Throughout the nineteenth and early twentieth centuries, traditional articles of Central Asian clothing remained basically unchanged. The classic T-shaped outer robe (generically called a chapan, khalat or don) was worn by nomadic and settled peoples, men, women, and children. Most robes were lightly padded with cotton batting and lined with either locally handwoven cotton cloth, or factory-produced cotton, much of which was imported from Russian mills in brightly colored patterns. The edges were usually finished with a decorative trimming that also served to prevent evil spirits from gaining access.
The most widely used fabrics for outer robes were multi-colored handwoven stripes called bekasab or alacha. From the latter part of the nineteenth century onward, inexpensive Russian printed-cotton was also very popular. Velvets and ikats were costly and only well-off people could afford to wear them. After the Soviets gained control of Central Asia, small textile workshops were collectivized into artels and the more labor-intensive fabrics ceased to be made. Large vertical textile factories were built in Uzbekistan, Tajikistan, and Kyrgyzstan that produced many kinds of cloth, including silk ikats. These machine-woven ikats were inexpensive and plentiful and quickly caught on with women and girls for their dresses and robes.
SILK CREPE-de-CHINE FAUX-IKAT DRESS (ATRNB-232)UZBEKISTAN, c.1970s
47.5” length; 32” sleeve tip to sleeve tip This dress is made with a light to medium weight silk crepe-de-chine with a matte finish. It has a soft, pleasing hand and drapes nicely. Worn with a belt, it is quite an elegant dress. View Details » |
SILK IKAT DRESS (ATRNB-231)Uzbekistan, c.1970s
42” length; 16” shoulder seam to shoulder seam Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars became popular as everyday wear during the early decades of the Soviet era. Later on dresses often featured short sleeves and fanciful collar treatments like this example. They were most often sewn from machine-made silk “atlas” ikat in a seemingly endless array of patterns. The term “atlas” refers to a silk warp/silk weft satin-weave fabric. Most “atlas” ikat from this era was produced in large Soviet-built textile combines in Uzbekistan and Tajikistan. The young women in this photograph from an Uzbek fashion magazine (1975) are wearing atlas ikat dresses in the latest styles. View Details » |
SILK IKAT DRESS (ATRNB-230)Uzbekistan, c.1970s
45” length; 19” shoulder seam to shoulder seam Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars such as this example first became popular as everyday wear during the early decades of the Soviet era (see archival photograph by Max Penson of an Uzbek family, c.1930s-40s). Later on dresses often featured short sleeves and fanciful collar treatments. They were most often sewn from machine-made silk “atlas” ikat in a seemingly endless array of patterns, including printed ikat patterns that were often hard to distinguish from the woven ikats. The term “atlas” refers to a silk warp/silk weft satin-weave fabric. Most “atlas” ikat from this era was produced in large Soviet-built textile combines in Uzbekistan and Tajikistan. The young women in the photograph from an Uzbek fashion magazine (1975) are wearing atlas ikat dresses in the latest styles. View Details » |
FAUX-IKAT SILK DRESS (ATRBBSC-229)Uzbekistan, c.1970s
42” (shoulder to hem);14.5” shoulder to shoulder Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars such this example first became popular as everyday wear during the Soviet era. They were most often made of atlas ikat and had a more Western cut. The young women in this archival photograph by Max Penson are wearing kuylaks. The family members are posing by their grape arbor, Uzbekistan, c.1930s-40s. View Details » |
GIRL'S SILK IKAT DRESS (ATRNB-228)Uzbekistan, c.1970s
42” length; 14.5” shoulder seam to shoulder seam Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars first became popular as everyday wear during the early decades of the Soviet era. Later on dresses often featured short sleeves and fanciful collar treatments like this example. They were most often sewn from machine-made silk “atlas” ikat in a seemingly endless array of patterns. The term “atlas” refers to a silk warp/silk weft satin-weave fabric. Most “atlas” ikat from this era was produced in large Soviet-built textile combines in Uzbekistan and Tajikistan. The young women in this photograph from an Uzbek fashion magazine (1975) are wearing atlas ikat dresses in the latest styles. View Details » |
SILK FAUX-IKAT DRESS (ATRSC-227)Uzbekistan or Tajikistan, c. 1970s-80s
43” length; 16.5” shoulder seam to shoulder seam Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars such as this example first became popular as everyday wear during the early decades of the Soviet era (see archival photograph by Max Penson of an Uzbek family, c.1930s-40s). Later on dresses often featured short sleeves and fanciful collar treatments. They were most often sewn from machine-made silk “atlas” ikat in a seemingly endless array of patterns, including printed ikat patterns that were often hard to distinguish from the woven ikats. The term “atlas” refers to a silk warp/silk weft satin-weave fabric. Most “atlas” ikat from this era was produced in large Soviet-built textile combines in Uzbekistan and Tajikistan. The young women in the bottom photograph from an Uzbek fashion magazine (1975) are wearing atlas ikat dresses in the latest styles. View Details » |
SILK IKAT DRESS (ATRSC-226)Uzbekistan, c.1970s
47” length; 15” shoulder seam to shoulder seam Women’s and girls’ dresses called “kuylak” (Uzbek) or “kurta” (Tajik) took several forms. Smock-like ones with spread collars first became popular as everyday wear during the early decades of the Soviet era. Later on dresses often featured short sleeves and fanciful collar treatments like this example. They were most often sewn from machine-made silk “atlas” ikat in a seemingly endless array of patterns. The term “atlas” refers to a silk warp/silk weft satin-weave fabric. Most “atlas” ikat from this era was produced in large Soviet-built textile combines in Uzbekistan and Tajikistan. The young women in this photograph from an Uzbek fashion magazine (1975) are wearing atlas ikat dresses in the latest styles. View Details » |
WOMAN'S PARANJA (ATRNB-225)Uzbekistan, 2nd quarter 20th century
50” length shoulder to hem; 43” length of false sleeves The paranja was a cape-like garment with long false sleeves that were fastened together and hung down the length of the back. Draped over a woman’s head, it was designed to envelop her completely. Most paranjas were made from “banoras” – a handwoven, silk warp/cotton weft cloth with narrow black pin stripes on a dark green, blue, or gray ground. Except for any embellishments such as tassels and embroidery, the overall look was rather drab. This elegant paranja is the exception. Made of lustrous taffeta that appears both mauve and bronze depending on the light, it was no doubt worn by a well-to-do woman on special occasions. While the outside of the paranja usually presented a rather plain face to the world, the inside was often lined with imported Russian printed cotton. The variety of patterns seemed endless, and often they were strikingly beautiful – seen only by the woman who wore them. The body of this paranja is lined with a traditional paisley print. However the wide facing material is unusual – the pattern was obviously inspired by a Japanese design. The archival photograph was taken around 1910 and shows an Uzbek woman posing for the camera in her paranja with her horsehair face veil thrown back over her head. View Details » |
UZBEK MAN'S BEKASAB ROBE (ATRNB-224)Uzbekistan, 2nd half 20th century
44” (shoulder to hem) – 25” (sleeve length shoulder to cuff) Bekasab (or bekasam) was a heavyweight, handwoven, multicolored striped fabric. It was produced in vast quantities in Uzbekistan. Woven with a silk warp and cotton weft, the surface was usually polished to a high sheen. It was also characterized by a fine horizontal ribbing. Extremely popular, it was a favorite robe material and was worn by everyone – from Khans to the common man, woman, and child. This striking bekasab fabric is finely woven and still retains its original luster and moire finish. It has a Western-syle touch with the addition of an inside pocket and a tab closure. View Details » |
WOMAN'S JELAK (ATRSC-215)Uzbekistan, circa 1960s-70s
Samarkand region, Uzbekistan Very short capelike jelaks such as this date from around the 1960s -70s and were popular in the rural areas around Samarkand. Like their longer jelak cousins, these were worn by Tajik women as headdresses, with the long false sleeves joined behind. Ikat, both woven and printed, and solid red cloth were the preferred materials. They were usually ornamented with many pearl or white glass buttons, braid, tassels, and cross-stitching. This is a particularly beautiful example with lots of fine details and a striking rose-strewn lining. Most jelaks are not fully lined. SOLD View Details » |
UZBEK SILK ROBE (ATRRT-214)Uzbekistan, fourth quarter 19th century
52” (shoulder to hem); 66” (cuff to cuff); 23.5” (sleeve length) This plain black outer robe belies its beautiful inside. Three different Russian prints are set off by a striking Uzbek ikat and a lovely Russian yarn-dyed stripe. The main pattern of meandering scrollwork and floral bouquets is particularly refined. Completely original and entirely hand-sewn, this robe displays well either as is, or turned inside-out. If you are interested in this silk robe and would like more information please contact Susan Meller. View Details » |
WOMAN'S SILK BROCADE ROBE (ATRSC-213)Uzbekistan, third quarter 19th century
50” (shoulder to hem); 65” (cuff to cuff); 21.5” (sleeve length) Imported silk brocade was an expensive fabric that only the well-to-do could afford to wear. It was usually imported from Russia or the region of western China then known as Chinese Turkestan. This robe was made from silk brocade probably woven in Kashgar. The Russian block-printed paisley cloth is a beautiful example, produced at a time when some Russian mills were still using wooden blocks, while more modernized mills had switched to copper roller-printing. The green is a vivid as the day it was printed (it often faded away in sunlight) and was achieved by over-printing yellow on blue. The faint outlines of the blocks can be seen. View Details » |
TAJIK WEDDING VEIL (ATBBRNB-170)Tajikistan or Uzbekistan, 20th century
17” length x 18” width This veil may be all original, or it may be a marriage of a recycled older netting and a more recent machine-sewn border. It would have had a tie attached to either end of the red flannel so that the veil could be secured around the bride’s head, thus hiding her face. It makes an interesting study piece where one can get a close-up look at the intricate method of constructing the silk gridwork. View Details » |
WOMAN’S JELAK (ATRNB-207)South Uzbekistan, second quarter 20th century
35” length x 30” width (closed) While similar in appearance to a woman’s paranja, a jelak was much shorter and never meant to conceal. It was worn on top of a rural woman’s headdress and draped like a shawl over the head and shoulders, with the false sleeves hanging in back (see first and third photos). The hem was deliberately left unfinished in the belief that by so doing a woman could bear many children. SOLD View Details » |
TURKMEN CHILD’S KURTA (ATRSC-205)Central Asia, mid-20th century
21” length x 24” cuff to cuff While these shirts (kurta) may not have been considered as magical as the child’s bib-like elek, they too were protective. Patchwork was thought to confuse the jealous Evil Eye, driving it away from the young child wearing it. The hem was deliberately left unfinished in order to insure that the child would continue to grow. View Details » |
UZBEK BOY’S IKAT COAT (ATRNB-184)Uzbekistan, third quarter 20th century
26” length x 35” cuff to cuff Except for very young children, who needed extra protection from evil spirits, boys and girls dressed much the same way as their parents. View Details » |
SILK MOIRE ROBE (ATRSC-178)Uzbekistan, c.1870s-1880s
50” (shoulder to hem) x 75” (cuff to cuff) – cut full Solid-color all-silk robes, such as this example, tend to appear less in shops and museum collections than their showier ikat counterparts. But open them up and a richly patterned world is revealed, usually one with beautiful imported Russian cotton prints such as this dramatic example. The red and black are favorite Russian colors – the pattern is a simulated classical woven brocade or damask. This handsome woman’s robe is cut very full as it would have been worn over layers of other robes. It is quilted and padded with cotton wool for extra warmth. The sleeves were made extra long in order to conceal the hands as custom dictated. They also served to keep one’s hand’s warm in winter. View Details » |
CHILD’S VELVET COAT (ATBBRNB-167)Bukhara(?), Uzbekistan. c.1990s
17.5” shoulder to hem; 9.5” sleeve length This cute little robe was made for a young boy to wear on festive occasions. View Details » |
WOMAN’S PRINTED TROUSERS (ATRSC-161)Uzbekistan, c.1980s-90s
38” length; 7″ cuff openings Under their dresses, women wore long loose-fitting trousers called “lozim” (Uzbek), or “shalwars” (Tajik) with a drawstring top that rested on the hips. The upper part was usually made with a less expensive fabric. The narrow cuffs were often embellished with embroidery or some kind of fancy trimming. Traditionally, these trousers were worn from childhood through old age. During the latter decades of the Soviet era, young women began to forgo wearing trousers underneath their dresses, like these stylish young ladies from an Uzbek fashion magazine of 1975. The printed fabric of these trousers is an interesting combination of traditional ikat motifs with cotton bolls. View Details » |
UZBEK BROCADE BOY’S ROBE (ATRRT-151)Uzbekistan, early 20th century
30” length x 41” cuff to cuff Except for very young children, who needed extra protection from evil spirits, boys and girls dressed much the same way as their parents. The stand-up collar as seen as this robe, distinguishes a man’s robe from a woman’s. So this robe was made for a young boy from a well-to do family who could afford the costly imported Russian brocade. View Details » |
CHILD’S BEKASAB ROBE (ATRNB-126)Uzbekistan, circa 1960s
20” length x 33” cuff to cuff This cute little robe was made for a young boy. The bekasab striped material was machine-made; the narrow edging was probably handwoven; and the faux-ikat was most likely produced in an Uzbek textile combine. View Details » |
UZBEK HEADBAND (ATOTRNB-125)Uzbekistan, first half 20th century
21” x 3.5” (as shown, but not including ties) This embroidery may or may not have started out as a headband. The two Turkey-red printed cottons and the printed cotton ties were definitely added at a later date than the embroidery. View Details » |
UZBEK HEADBAND (ATOTRNB-126)Uzbekistan, first half 20th century
22” x 3.25 This embroidery probably was made to serve as a headband, however the end ties are missing. The printed cotton backing is a Russian export fabric with an Art Nouveau poppy pattern. View Details » |
TEKKE TURKMEN COLLAR TRIM (ATOTRNB-123)Tekke Turkmen, Central Asia. First half 20th century
22” x 4.5” Turkmen women embroidered elaborate trim for the collars of their robes. View Details » |
WOMAN’S HEADBAND (ATBBRSC-111)Bukhara, Uzbekistan. 2nd half 20th century
4.25” x 56” Gold embroidered headbands called “peshanaband” were favored by the ladies of Bukhara. View Details » |