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49-536: It is a loose-fitting tunic , generally made from two or three rectangular pieces of fabric, which are then joined with stitching, ribbons, or fabric strips, with an opening for the head and, if the sides are sewn, openings for the arms. Traditional huipils , especially ceremonial ones, are usually made with fabric woven on a backstrap loom and are decorated with designs woven into the fabric, embroidery, ribbons, lace, and more. However, some huipils are also made from commercial fabric. A huipil can vary in length from

98-641: A pipal tree shown in an Indus-like mirror symmetry. A mother goddess figurine from the National Museum, New Delhi , shows a female wearing a short tight tunic. Worn in the Indian subcontinent , including India , Pakistan and Bangladesh , the tunic is usually referred to as kurta . An Asian tunic is typically adorned with delicate embroidery, bead-work or intricate threadwork as well. Embroidery or thread work on such tunics usually combines threads of many different colors. Vietnamese tunics are called áo dài ,

147-403: A bidaniro. The huipils of Santa María Magdalena, Chiapas are rich in symbolism with images of gods, flowers, frogs and other images with mythological importance. It also includes a set of symbols which serve as a kind of signature of the weaver. The ceremonial huipil of Magdalenas has designs that represent the universe in the form of a cross with east represented on the right shoulder and west on

196-407: A kind of blouse rather than a dress. In the same region, the huipil also evolved into a long flowing and sometimes voluminous head covering which frames the face. To this day, the most traditional huipils are made with handwoven cloth on a backstrap loom. However, the introduction of commercial fabric made this costly, and many indigenous women stopped making this fabric or making simpler versions. By

245-426: A number of indigenous communities, extravagant huipils made for a woman's wedding is then carefully put away and stored to be used later for her funeral. In others, a special huipil is begun when a woman reaches a certain age for this purpose. Ceremonial huipils are also made to dress images of saints. During festivals, these saints can be dressed in many layers of huipils, giving them a fattened appearance. The garment

294-424: A reduction in width in recent years. Huipils can be as short as waist length or can reach to the ankles or anywhere in between, but most fall just above or just below the knee. Long or short, it is not designed to be a close-fitting garment. The neckline can be round, oval, square or a simple slit. Most are sewn on the sides, leaving an opening in the upper part for the arms to pass through. Some huipils are not sewn on

343-403: A second one for special occasions, usually white, which frames the face then extends over the head covering the neck and shoulders. The blouse huipil has a length of only about 60 cm and shows modern, European and even Asian influence and is generally worn with a voluminous European style skirt which is also heavily decorated. The head covering is called a “huipil de tapar” (covering huipil) or

392-450: A short blouse to a garment long enough to reach the floor. The style of traditional huipils generally indicates the ethnicity and community of the wearer as each has its own methods of creating the fabric and decorations. Ceremonial huipils are suitable for weddings, burials, women of high rank and even to dress the statues of saints. The huipil has been worn by indigenous Mesoamerican women of both high and low social rank since well before

441-639: A tunic-like garment. A terracotta model called Lady of the Spiked Throne depicts two standing turban -wearing men wearing what appears to be a conical gown marked by a dense series of thin vertical incisions that might suggest stiffened cloth. A similar gold disc in the al-Sabah Collection from the Kuwait National Museum appears to be from the Indus Valley civilization and depicts similar conical tunic-wearing men holding two bulls by their tails under

490-531: Is a garment for the torso , usually simple in style, reaching from the shoulders to a length somewhere between the hips and the ankles. It might have arm-sleeves, either short or full-length. Most forms have no fastenings. The name derives from the Latin tunica , the basic garment worn by both men and women in Ancient Rome , which in turn was based on earlier Greek garments that covered wearers' waists. The term

539-478: Is a garment now customarily worn by Vietnamese girls and women. It is similar to the kurta of the Indian subcontinent countries, and the cheongsam of China . The áo dài was developed from the clothing worn in Chinese court but it could only be worn by the royalty originally. The áo dài was derived from áo ngũ thân (lit. 'five-panel gown') which was a Nguyễn court fashion which drew strong influences from

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588-466: Is a kind of ritual. She becomes the center of a symbolic world as her head passes through the neck opening. With her arms, she forms a cross and is surrounded by myth as between heaven and the underworld. The huipil is a tunic -like garment made by stitching together anywhere from one to five pieces of cloth. The most common fiber is cotton, but there are those made from wool and silk as well. Most huipils are made from two or three pieces, which are usually

637-514: Is an important source of income as agriculture is not enough to meet most families’ needs. While they work on other items such as tablecloths and other items of clothing, the most popular and most valued remains the huipil. Amuzgo women have achieved a certain level of fame, with weavers such as Florentina López de Jesús winning recognition at the 2001 UNESCO handcraft competition for Latin America and Caribbean. Traditional huipils generally identify

686-504: Is astonishing: they wear brightly coloured and embroidered shirts, with trousers called braccae and cloaks fastened at the shoulder with a brooch , heavy in winter, light in summer. These cloaks are striped or checkered in design, with the separate checks close together and in various colours. The various Celtic and Germanic peoples living in the colder Middle and Northern Europe wore long-sleeved tunics from as long back as pictorial evidence goes. Such tunics are often found depicted on

735-465: Is common among the various Mayan groups. For Mayan women in Guatemala, huipil designs on the front back and shoulders can identify which type of Maya and from what community. Mayan ceremonial huipils are worn only by the statues of saints and the wives of religious officials. Chinanteca huipils are elaborate with the entire garment covered in woven and embroidered geometric designs in various colors, with

784-536: Is likely borrowed from a Semitic word * kittan with metathesis . The word khiton ( Ancient Greek : χῐτών ) is of the same origin. The Roman tunica was adopted by the Roman citizens in the 3rd century BC E. It was often worn by Roman citizens and by non-citizens alike. However, citizens might wear it under the toga , especially at formal occasions. The length of the garment, the presence or lack of stripes, as well as their width and ornamentation, would indicate

833-485: Is the most economical of the three and can be found fairly easily in markets. It is white with figures of birds and other animals in vivid and contrasting colors. This used to be reserved for women of middle age or older but it has since been adopted by many. The indigenous women of the Isthmus of Tehuantepec are known for wearing two huipils. The first is a short velvet huipil which is heavily embroidered with floral motifs and

882-564: The Museo Nacional de Antropología . Some huipils, such as those from the Isthmus of Tehuantepec show Asian influence due to cloth brought from the Philippines . In addition, the huipil began to be worn with other garments, especially European skirts, during the colonial period. This led to changes in the garment itself and how it was used. In some cases, the huipil became shorter, to function as

931-469: The Florentine Codex . However, carbon 14 tests date it to the 18th century. It is exceptional not only for its age but there is none like it in any collection and it is larger than usual at 120 by 140 cm. It is made of cotton with feathers, wax and gold thread. The design is dominated by an image of a double headed eagle, showing both indigenous and Spanish influence. It is part of the collection of

980-538: The Norman Conquest . Around 1830 , small boys began to be dressed in sashed or belted tunics over trousers, a fashion which replaced the earlier skeleton suit . During the Crimean War in the 1850s, it was realized that the waist length jackets which had been worn by British soldiers since Napoleonic times were unsuitable for fighting in winter conditions. A new longer jacket was introduced which reached down to

1029-566: The Spanish conquest of the Aztec Empire and subsequent Spanish expansion, the huipil endured but it evolved, incorporating elements from other regions and Europe. One of the oldest known huipils in existence is the " La Malinche ", named such because it was believed to have been worn by La Malinche , Hernán Cortés ’ interpreter as it looks much like ones in depictions of her in the Lienzo de Tlaxcala and

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1078-684: The Spanish invasion . A characteristic item of Aztec clothing , it remains the most common female indigenous garment still in use. It is most often seen in the Mexican states of Chiapas , Yucatán , Quintana Roo , Oaxaca , Tabasco , Campeche , Hidalgo , Michoacán (where it is called a huanengo ), Veracruz and Morelos . In Central America it is most often used among the Mayas in Guatemala . Cuetzalan , Puebla has an annual coffee and huipil festival called Feria del Huipil y Café , which began in 1949. After

1127-578: The Suda , it was a type of inexpensive cloak , like a one-shoulder tunic. The Dictionary of Greek and Roman Antiquities mentions that it seems to have been more of a cloak than a tunic, and was worn for warmth or used to sleep in. According to the same source, late authors may use the term to mean a piece of cloth. Tunics worn by the Celts were documented by the Greek historian Diodorus Siculus : [T]he way they dress

1176-599: The Tzotzils have maintained aspects of pre Hispanic feather art with white feathers found on the chest and lower hem. In Ocotepec and Cuquila in Oaxaca, which are high in the Mixtec mountains , huipils are made of wool to combat the cold, with cotton ones usually worn for festive occasions. Yalaltec huipils in Oaxaca are simple with decoration only on a chest and back panel with various colors and some fringe. Tunic A tunic

1225-491: The alb , after the long tunic worn by Roman citizens. 'Tunic' is also the name often given to the high-collar uniform coat worn by military and police personnel. Light feminine garments, especially for sports or exercise, usually only coming down to mid-thigh, are also called tunics. Amuzgo people Too Many Requests If you report this error to the Wikimedia System Administrators, please include

1274-569: The áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân , and the Huế-style áo dài which was created with five flaps . The Huế-style áo dài represented royal court culture of the Huế and later developed influenced the modern áo dài . The tunic continued to be the basic garment of the Byzantine Romans of both sexes throughout the medieval period. The upper classes wore other garments atop

1323-417: The basic tunic, such as the dalmatica , a heavier and shorter type of tunic, again, worn by both sexes, or the scaramangion , a riding-coat of Persian origin. Except for the military or riding dress, men and women of higher status wore tunics that came down to the ankles, or nearly so. Tunics were often dyed or richly embroidered, although the plainer ones could be used when layering different types. Beyond

1372-477: The civil and military official clothing practices used in China; the áo dài also evolved from the early prototypes decreed by Nguyễn Phúc Khoát . In the 18th century, in an attempt to separate his domain from Tonkin ruled by his rival Trịnh clan and build an independent state, Lord Nguyễn Phúc Khoát (reigned 1738–1765) forced his subjects to wear Ming dynasty style Chinese clothing . The ethnic Kinh robe (i.e.

1421-521: The designs are not obvious, such as the use of two connected triangles to represent butterflies, but all have a particular significance. The ceremonial huipil of Zinacantán , Chiapas is also distinguished by its manufacture and symbolism. It is made of white cotton with a square neckline or with a vertical opening with a button fastener. The chest area is marked off with a red line inside of which are white chicken feathers delicately fastened with white, blue or green thread. The lower border has fringe made of

1470-553: The earlier Graeco-Roman garment, with a tight-fitting neck with a split down the front for pulling it over the head, and gusset under the arms and inserted around the lower half to give a flaring skirt. Being used by both Vikings and Normans , the garment continued as a general male garment into the Middle Ages , still being used in Norway as late as the 17th century. Indus valley civilization figurines depict both women and men wearing

1519-401: The early 1800s, women began to wear undecorated huipils or European style blouses. By the end of the 19th century, most Maya women had forgotten the technique of brocade weaving entirely. The huipil endures in many indigenous communities, if not as an everyday garment, as one for ceremonies or special occasions. When a woman puts on a huipil, especially a ceremonial or very traditional one, it

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1568-502: The edges further decorated with ribbons. In Ojitlán , Oaxaca, Chinanteca women wear special huipils for their wedding, divided into three classes. The first is called “gala” or “red” which used to be the traditional wedding dress. However, because of its cost, few families can afford it. The second type is called “pavo” which is used for special occasions. It is similar to the first but with a less intense red and with smaller designs. The third type, called “pájaros y palomas” (birds and doves)

1617-516: The fabric, other decorative elements can include embroidery, ribbon, feathers, lace and more. The making of traditional huipils is an important cultural and economic activity for the Amuzgos , especially in Xochistlahuaca where most people still wear traditional clothing. Girls begin learning the craft when they are young, learning techniques and designs from their mothers and grandmothers. The weaving

1666-445: The hand woven fabric have designs woven into them, especially cloth destined for ceremonial huipils. The decorative elements can signify history, cultural identity, something personal about the wearer and more. Since most indigenous come from agricultural societies, clothing designs generally relate to the natural world. The most complicated designs are generally known only to a few older master weavers. In addition to designs embedded into

1715-399: The indigenous group and a community of the wearer as each has its own designs for both weaving and embroidering. Some communities, such as Jamiltepec in Oaxaca, have a taboo against huipils made there being worn by women from other areas. Except for very long huipils, they are generally worn with other items of clothing such as a skirt or slip. Most huipils hang loose but some can be tied at

1764-401: The left. The south is represented on the chest and north on the back. Upon dressing, the woman becomes the center of the universe. This huipil is used only by women of the highest social rank and it is also used to dress statues of saints. Amuzgo huipils are made with brocade fabric. Amuzgo huipils have a sophisticated set of designs based on animals, plants, geometric shapes and more. Some of

1813-459: The mid thigh and this was named the ' tunic ' after the 'tunica' of the intrepid ancient Roman soldier. This type of jacket soon became standard for most armies. In Western culture, its use continues primarily in a religious and uniform context. It is the primary garment worn by the clergy and members of religious orders . The religious tunic reaches to the feet and was the source of the clerical cassock , as well as, in its liturgical form,

1862-413: The reduced empire, the tunic continued to be worn with varying sleeve and hem lengths throughout Europe during the Middle Ages . Often reaching the knees or ankles, it was usually worn over underclothes consisting of a shirt (usually hip-length or longer) and drawers (usually knee- or ankle-length pants related to braccae). It may be accompanied by hose . Wool and linen were common fabrics used, though

1911-564: The same materials and colors. It is the only garment in Mexico which uses the pre Hispanic art of featherwork today. This huipil is often used for weddings as it is believed that it ensures a good marriage. Other white wedding huipils are found in Pinotepa Nacional , Chopan and Cotzocón in Oaxaca. In Pinotepa Nacional, decorative elements include animals, flowers, human figures, fretwork , moons, suns, fish and insects. The ceremonial huipils of

1960-468: The same size, with one exception being those from the highlands of Chiapas, where the center piece is wider than the side ones. The panels are not sewn together in the normal sense with seams but rather they are joined using ribbons, small strips of cloth or complicated stitching which has the edges of the panels touching or almost touching. This adds a layer of decoration to the garment. Most classic huipils are wider than they are long although there has been

2009-401: The sides, especially the very short ones. While huipils today are made from commercial cloth, the most traditional are made from hand woven fabric made on a backstrap loom. The pieces to be used to make the huipil are woven to size and are never cut. Despite its simplicity, the backstrap loom permits more types of techniques and designs to be woven into the cloth than other types of looms. Most of

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2058-518: The traditional áo giao lĩnh , a type of crossed-collar robe, which was identical to the ones worn by the Han Chinese ). was, therefore, replaced by a robe with Chinese-style fasteners, which was buttoned in the front, and had an upright collar. The skirt which was worn by the Vietnamese was also replaced by trousers under his rule. This form of new fashion became the prototype of the áo dài ; it

2107-580: The various Roman monuments depicting victories over these peoples and show the tunic as a simple pull-over construction reaching to the mid-thighs or the knees. Similar tunics were eventually taken up by the Romans and continued to be used into the Byzantine period . After the fall of the Western Roman Empire , the long-sleeved Celto-Germanic tunic continued to be worn. The construction was more elaborate than

2156-421: The very similar chiton , chitoniskos , and exomis , each of which can be considered versions of the garment. In ancient Greece, a person's tunic was decorated at the hemline to represent the polis (city-state) in which he lived. Tunics might be dyed with bright colours like red, purple, or green. There was also the sisúra ( σισύρα ), which according to Pollux was a tunic with sleeves of skins. According to

2205-464: The waist or can be tucked into a skirt like a blouse. In some cases, such as in San Juan Copala , Oaxaca, the extra length of the huipil is rolled up onto the waist when worn with a skirt. Women commonly have an everyday huipil and those worn only on special occasions such as weddings. Decorative elements are often arranged in horizontal bands but those with vertical orientation are found as well. In

2254-510: The wealthy sometimes wore fancy silk tunics or a lesser fabric with silk trim. In English the garment was referred to as a sark , and this word survives in some northern UK dialects to mean a shirt or chemise. Tunics worn during the Early Middle Ages often featured decorative embroidery or tablet-woven braids along the neck, hem and wrists. This was the case, for instance, with tunics worn by both rich and poor Anglo-Saxons before

2303-504: The wearer's status in Roman society. Roman senators , for example, used the laticlavus , with broad purple stripes, and members of the equestrian class wore the Angusticlavia , with narrower stripes. Soldiers, slaves and manual workers generally had tunics to a little above the knee; those in more sedentary occupations to about the ankle (unless they were expecting to ride a horse, when a shorter one would be worn). The tunic or chiton

2352-456: Was a form of áo ngũ thân which was invented by Lord Nguyễn Phúc Khoát; the áo ngũ thân also had 5 flaps instead of 4 (the 5th flap was small and was found under the front garment) and 5 buttons. Another new form of fashion included a type of four-panel robe which was described by Lê Quý Đôn as an áo dài which was loose fitting similarly to the á o giao lãnh. Under the rule of Emperor Minh Mạng , two new forms of áo dài were created from

2401-424: Was worn as a shirt or gown by all genders among the ancient Romans. The body garment was loose-fitting for males, usually beginning at the neck and ending above the knee. A woman's garment could be either close fitting or loose, beginning at the neck and extending over a skirt or skirts. Tunics were also worn in ancient Greece , whence the Roman version was adopted. Later Greek and Roman tunics were an evolution from

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