Kitaplar< Geri dönün
THE INDUSTRIAL HERITAGE OF COSTUME DESIGN IN TURKEY
GSD Dış Ticaret A.Ş. yayını , 1.basım, 1996, İstanbul (ISBN 975-94934-0-3)
THE INDUSTRIAL HERITAGE OF
COSTUME DESIGN
IN TURKEY
Prof. Önder Küçükerman
Prepared to mark the occasion of the tenth anniversary of GSD Foreign Trade Company Incorporated, two thousand five hundred copies of this book were printed and numbered in May 1996.
We wish to express our gratitude for permission granted by Sadberk Hanim Museum to publish photographs of wearing apparel to the president of the Executive Board of the Museum, Sevgi Gönül, and for the assistance of its staff members and experts, Şebnem Akalin, Lale Görünür and Hülya Yilmaz and to the curator of the National Palaces Archives, Demet Aygar.
Prepared for publication and edited by: Prof. Önder Küçükerman
Translated by: Joyce Matthews
Type composition, graphics and color reproduction, printing by: Aksoy Grafik Dizgi Matbaacilik A. Ş.
Graphics coordinator: Canan Kahraman
Binding and Slipcase: Numune Cilt Sanayi Ltd, Şti.
Cover Binding: Som Kimya
ISBN 975- 94934-0-3
First Printing: May 1996
CONTENTS
FOREWORD
Önol Akalın, 9
INTRODUCTION
Prof. Önder Küçükerman, 11
CHAPTER ONE:
HISTORICAL SOURCES OF TURKISH COSTUME
Early history of Turkish costume, 19. Vivid costume design of Inner Asia flourishes in Anatolia, 22. Anatolian dress in Seljuks of Rum period, 25. Early caravanserais and textile trade in Anatolia, 33. Textile manufacturing and dress regulations in Istanbul, 36. Changes in traditional Ottoman dress and fashion currents, Broadcloth: An ever-popular fabric, 41. 'New' types of garments in the l7th century: Sturdy jackets of aba, 43. Ottoman shoes: Footwear to complete the outfit, 45. Dustcoats: Unisex wearing apparel, 47. Veil design for men in the Palace harem, 50. Waistcoat type: Fermene, 50. Popular style inspired by fire brigade dress in l8th-century Istanbul, 50. Mode created by state officials: The pasha style, 51. A fashion sensation: the Selimi turban, 51. Popular trend: The Merjan slipper, 54. Costume regulations in mid-l8th century, 54. Style accessories at end of l8th Century: Cashmere shawls as sashes, 57
CHAPTER TWO:
OTTOMAN TEXTILE MANUFACTURING
Guild corporations, trade monopoly system and textile manufacturing ensure Ottoman industrial standards, 64. Fabrics and costume in the 1640's. 76. Textiles and clothing in Evliya Chelebi's day. 83. Silk textiles factory in 1721, 88 · Era of turning to the West in Ottoman Empire, 92. Looking Westward: The Tulip Period in the Ottoman Empire, 92. Developments between 1730-1789, 93. The Reign of Sultan Selim III, 1789-1807: The 'New Order' Reforms, 93. The Reign of Sultan Mahmut II. 1808-1839, 94. 1839: The Reign of Sultan Abdülmecid and the Era of Reforms, 95. Ottoman Industry at the End of the l8th Century, 95
CHAPTER THREE:
DRESS TRANSFORMATION IN OTTOMAN EMPIRE IN THE l9TH CENTURY
Ottoman Military dress in Janissary period and afterwards, 103. New Janissary Recruitment system creates a new style, 104. Early l8th-Century style setters 'Huseyin Pasha's Barefoot Sailors', 111. The 'New Order,' the Ottoman army and a new dress code, 115. New military dress and the Elifi Shalwar, 115. A l9th century male fad: 'Chest locks', 121. 1808: The new Segban troaps and a new headgear: 'Shubara', 121. Men's entari- robe era ends, 1826, 125. Industry founded to meet demand created by dress changes in Ottaman Empire 1828, 128. Fezzes, 131. The 'fez Tassle' issue, 135. Capes, 137. Recollections of 'Zarif Pasha' and his new military costume, 1830's, 137. 'European' dress in Ottoman Empire, 141. Boot galoshes, 141. 'European' shirts 143. Crimean war and new uniform for sailors, 1853, 145. A Palace tailor's account book; 1854-71, 145. Avniye: A new winter military uniform, 1860's, 159. Men's wear in reigns of Sultans Abdulmejid and Abdulaziz the Istanbulin, 161. Women's yashmak, 161. Women in workplace, 1869, 163. Newspaper clothing advertisements, 1884, 165. Frock coats, 167. Zouave dress in Yildiz Palace, 167. Observations by Lecomte on Ottoman textiles and clothing, 1903. 169. Turkish shoes and shoemaking, 173. New developments in Turkish textile and clothing industry after 1910, 177
CHAPTER FOUR:
OTTOMTAN TEXTILE AND CLOTHING PRODUCTS AT EARLY INTERNATIONAL INDUSTRY EXHIBITIONS
First London International Exhibition 1851, 205. Ottoman textile products at Paris International Exhibition 1855, 207. Ottoman textile products at Second London International Exhibition 1862, 209. Textiles and clothing at Ottoman Imperial Exhibition 1863, 211. Sultan Abdulaziz's European tour and western industrial innovations, 1867, 215. A book of costume prepared for 1873 Vienna International Exhibiton, 225
CHAPTER FIVE:
REFLECTIONS OF INDUSTRIAL REVOLUTION IN OTTOMAN EMPIRE AND HISTORICAL FACTORIES
First reflections in Ottoman Empire of Industrial revolution: Industrial institutions in Istanbul; 1805, 233. Foundation stone of Turkish textile manufacturing industry Feshane, 1839 235. Islimiye Broadcloth factory, 1842, 251. Special position of Hereke Imperial factory in history of Turkish textile industry, 1843, 253. Bakirkoy textile factory, 1850, 277
Photographers and photographic credits, 280
Footnotes, 282
Biographical sketch of Writer, 283
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FOREWORD
Önol Akalın
Managing Director, GSD Foreign Trade Co Inc.
The publication of this illustrated history of Turkish costumes through the ages commemorates the tenth anniversary of GSD Foreign Trade CO., Inc. Established in 1986, GSD is today the largest exporter in Turkey, occupying a unique and prominent position in the garment industry.
We have prepared this volume in the hope that it will serve as a reference book and a document of enduring cultural value. This work is also intended to commemorate the nameless designers, manufacturers and workers who have toiled through the centuries to contribute to the historical formation and development of the Turkish ready-to-wear industry.
The borders of the far-flung Ottoman Empire encompassed an extraordinarily rich variety of styles of dress. The development, change and technological evolution over time of these different styles and traditions are reflected in many aspects of the grand historical adventure that began in Central Asia, expanded into one of the largest and most long-lived empires of modern times and evolved; after ten centuries, into the Republic of Turkey. Reverberations of the historical development of Ottoman costumes can be detected in many spheres, especially in international relations, economic and social developments and the interaction of culture and art. This volume sets out to explore the origins and inspiring influences of the Turkish garment industry in an historical perspective and illuminate the development of this cultural and industrial heritage.
GSD Foreign Trade Co. is pleased to mark its tenth anniversary with the publication of this book. I would like to thank our chairman Mr. Turgut Yilmaz and all the members of Board of Directors for the support they have given this project.
This book has been prepared by Professor Önder Küçükerman, highly respected scholar and artist. With his customary enthusiasm and care, Professor Küçükerman has elucidated many aspects of Turkey's cultural and industrial heritage, introducing us to the treasures inherited by the Turkish ready wear sector, an industry that today is applying advanced methods and techniques in an increasingly widespread manner.
I would like to express my thanks once more to Prof. Küçükerman, and give my compliments to Mr. Atilla Aksoy, who has elevated this book to an artistic level.
INTRODUCTION
Prof. Önder Küçükerman
This book is intended to present in broad outline the sources of traditional, experimental and practical knowledge that lie behind Turkey's current success in the textile and ready to wear industry. This success goes hand in hand with taday's achievement by Turkey in exhibiting its true identity on the international scene.
In point of fact, Anatolia has possessed a wealth of resources for the manufacture of textiles since the dawn of history. These resources have been readily accessible at low cast to provide all materials requisite for every kind of textile manufacture. Moreover, due to its geographical location, Anatolia is situated on a prominent crossroads that permits interconnection with four different production and consumer chains in all four cardinal directions. For this reason, it has been central throughout history in the transmitting currents of communication, commerce and culture. A number of regions and cities in Anatolia have consistently maintained competitive power with their textile products, each of which possesses a distinctive character.
Further, Anatolia has always displayed a dense cultural identity as a result of migratory movements from all points, which has constantly endowed it with new and original products. But its textile and clothing manufactures through both a rich cultural heritage and products with strong competitive power more properly represent the transformation of Anatolia into a language of visual communication rather than simply being a random collection of individual costumes.
From the first to the last days of the Ottoman period, textiles and costume was an issue to which attention was paid by the state, particularly as a communication language, and which was subject to careful control by the central government. The manufacture of approved dress bore the equivalent meaning of 'fashion' today. Initiatives originating always at the very highest levels were aimed at planning and the setting of norms, quality standards and sale prices, in addition to directing design projects. In essence, systems were developed to keep productian and consumption in balance.
The military and civilian dress code of the Ottoman realm typically presented a complex communication system within an ever-widening sphere of influence.
Revisions, very broad in scope, were instituted whenever necessary. For instance, changes in the state structure were reflected first in the clothing of the military service personnel and, afterwards, in that of the ordinary citizen. Such changes frequently prompted a wholesale renewal of the dress code in the Ottoman period. The diffusion of the Industrial Revolution in the Empire in the 1800's led once more to alternations in the costume of, first, the military population. This indirectly led to the necessity on initiating large and complex projects for textile and clothing manufacturing. This is why, initially, enterprise in the great industrialization movement of Empire had its start in the area of textiles and clothing in the 19th century. Many regions the most important of which was Istanbul-received state incentives. The most advanced factories of the period were founded, and innovations in wearing apparel were spread through-out the Empire. In the transition from empire to republic, development of industrialization, in this same sector continued to obtain state support. Changes in costume were executed, and the state one more assumed a leadership role investments in this sphere.
By the conclusion of the extended time span sketched out above, nearly every region of Anatolia had, through the tradition of drawing on its own resources, developed a capacity for the manufacture of textiles. Incorporated in this capacity, alongside small-scale production whose stress lay on cultural aspects, was an interconnected manufacturing industry-both broadly comprensive and congruent so- as to compete according to international norms at the most advanced levels.
Further, the textile and clothing designs of Anatolia comprise a treasury of a visual language based on traditions thousands of years old. Like a voluminous encyclopedia of fashion sources, they can be drawn upon in response to the demands of the international milieu and in contemporary terms are capable, at a moment's notice, of entertaining all option.
Today's Turkish textile and clothing sector, which utilizes this multivalently and abundant heritage, has been endowed with strength by this scarcely known fastinating source. Istanbul, however, is the fashion center where for hundrets of years such projects have evolved and where they have been brought to life. Yet, this historical accumulation in the Turkish textile and clothing sector has been insufficiently exploited. It furnishes a rich resource for design concepts that have been created by practical experience over a period of thousants of years in Anatolia.
Hence, what this book hopes to accomplish is to distinguish in broad strokes the cornerstones of this long and remarkable tradition and to reveal, so far as is feasible, the sources of design constituting the foundation of the contemporary Turkish clothing industry.