Why do we
need clothes anyway!
How to
become a thoughtful dresser in one day and
know what
you are wearing…..
rior to designing my Ready to Wear
clothing line and accessories I spent about 10 years
lecturing and researching the issue of clothing in general
and the messages women wanted to convey through this art
form which was once exclusive to women. Mythology and
symbolism in women’s clothing was all I was interested in
for a long time, and as a result I collected historical
costumes in order to quench my thirst for the subject. I
wanted to break the myth that women dress only for men, as I
believe this to be an untrue statement. It is widespread in
the United States and perhaps is a direct result of the
conservative influences coupled with the revolution of women
within the work force. I can not rule out a pinch of male
insecurity in this flawed picture….?!
Unfortunately, many young women
growing up today have little or no memory about the
struggles of their mothers and grandmothers before them and
have thus not been in tune to the politics of female
breadwinners in the twenty first century. I know that
primarily I dress to feel good, secondly to impress my
girlfriends, and lastly to be attractive for men. I love
men, but I am the type of woman that dresses for fun and to
be happy. As I say to my daughters (which my husband rejects
as a bad analogy!): “Your well being is the main course,
girls, and men are desert!” You can choose to eat desert or
not, you will not starve! It is important that we teach our
daughters that they come first.
So how to go about becoming a
thoughtful dresser. Well, think about history and the fact
that most ‘documenters’/historians have been men (painters,
writers, etc.). Women played out the creative angles through
domestic avenues: raising the future, writing and through
clothing. Our sister’s stories and struggles are evident
within the clothing and embellishment. I can explain from my
perspective how it all adds up for me.
A well-designed garment is made to
make you look even better than your best mood makes you
feel. To achieve this, the adornment should be placed where
it matters and where it compliments the human figure.
Historically (pre-Baroque), adornment was placed and used by
women for good luck or worn as jewelry. In other cases it
was to protect your spirit from the outside environment.
These decorations/adornments were subtle and pretty,
resembling festoons of flowers on vines with petals pointing
upwards to the light, as to say ‘thank you’ to the heavens
for rain and good fortune. A celebration of life.
Clothing must be optimistic, isn’t that why we pay more than
men for our clothing!?
Here lies the most important
element of all—if we have curvy shapes in our bodies than
our clothing must contain curves as well. After all fashion
designers use two specifically curved rulers to draft a
pattern, so do not be surprised if your clothing has curves
built in. Putting a woman into a cylinder or tube of fabric
is a ridiculous
concept.
Women must stand tall and celebrate their bodies. If women
were so powerful in North America, we would not be violated
by TV on a daily basis under the pretence of Hollywood
entertainment and unrealistic ideals. And what is this issue
with dress size?! Most of Europe has standards for sizes so
as to insure that a size 44 in one part of France has the
same proportions as another. America does not have this rule
and that is another contributing headache for us in the
fitting rooms across the nation. Who is making up the rules
anyway?
Today on fashion runways this
simple, tried, and true concept of design has been thrown
out in most cases with the exception of Christian Lacroix
and his contemporaries within Haute Couture, and replaced
with impulse marketing concepts cooked up by the corporate
accountants and strategists. A disconnect between reality
and ‘fashion’. I can not tell you how many young women I
come into contact with who are new to the fashion world and
still think Mr. Dior is alive and running the show! All
completely oblivious of British designer John Galliano (now
designing for Dior), the number one sensationalist and body
oil consumer of the world!
thoughtful dresser is elegant from head
to toe and money has nothing to do with it. Intelligent
dressing is the future and Ms. Prada is proof of the new
doctrine of research, experience, and reflection — Elegance
will always trump fashion trends. If women want to become “fashionistas”,
then for heaven’s sake get educated! A thoughtful dresser
does not just carry a Louis Vuitton bag or schlep around in
Juicy Couture sweats. It is a poor start when young women
fall victim to the money machine of fashion and do not
enrich their thoughts with style ideas and concepts that
they can grow from (history, your own perspective).
Where is our American culture going with these sloppy new
concepts? When I came to Los Angeles in 1981, no one knew
Lacroix from licorice but now we have gone overboard in the
opposite direction and everyone is not happy with just DKNY.
For more thoughtful reflections Read Givenchy’s interview,
Harper’s Bazar June 2005 issue, which criticizes the lack of
fashion today and the emergence of the Hand Bag Phenomenon.
Historically, In Middle Eastern
culture (which I specialize in) as well as Asia in general,
decoration was put on clothing for two main reasons: Health
and fertility or spiritual well being. Through my readings
and interviews I found that all women across the five
continents practiced identical adornment concepts and used
similar patterns and colors on their clothing to convey a
message or use protection symbols, if you will. For
instance, blue/turquoise is special to the Navajo Indians,
Tibetans, Scandinavians, Persians and Arabs as it represents
good luck (water, rain, agriculture, life).
Art to Wear is a form of art
created by women and for women from the beginning of time.
Women sought to express their individuality and identity
through the design and adornment of their own clothing. The
woman’s choice of embellishment identified her place of
origin, tribe, or social status. Economics and daylight
played a big role in this process as wealthier women were
able to spend their
leisure time embroidering or creating lace for pleasure. The
working class women worked double as hard with what little
means they could afford. After tending to the family needs
and their daily trading in the city marketplace, these women
had no personal time available to them. Luckily for the
latter, the Cottage Industry began through this group of
women as money from their daily trade in the city centers
(agriculture etc.) enabled them to pay a middle woman, or
commission her, to make an embroidered panel or a piece of
lace. Therefore, everyone was happy.
Palestinian women were interested
in protecting the soul and therefore most of the adornments
on the national dresses and costumes are all around the
heart area. Their bodices had a secret pocket behind the
embroidery panel to keep a hanky or coins. . . The motifs
used consisted of upside down triangles also called amulets
(symbolizing good things from heaven to the Earth), and
colors were of course red for fertility and life and green
for nature and water. The triangles were filled with vines
of flowers with whimsical names like the Road to Damascus or
the Road to Egypt. Palestinian women worked in the fields as
well as in cottage industries in Bethlehem or Jerusalem and
knew the importance of comfortable but pretty clothing.
uality of textile matters. Look at the
clothing and ornamentation adorning the top members of most
religions. Textiles take time to make, and prestige was and
is shown by the quality of the textiles. In Islam and
Catholicism, important men within the government or in trade
received the top cloth and the best embellishments. This
ideology came to the US later on and also contributed to the
evolving of Art to Wear. Another tidbit: Palestinian women
had flexible belts that were made from elite Damascus silk
(damask), which double wrapped around the body. These belts
were made of the best textiles and could accommodate women’s
cycles of life and changing body weight. Education has a big
role to play in fashion. Look up Prada’s collections last
year and her belts on Style.com. These same belts can be
found in many other cultures like the Turkoman etc.
In the past, Nomadic women in Syria
placed most of the adornment around the womb area. These
motifs included carnations, pomegranates, and pine trees all
celebrating abundance and fertility (both in crops and in
babies!). Today in the US the overwhelming fashion of no
hips and the pre-pubescent silhouette is celebrated as
beautiful. This dangerous fashion trend leads to anorexia
and bulimia and millions of mothers painfully know what
their daughters endure to get healthy again. I think it is
another way our society keeps women in check by holding them
back. It is like someone is saying to us that we may have
achieved our career status, but you still need to get
thinner! Give a woman something that is so difficult to do
that she is not capable of feeling completely happy. Worst
of all is when women do this to other women and that I find
inexcusable. On this subject read Calvin Klein’s
unauthorized biography! Look around you and at our
television commercials and compare us to Spanish, Italian,
Arabic, or Mexican television. All their men peddling
products are slim, attractive, and handsome. If men in
America have such steep standards I think they need to step
up to the plate!
In the town of Sarakib (near Aleppo
in Syria), certain holy women were religious confidants and
thus earned the male privilege of embellishing the areas
close to their shoulders as well as soul to protect the head
and mind— insuring good judgment and longevity. By the way,
many anthropologists point out the significant placement of
adornment on the human figure and that it is not a
coincidence that priests and army generals wear all the
adornment/decoration near the head . It is like pointing out
in broad daylight how indispensable and important these
important men are. Hmm………. This phenomenon is also evident
in the tripling of the size of shoulder pads during the
Reagan era when so many women sought their place in
corporate America. The myth was that if you had to take a
man’s job away from him than you had to act and look tough.
It was a twisted idea in my opinion, but being half Syrian
and half American makes you think different!
Thoughtful symbolism and meaning
within clothing is a subject very dear to my heart, and all
I can do is share some of it with you and recommend some
great books to bring you into the whole picture. Costumes I
have collected are also available for school lectures on the
subject. Our future is in the hands of our youth.
List of recommended readings:
Embroidered Textiles. Sheila Paine, Thames
and Hudson.
Traditional Patterns from five Continents.
With a worldwide Guide to Identification.
Palestinian Costume,
Weir, Shelagh, University of Texas Press, Musuem of Mankind,
London.
Palestinian Costume
,by Jihan Rajab, Kuwait Museum
Syrian Folklore, Thames and Hudson.
Scheherazade Goes West,
Mernissi, Fatima
Matisse, His Art and His Textiles: The
Fabric of Dreams,
Metropolitan Museum of Art, New York
Photographs by Hilma Granqvist,
Palestine circa 1920s
An Arab-Syrian Gentleman and Warrior in the Period of the
Crusades
by
Richard W. Bulliet (Foreword), Philip K. Hitti
Copyright Aida Dalati 2005