Research Paper on Gorgeous Persian Fashion: Iran's Unique Style Flair

Introduction

Globally, Iran's fashion style remains outstanding and gorgeous. Iran has diverse ethnicities and factors such as geographical situation, culture, government, religion, and social issues significantly affect their fashion style. According to Kadivar (3) the country's traditional fashion style is of Persian heritage and culture. Diverse colors that are used in Persian fashion flair are majorly motivated by nature. Previously, Iran's fashion was used by the majority of the Iranians as evident in their traditional weddings and festivals. Women wore trousers, blouse, jacket, scarf, among other conventional garments.On the other hand, men wore headdresses, also known as sarband, wide belt, jackets, and trousers. Over the years, women have also been using jewelry such as gold as part of their fashion style. According to Alipour et al., women's clothing is vivid in color, eye-catching, and elegant. However, they are diverse as a result of different ethnic groupings (62). The paper will look at the fashion style of the Qashqai tribe, who occupy the Fars province in Iran.

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Qashqai tribe is of Turkic origin and is majorly nomadic. They are best known due to their colorful and bright fashion style. Long headscarves hanging over their chin characterizes the women's fashion style. Kadivar stated that the styles have several layers, are voluminous, and long. The skirts are often very colorful (14). The headscarves placed below the chin give room to their hair to frame their faces. Men's style is characteristically sheep hair, which is rounded hats and remains a unique style for the tribe.

On the other hand, women have colorful and long shirts reaching their knees with plackets on either side of the dress. At the same time, they also have a wrinkled skirt that is majorly harmonious in color with the shirt (Kadivar, 28). Women also put on a scarf o their head, often made from silk. Alipour et al further stated that men's hat and wide belt are usually greys made of goat fluff (63). Women's skirts are multitiered and made in several layers, especially five to seven with dresses won over each other. The style is done for comfort, coverage, and to get warmth. Of particular interest are their dancing and party gowns that comprises of sheer-ish tulle that is very bright in color (Kinnell, 12). Satin or silk is used to make the tunics giving them a gliding and swishing look. However, the women rarely wear the chadors and prefer to adopt the printed types instead of the traditional dresses.

According to Alipour et al men do have a unique style of dressing adopted from the western fashion style (66). The rimless hats majorly characterize them with the heavy woolen brocade used as a cumberbund. Their baggy shalwar is often worn down to the ankles maintaining the traditional fashion of the group. According to Kadivar deep colors are commonly used on special occasions to emphasize their economic and cultural status (43). On many occasions, they use ornaments on their clothes with the belief that they ward off evil spirits (Alipour et al., 65). At the same time, attractive purling, coins, and colorful beads are used on various social events. They are majorly used to uphold and augment their social and cultural status.

Distinct sub-tribes within the Qashqai use different headbands made of mixed fabric materials. The sub-titles in dresses are used on special occasions such as cultural events. For example, the silk headband (Qalaq and yaghloq) are won during communal gatherings and occasions that mark special days of the people (Yasini, Mahdi Montazer Ghaem, and Abdollah, 103). The headband is tied over the diaphanous scarves its end trailing from the back. According to Alipour et al shoes for men and women are handmade (71). Over the years, this has become a special part of the tribe's cultural attraction with the women emphasizing on their many gathered full tunics, also known as the keynak.

Men's outfit has, however, faced many challenges over the years. During the early periods, men wore the tonban (wide-legged trouser) and the cummerbund (shawl) in addition to the long cloak. They also had their heads covered using the berk. The entire costume was also ornamented with knives, swords, daggers, and guns. Qashqai khan had different attires from other men (Kinnell, 132). The khan comprised of the officials and rulers. Their attire was mainly composed of a long cloak, collarless shirt (white) that was strewn over a shawl over the waist to tighten the cloak. Ever since the 19th century, men have dressed in the Dogushi, also known as the "two eared," with the hat gray, tan or beige (Alipour et al 71). The hat also had two flaps raised over the ears. Over the years, since the ethnic dress was outlawed (1928-1941), the hat has remained a symbol of identity, authority, and power. All men of the Qashqai tribe wear it.

While the clothing of the Qashqai is a cultural phenomenon, they also derive their style from the need to protect themselves from cold weather and the sun. Women dress for modesty with some sub-tribes within Qashqai, giving more significant focus on occasions and functions. Among the men, wearing clothes is not enough; it has to be accompanied by attractive purling, coins, or beads made of glass. Kadivar (32) stated that the ornaments, especially in men, symbolize their position in the society, prestige, age, and economic status. In women, the decorative aspect is used as a charm representing ideological dimensions and aesthetic value. For example, the black chador is a particular part of their culture. Failure to cover one's head among the women may attract punishment.

Works Cited

Alipour, Nafiseh, Hassan Sadeghi Naeini, and Sara Rahmani. "An Integration between Baluch's Costumes and Contemporary Iranian Woman: An Apparel on Aesthetics Elements." Journal of History Culture and Art Research 6.1 (2017): 59-72. http://kutaksam.karabuk.edu.tr/index.php/ilk/article/viewFile/703/584

Kadivar, Cyrus. Farewell Shiraz: An Iranian Memoir of Revolution and Exile. Oxford University Press, 2017.Kinnell, Galway. Black Light: A Novel. Counterpoint, 2015.

Yasini, Seyedeh Razieh, Mahdi Montazer Ghaem, and Abdollah Bicharanlou. "The Discursive Politics of Women's Clothing in Iran at Revolutionary Transition Era (1979-1981)."