveless shirt, the The chorus sometimes The peplos was simply a large
chiton was a rectangular piece of wore himation cloaks rectangle of heavy fabric, usually
linen or wool draped by the wearer in over their basic robes, wool, folded over along the upper
various ways and kept in place at especially if they were edge so that the overfold would
the shoulders by brooches and at the portraying elders, reach to the waist. It was placed
waist by a belt The chiton worn by around the body and fastened at the
travelers, or figures in
the actors differed from that worn in shoulders with a pin or brooch.
mourning. These cloaks
everyday life because it Openings for armholes were left on
incorporated sleeves, which were
were draped over one each side, and the open side of the
coloured and patterned. Long white shoulder or wrapped garment was either left that way, or
sleeves were worn by the (male) around the body. pinned or sewn to form a seam.
actors for female roles.
MASKS AND HEADPIECES :
Masks were crucial to ancient Greek theater, as they allowed the audience to identify the character, emotion, and even
gender from a distance. Choral masks were typically less individualized than those of principal characters and often
reflected a shared expression
Some choral members wore headpieces that signified their roles, such as wreaths, crowns, or other symbolic
adornments, especially if they were representing gods, mourners, or specific groups.

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 -DRAMATIC IMPACTS OF MASKS
Masks in ancient Greek theater were a powerful tool for dramatic effect and played a crucial role in shaping
the audience's experience. Masks enhanced the role of spectacle in Greek drama.

UNIFICATION OF CHORUS:
The chorus wore similar or identical masks, creating a
collective identity and reinforcing the sense of a unified voice.
This uniformity emphasized the chorus’s role as a single entity.

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CHARACTER TRANSFORMATION: ENHANCED VISIBILITY AND EXPRESSION:

The use of masks enabled a small group Greek theaters were large, open-air
of actors to portray multiple roles by spaces, accommodating thousands of
simply changing masks and costumes. spectators. Masks were designed with
Masks also helped actors embody exaggerated features, making emotions
characters of different ages, genders, or more visible from afar. The larger-than-
social statuses, allowing male actors to life expressions on the masks (e.g., wide
convincingly portray female characters eyes, large mouths) allowed audiences to
or gods and mortals alike. immediately grasp the character’s
emotions, such as anger, joy, or sorrow,
regardless of their distance from the
stage.
 -GENDER AND FASHION IN GREEK THEATER:

Gender and fashion in ancient Greek

theater were intricately connected,
serving both practical and symbolic
purposes. Since the theater was an
all-male affair, with male actors
playing both male and female roles,
the clothing, accessories, and masks
they wore were essential tools in
communicating gender, social roles,
and character identity to the
audience.

37
MALE ACTORS PORTRAYING GENDER ROLES:
FEMALE ROLES:
Women during the time of Greek
Male actors used costumes that
theater were often stereotyped
emphasized traditional feminine styles,
and considered the weaker
such as long, flowing chitons (robes) and
sex. Men were depicted as strong
peplos garments, which were typically
individuals who supported and
associated with women. The mask was
protected women. However, both
crucial for gender portrayal. Female masks
Sophocles and Aristophanes
had softer, more rounded features to
broke expectations by portraying
suggest femininity, with painted-on details
strong and iconic female
to denote beauty or age, like gentle
characters in their respective
expressions, arched brows, or stylized hair.
plays.

38
COSTUME CHORUS COSTUME:
DISTINCTION: When the chorus portrayed female
Male characters generally wore
shorter chitons a himation if they groups, such as in plays focused on
were older or more dignified. These female-centric stories like Lysistrata, their
outfits allowed the audience to costumes and masks were carefully
differentiate male and female roles designed to convey a unified feminine
at a glance. In contrast, longer robes identity. This allowed the chorus to
denoted feminine qualities or embody concepts of femininity,
sometimes elder status. motherhood, or collective female
resilience as needed. In tragedies, female
choruses often wore somber colors or
veils to signify mourning or distress.

39
FOOTWEAR: EXAGGERATION IN COMEDY:
Gendered footwear helped In comedies, male actors
establish the difference between playing female roles
male and female roles. Male often wore highly
characters, particularly heroic or exaggerated costumes for
powerful ones, wore elevated humor. This exaggeration
boots, which gave them a more served to mock or
commanding presence. In playfully critique societal
contrast, female characters might gender norms.
wear simpler sandals or bare
feet, emphasizing traditional
femininity.

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 GENDER SYMBOLISM IN MASKS:
Masks allowed actors to transcend their biological gender and embody
feminine or masculine ideals. Female masks with soft features symbolized
beauty, grace, or gentleness, while masks for older women might show age
lines, conveying wisdom or sorrow. For male characters, masks were often
designed with sharper, more angular features to symbolize strength, youth, or
aggression, depending on the role.

* Many of the costumes of Aristophanes’ plays, as well as most of

the ancient Greek comedies, were known as phallic costumes. This
is because the male characters had huge phalluses made of red
leather. The actors were also fitted with grotesque padding of the
stomach and rear. *

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-USE OF COLOUR IN GREEK DRAMATIC THEATER
In ancient Greek theater, color played an essential role in visually communicating
character traits, emotions, social status, and themes to the audience. Ancient
Greeks arranged colors from light to dark, whereas contemporary people arrange
colors in the order of the spectrum.

42
LIGHT OR DARK COLORS: GENDER DISTINCTION:
Light-colored garments, especially white, Female characters were often
were often associated with nobility, purity, associated with softer colors, like pale
yellows, greens, or blues,
or divinity. Gods and goddesses were
emphasizing traits such as gentleness,
frequently depicted in bright or shining
femininity, or fertility..
white, symbolizing their purity or
Male characters, particularly
otherworldly nature.
warriors, might wear darker or
Darker colors, especially black, were
earthier tones, reflecting strength
used to signify grief, mourning, or or masculinity.
doom. In tragedies, characters in
mourning or those bound by sorrowful
fates often wore darker robes. The
chorus, if representing mourners or
tragic figures, might wear black.

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COLORS FOR DIVINE CHARACTERS:MONOCHROMATIC CHORUS:
Colors associated with gods and supernatural beings The chorus often wore matching colors to create a unified
were often brighter or more dramatic, such as bright visual impact, as they represented a collective character
white, golden tones, or vivid blues and purples. These or social group. For instance, a chorus in black or dark
colors helped divine characters stand out from mortals blue could reflect a tragic, somber mood, while lighter or
and were symbolic of their higher status and more vibrant colors might be used in comedies. This
supernatural power. monochromatic approach helped establish the chorus’s
role as a single entity.

44
CLOTHING IN
ART AND
SCULPTURE

45
 CLOTHING IN ART AND SCULPTURE
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).

-Depiction of Clothing in Greek Vase Paintings, Sculptures, and Reliefs:

Greek vase paintings and sculptures often showcase clothing that reflects
the societal norms and aesthetics of the time. In "Lysistrata," we see
characters depicted in traditional garments such as chitons and Himations.
These garments not only served practical purposes but also indicated
social status and gender roles. The representation of clothing in art
provides insight into the daily life and values of ancient Greece, highlighting
how attire was integral to identity.

46
 -How Fashion in Art Reflected Ideals and Status:

Fashion in ancient Greek art was closely tied to ideals of beauty, virtue, and social
hierarchy. In "Lysistrata," the women's clothing symbolizes their roles in society and
their rebellion against male dominance. The contrast between the women's elegant
attire and the men's more utilitarian clothing emphasizes the themes of femininity and
power. Clothing in this context serves as a visual cue for the audience, illustrating the
characters' intentions and societal positions.

-Stylization and Symbolism of Attire in Greek Mythology and Art:

Clothing in Greek mythology often carries deep symbolic meanings. In "Lysistrata," the
use of attire can be seen as a form of protest and empowerment. The stylization of
clothing not only reflects the characters' personalities but also their motivations. For
example, the women's decision to withhold intimacy from their husbands is visually
represented through their choice of clothing, which becomes a powerful symbol of their
strength and unity.

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In conclusion, clothing in Greek art and sculpture, particularly as illustrated in
"Lysistrata," is a rich subject that reveals much about societal ideals, status, and
the symbolic nature of attire. This interplay between clothing and character
serves to enhance the narrative and deepen our understanding of the cultural
context of ancient Greece.

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 EXAMPLES FROM LYSISTRATA
Discussion of Perfume and Makeup

1. Lysistrata and her friend Calonice talk about the beauty regimens and fashion of the
time, touching on perfume and adornments:

● Calonice: "By Aphrodite, it’s not an easy task! I mean, we have to give up our saffron
dresses, our pretty shoes, our perfumes, and our makeup!“

Lampito’s Reaction to Athenian Fashions

2. When the Spartan woman Lampito arrives, she makes fun of Athenian fashion
customs, seeing them as excessive compared to her own Spartan simplicity:

● Lampito: "Look at you Athenian women, so adorned and pampered! Your saffron robes,
your perfumed oils—no wonder your men are wrapped around your fingers!"

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 THANK YOU

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