International Academic Journal of the

Faculty of Tourism and Hotel Management

Helwan University Volume 2, No.2, 2016
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
Ahmed Ebied
Faculty of Tourism & Hotels, South Valley University

Abstract
It is known that the present can be the mirror of the past and the
heritage of our dress is safeguarded through eras however it needs
considerably more care to preserve that heritage for the future generations. It
is important that greater part of Ancient Egyptian everyday life attire are of
types still been worn by Egyptians these days in various parts of the nation,
for example, tunics, shawls, women’s scar-vest and dresses. These cases are
viewed as essential bits of dress worn in ancient Egypt by both guys and
females. This paper aims to authenticate the survival clothing and to compare
its usage in our society; the author keen on answering the question whether
similar ancient cloths are still in use nowadays? Some of our clothing in the
time being has deeply rooted in ancient Egyptian civilization.
The author presents this new scope of preserving the tangible heritage
of clothing of modern Egypt through artistic description and analysis, and
sheds light on some religious implications that the clothing may display. This
paper is developed using analytical and comparative approaches based on
document-art and art-historical analyses to consider the process of change or
development of these clothes through different historical periods in Egypt.
The paper concludes that majority of survival clothing in time perhaps has
deeply rooted in ancient Egyptian civilization. Although it may differ in their
design and decoration today, they are still keeping the main elements of an
older Egyptian style.
Keywords: Ancient Egypt, Clothing, Cultural Heritage, Galabyia, Fostan.

Introduction
Clothing, often has a strong personal value, because it bears the
makings of one’s life, and frequently assigns certain phases inside life. Old
clothing brings back memories of past occasions and dispositions.1 Clothing,
as representing an individual’s identity2 is regularly considered part, or
1
Entwistle, J., (2000), The Fashioned Body: Fashion Dress and Modern Social Theory,
Polity Press, Cambridge, 7.
2
Lutz, H., (1986), Textiles and Costumes among the People of the Near East, Leipzig, 1923,
45- 47; Hall, R., Egyptian Textiles, Aylesbury, 12.

115
 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
‫ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
illustrative of the individual. Physically ancient Egyptian individuals wore
numerous sorts of garments to fills some needs; it can serve as protection
from the elements, and can enhance safety during hazardous activities such as
hiking and cooking. It protects the wearer from rough surfaces, rash-causing
plants, insect bites, splinters, thorns and prickles by providing a barrier
between the skin and the environment protect them from fluctuation weather,
for example, sun beams in summer and from cool in winter.3 So in ancient
Egypt the industry of weaving and spinning became the eldest one which is
practiced by people in homes and workshops.4 It is controlled by the imperial
court straightforwardly and the King committed tremendous measure of area
to flax, which reflects the interest of the industry and its development in
ancient Egypt.5
In ancient Egyptian contexts we found that Syrians became known
weavers of ancient Egypt during the New Kingdom. They influenced
costume by introducing a short-sleeve, loose fitting shirt. Both men and
women slaves wove in ancient Egypt's crowded workshops. The industry
continued in flourishing and development during Graeco-Roman period,6
also in a Coptic era then in Islamic period to time being.7 It is worth noting
that some survival clothing in our modern history has deeply rooted in
ancient Egypt, such as tunic which changed its name to a Galabyia in modern
history, ancient dresses of women with different designs are quoted in same
manners but with little innovations to fit the society, shawls for both men and
women also became popular as a protecting item cloth from weather also the
author will discuss the modern women scarves and its originality in ancient
Egypt.

3
Bonnet, H., (1917), Die Ägyptische Tracht zum Ende de Neuen Reiches, Leipzig; Cordin,
A., (2000), Fashion and Clothing, Egyptian Art Principles and Themes Foreign Cultural
Information Department, 170- 180.
4
Brunton, G., and Caton-Thompson, G., (1928), The Badarian Civilization and Predynastic
Remains near Badari, BSAE 46, London, pl. XIVIII; Barber, E. J. W., (1991), Prehistoric
Textile, Princeton.
5
Crowfoot, G. M., (1931), Methods of Hand Spinning in Egypt and Sudan, Halifax, 33- 34;
Vogelsang– Eastwood, G., (2001), Textiles, In: P.T. Nicholson - Shaw, I (ed.), Ancient
Egyptian Material and Technology, 271- 272.
6
Jones, A. H. M., (1960), The Cloth Industry under the Roman Empire, In: The Economic
History Review, 13, 183- 192.
7
Serjeant, R.B., (1972), Islamic Textile: Material for a history up to this Mongol conquest,
Beirut, 135- 165.

116
 Ahmed Ebied Ali Hamed
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Ancient Egyptian Clothes
The ancient historian Pliny states that the ancient Egyptians invented
the art of weaving; they wove with linen as early as the Badarian period
(4000 B.C.), but the most ancient Egyptian textile artifacts are those found in
Neolithic tombs in the desert region of the Fayoum.8 They used two types of
looms which were used from Badarian to Middle Kingdom.9 The early loom
is depicted on a Pre-dynastic dish excavated at Badari now in the Petrie
Museum (UC9547),10 then the vertical loom was introduced during New
Kingdom. The Egyptians had a reputation for producing a very fine linen
fabric; refer to as 'Byssos', which was imported by their Greek neighbors.
Many types of clothing were worn by ancient Egyptians such as; loincloths,
kilts, skirts and garments which were worn by both men and women.
However, leather loincloths were traditionally worn by men while various
types of dresses were worn only by women. Evidence for children’s clothing
is more limited because they went naked much of time.11

From Bag- Tunic to Ghalabiyah

We have numerous proofs demonstrate that the Ancient Egyptians
incline toward some kind of attire, for example, tunic. Herodotus brought up
that the Egyptians wear tunics made of material with edges hanging about the
legs, called Kalasiris',12 and loose white woolen shrouds over these'.
Likewise, in the Cairo love songs, a kid singing about young lady, fetishizing
her garments: “I would be strengthened by grasping (the cloths) that touch
her body, for it would I who washed out the Moringa oils that were in her

8
Caton-Thompson, G., (1934)The Desert Fayum, RAIBI, London, 33- 44, pl. XII; Jünker,
H., (1941) Mermide, Denkschriften der Akademie der Wissenschaften Wien, Klasse, III, pl.
V.
9
An early loom is depicted on a Pre-dynastic dish excavated at Badari now in the Petrie
Museum (UC9547).
10
Crowfoot, G. M., (1931) Methods of Hand Spinning in Egypt and Sudan, Halifax, 33-37;
idem ‘Textiles, Basketry and Mats’, in: History of Technology from early time to the fall of
ancient Empire, I, Oxford, 1956, 18-20; Brunton, G., and Caton-Thompson, G., (1928) The
Badarian Civilization and Predynastic Remains near Badari, BSAE 46, London, pl. XIVIII.
11
Vogelsang-Eastwood, (1993), Pharaonic Egyptian Clothing, Leiden, 7.
12
The Kalasiris women wore might cover one or both shoulders or be worn with shoulder
straps. While the top could reach anywhere from below the breast up to the neck, the bottom
hem generally touched the calves or even the ankles. Some had short sleeves, others were
sleeveless. The fit might be very tight or quite loose. They were often worn with a belt which
held together the folds of cloth. This costume continued right up to the time when the so-
called Old Kingdom reached its highest brilliance, and the beauty and costliness of material
and draping were the only marks that distinguished monarch and nobles from the lower
classes. This garment for both sexes, which was introduced shortly after the establishment of
the New Kingdom, was a long robe.

117
 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
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kerchief. Then I would rub my body with her cast-off garments”.13 Another
Ostracon from Deir el Median (19th dynasty, Ramesses II) addressed by a
lady called "Nebhimaat" [to her sister] "Nebeton" said: “Please be attentive
and supply me with the tunic”, while other one to somebody called
"Pennesettowy" said: “I shall weave two kilts; I shall stitch one tunic; and I
shall stitch the pair of sleeves…” (Ostracon, Deir el Medina, 19th dynasty).
Tunic is a modern term, which known in Ancient times mss, and
determines, truly from its shape: a bag framed by a long rectangle collapsed
into equal parts and sewn up the sides.14 It comprises of single rectangular bit
of cloth, collapsed into equal parts and sewn at the edges. Bag-tunics for men
named as Bnd, Bdn,15 and for ladies sdit. It's a body-
garment of clothing that spreads at any rate the middle and part of the upper
legs, has next to no customizing and is not sex particular. The tunic was an
extremely fundamental article of clothing, worn during the time in Egypt by
men, ladies and kids.16 The bag-tunic comprises of single rectangular bit of
material, collapsed into equal parts and sewn at the edges.17 This is along the
line of general Egyptian mindset towards garments, next to no slice to shape
pieces of clothing were utilized; most outfits were hung, wrapped or tied.18
Janssen pointed that might be the name of sack tunic got from the word mss
which then created to Galabyia,19 however Vogelsang-Eastwood20 rejected
this elucidation and she said that no connection between the word Galabyia
and the old name mss. (Fig. 1)

13
Also, there is another song' Would that I was the washer man of my sister`s clothes. For
single month! I would be renewed by taking the clothing that was near body .'Another refers
to the beautiful tunic that girl states :I desire to go down to wash myself before you. I shall
let you my beauty in a tunic of the finest royal linen, soaked with cinnamon oil, A woman
called “Isis” (Ostracon, 19th dynasty, Ramesses II, Deir el Medina) sent a message to her
sister “Nebeamnu” begging that she' please give your personal attention and weave for me
that shawl very promptly before Amenophis, life, health, prosperity, comes (in procession)
because I am really naked. Make one [for] my backside because I am naked [end broken .
14
Vogelsang-Eastwood, G., (1993), Pharaonic Egyptian Clothing, Leiden, 130- 131, fig. 8.
2.
15
Kamal, A. B., (1917), Les Noms des Vétement, Coiffeurs et Chaussures chez les Anciens
Égyptiens Comparés aux Noms Arabes", BLE 11, 93- 126.
16
Rooijakkers, C. T., (2008), Changing Dress: The tunic and society in Egypt from the New
Kingdom to the Byzantine Period, Published.
17
Vogelsang- Eastwood, G., (1993), op.cit, 130- 131.
18
Janssen, J. J., (1975), Commodity Prices from the Ramesside period, Leiden, 260.
19
Ibid, 260.
20
Vogelsang – Eastwood, G., op.cit, 1993, 130.

118
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
It looks like the modern Arabic word ‘Ghalabiyah, jilabīyah, ‫’جالبية‬21
should be used to describe the bag-tunic as it plays virtually the same role.22
It has also a wider cut, no collar (in some case no buttons) and longer, wider
sleeves.23 The garment is traditionally worn with turban or an Ammama
(‫)عمة ;عمامة‬.
We cannot say that it’s the same thing because the construction of the
Ghalabiyah however is markedly different from that of a bag-tunic. In
addition, male and female Ghalabiyah are not made in the same way, unlike
the unisex bag-tunic. The first evidence of tunics or bag-tunic in Egypt is
found in the beginning of the New Kingdom period (ca. 1550-1069 BC).
The bag-tunics have spread largely during New Kingdom in society
with various decorations and with or without sleeves, although the bag-tunics
that have been found are all sleeveless, sleeves could be added if necessary.
We have two forms of bag-tunics that could be worn by themselves or with
other garments: (Figs. 4- 7). There are two types of bag tunic in ancient
Egypt firstly, Full-length bag-tunic: worn by both men and women and
children and performed the basic function of covering the torso from the
shoulders to, at a minimum, the knee or more commonly the ankles.24
Secondly, short bag-tunic: worn only by men and covered the body from the
shoulders to the buttocks or less frequently, the knee. Our nowadays
‘Ghalabiyah’ take the same form like these different shape of bag-tunic that
we have a lone one especially for people from Asyut to the north of Aswan
and we have the short one in some parts in Aswan Government (Nubian
peoples) (Figs. 2, 3, 8). But the difference is that the shortest bag-tunic worn
nowadays by women in Upper Egypt.
Likewise the Ghalabiyah is made out of cotton however the bag-tunic
is made from the linen. Moreover, there are somewhat Ghalabiyah without
sleeves or with have sleeves particularly for ladies. It is the immense lion's
share of surviving bag-tunics, however plain sleeved illustrations were found

21
There is a rejection for this interpretation and no link between the word Galabyia and the
ancient name mss, which refers to the Tunic, Vogelsang-Eastwood, G., op.cit, 130; Rooij, E.
H. C., and Vogelsang-Eastwood, G., (1994), The Pharaonic Textiles, In, Pharaonic and early
medieval Egyptian textiles, Van't Hooft, Ph. P. M., and Others (eds.), Leiden: Rijksmuseum
van Oudheden, 13.
22
Janssen, J. J., (1975), Commodity Prices from the Ramessid Period, Leiden, 260.
23
In case of farmers, these sleeves can be very wide and sewn into pockets.
24
Long bag-tunics weren’t known during the Middle Kingdom, See, Vogelsang – Eastwood,
G., op.cit, 135; and another opinion dates it back to the Middle Kingdom, that there is a
scene for two ladies with tight tunic from sarcophagus dates back to this period in Egyptian
museum in Cairo (JE. 28116), See, Bouriant, U., (1987), Petits Monuments et Petits Textes
Recueillis en Egypte, REI 10, 81; Lacau, P., (1904), Sarcophages Anterieurs au Nouvel
Empire, I, Cairo, pl. VI, II, 95- 96, no. 28116.

119
 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
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in the tomb of the planner Kha, while intricately enhanced case in the tomb
of Tutankhamen (both late 18th tradition). Separate sleeves were sewn into a
bag-tunic in frosty times and taken off when they were no more important
and there is one special case to the sleeveless tunic is a smaller than usual
votive blessing to Hathor,25 and the keyhole26 as a rule the top part of the
sides was left unsown to make gaps for arms to go through, then the sack
tunics were created by weavers amid the third middle of the road time frame
and late period particularly the keyholes and the system enrichment which
were carried on sack tunics.27 (Figs. 15- 20)
The very ragged bag tunic from Tarkhan,28 dating to the 3rd
intermediate period demonstrates a later style of neck, a long vertical
opening. The stitch borders front and back are, likewise a later component.
This piece of clothing, exceptionally worn and broadly darned, represents
well the commonplace state of attire found in first thousand years
internments (such semi-complete things were utilized for the most minimal
level of mummy wrapping). We can decide the sort of tunic through genuine
case of tunics like which were found in the tomb of the king Tutankhamen,29
or through statues of rulers and reliefs of tombs and sanctuaries. The less
length of the tunic had a place with King Tutankhamen which protected in
the Egyptian Museum 367I achieving 113 cm and the less width had a place
Harmose achieving 73 cm wide, while its long around 120 cm.30
The bag-tunic spread during the New Kingdom to be worn by kings,
we can determine the type of tunic through real example of tunics like which
were found in the tomb of the King Tutankhamen by H. Carter,31 or through
statues of kings and reliefs of tombs and temples. For individuals also we
follow the same methods to recognize the type of tunic from real example
25
Hall, M., (1980), A Pair of Lines Sleeves from Gurob, GM 40, 29- 38.
26
There are two types of neck openings for the tunic, the hole and slit opening. Around or
oval hole would be cut out at the garment, usually to the front of the garment, to facilitate the
neck, Kemp, Barry J, and Vogelsang-Eastwood, G., (2001), The Ancient Textile Industry at
Amarna, London.
27
Granger-Taylor, H and Quirke. S., (2003), Textile Production and Clothing, London,
University College London.
28
For more, See, Grajetzki, W., Tarkhan: (2004), A cemetery at the time of Egyptian State
Formation, Golden House Publications, London.
29
Carter, H and Mace, C., (1933), The Tomb of Tutankhamen, III, London, 124- 126, pl.
124- 125; Crowfoot, G. M and Davies, N de Garis., (1941), The Tunic of Tutankhamen, JEA
27, 113- 129; Murray, H and Nuttall, M., (1963), A Hand list to Howard Carter's Catalogue
of Objects, Tutankhamen's Tomb, Oxford.
30
Textile Museum, Washington, 7.58.5
31
Carter, H., and Mace, C., (1933), The Tomb of Tutankhamen, III, 124- 126, pls. 124, 125;
Crowfoot, G. M and Davies, N de Garis., (1941), The Tunic of Tutankhamen, JEA 27,
pp.113- 129; Murray, H and Nuttall, M., (1963), A Hand list to Howard Carter's Catalogue
of Objects, Tutankhamen's Tomb, Oxford.

120
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
and statues or reliefs. Also, we can notice that it is also not clearly age-related
for wearing bag- tunic because the daughters of king Akhenaten, for example,
are depicted nude but also in complex wrap round dress combined with a so
called a side lock of hairstyle, indicating they are not of age yet32, and also
the bag-tunic not clearly class-related because, it appeared for kings, queens
and also for workmen.
The kings wore the two types of the bag-tunics: the full length one
and the short one. King Tutankhamen’s group of bag-tunics varied between
the long and short bag-tunics. They were woven on vertical looms and
decorated with tapestry, while stripes were fixed in the tunics with magical
stitches. On the statue of King Amenhotep III, the king’s tunic is highlighted
with pleating which spread on the tunic and sleeves. (Fig. 10) on another
statue, king Akhenaten wears a full-length bag-tunic, with short sleeves (Fig.
9). Also, there is statue of king Akhenaten making an offering to Aten and
wearing the short bag-tunic with long starched skirt cover the lower part of
the body (Figs. 11- 13).
The full-length bag tunic was the preferred cloth for the kings during
New Kingdom, through to the 3rd intermediate period and late period but with
modifications in production and decorations. The cloth women wove was a
valuable market commodity worth more than many metal items, as seen in
the relative costs of tomb goods in burials such as those of Kha and Merit
from Deir el Medina (TT. 8). Some of Kha’s cloths showed signs of tapestry
and compound-weave bands, while others had sleeves. Many have the
insignia of Kha on them. Kha and his wife each had their own individual
laundry marks, and it is known that there were professional laundry men
attached to Deir el Medina. (Figs. 14, 21).
The bag-tunic was passed down through different eras to become a
favorable dress for Egyptians in modern era for clear reasons such as its
looseness and allowed to the free movement especially in work and fit to the
hot weather in Egypt, in Upper Egypt the Galabyia became the basic cloth to
time being for men and women but in different design, it is interesting
mention that the Galabyia became a cloth for all categories of people from
low status to high one, which may reflect its importance and practice
purposes regardless of the age and status.
Galabyia is as modern conception one of these clothing which
originated in Middle Kingdom as bag-tunic and then became favorable cloth
for all categories of ancient Egyptian society during New Kingdom; it lasted

32
Bag-Tunic in new kingdom did not relate with age that researcher indicate the survival
example of child near Mentuhotep temple and the measurement cleared that for child in
compare with other bag-tunics measurements.

121
 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
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in developing during Greek-Roman Period but in accordance with their
Greek style. Nowadays Galabyia occupies first place in Upper Egypt between
other clothing. There many examples for modern clothing in Upper Egypt
had its ancient Egyptian root. This doesn’t imply that change in cloth in
societies outside of these prerequisites doesn’t occur, ‘modifications to dress
do occur, but not at the speed and with the regularity of fashion in modern
societies’.33

From Ancient Women Dress to Modern Fōstan:

Bag- Tunic was the most widely recognized type of female dress
throughout the Pharaonic period and the garments were worn by ladies
paying little mind to their social position. Erman34 said that, there is no
distinction between women’s dress from Ancient Egypt, while Eastwood
refers to many differences according to the shape of these cloths,35 like wrap-
round form, V-necked dress, and finally bead net dresses.36
There is a dress which might be the oldest in the world was found
near Mastaba 2050 at Tarkhan, possibly dating to the reign of first dynasty
king Djet, and now in Petrie Museum in London. (Fig. 18) Additionally, the
two dresses from Deshesheh outline the sleeved adaptation of the lady's long
tight dress that was worn all through the early traditions, Old Kingdom and
Middle Kingdom. The adaptation all the more ordinarily appeared in
workmanship (early New Kingdom illustration) has maybe a couple
expansive straps as opposed to sleeves accordingly.37
Servants, entertainers and those involved in vigorous activities are
often shown naked, or wearing only a girdle (belt) or loincloth.38 Sailors
would have worn an additional, outer loincloth made of soft leather, with
slashes to allow cool air through; a square patch was left beneath the
buttocks.39 Egyptian artists represented both slaves and children without
clothes and sometimes worn at least smaller version of the garment worn by
adults.

33
Entwistle, J., (2000), the Fashioned Body: Fashion Dress and Modern Social Theory, 46.
34
Erman, A., (1971), Dress, in: Life in Ancient Egypt, London, 201- 223.
35
Vogelsang-Eastwood, G., (1993), Pharaonic Egyptian Clothing, Leiden, 95.
36
Barber, E.J.W., (1991), Prehistoric Textiles, Princeton, 5- 7.
37
Petrie., W. M. F. (1897) Deshasheh; with a chapter by F. Ll. Griffith. London
38
Green, L., (2001), Clothing and Personal Adornment, In, The Oxford Encyclopedia of
Ancient Egypt, Redford, D., (ed.), vol. 1, Oxford University Press, 274.
39
Clothing of pierced leather has been excavated in Nubia (where pierced leather girdles
were worn by women until very recently), and it has been suggested that this type of garment
was imported into Egypt with Nubian soldiers.

122
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
Cloth production was an important household activity. One can’t
simply read Tomb iconography for information about clothing in daily life.
On the other hand, side, weaving was no doubt preferable to working in the
fields. Numerous of texts as well as archaeological finds from Deir el
Medina, attest to the importance of producing, buying, and selling cloth and
clothing that were independent of state provisioning. In this part, I’ll discuss
the female garments under the ancient term ‘dresses’ and then its
development in modern history under the name ‘Fōstan’, there are many
Pharaonic types of female dresses; it begins with the simple wrap-around
dress to the complicate one in its design and decoration.40 In ancient Egypt
the majority of these dresses were worn by all categories of women
regardless to the age and their social position,41 but the artists marked the
dresses of queens and royal court with more decorations and finer flax
spinning than the other dresses.42 The Egyptian designers in modern history
inspired many ancient types of women dresses, they carried out these styles
with modern touch to fitted with the new society, so they may change the
material of female Fōstan and its decoration but with the identical ancient
design, below the author will display the survival female Fōstan in time being
which derived from ancient Egyptian female dresses.
The Ancient Egyptian god and goddesses depicted in some diverse
ways. For examples, god Osiris, in depicting with great division of Egyptian
costume “Type of the Robe”. Then again, we have a present day type of this
material which now is wearing by numerous Upper Egyptian individuals
particularly in the Village which called as Milaya laf. It was an article of
clothing comprises of a bit of material double the tallness of the figure and
collapsed over in the center; a gap is here cut for the neck and, furthermore, a
short opening down the front to permit of the piece of clothing being pulled
over the head. The material is sewn up the sides from the base, leaving a
space at the top for the section of the arms. (Figs. 25, 26)

Simple wrap-around dress:

It is a simple cloth made out of large length of linen then was
wrapped around the body in various ways43 with sleeves or without.44 It was

40
Ibid, 95; Green, L., Clothing and Personal Adornment", OEAE, (ed.) Redford, Donald, B,
A.U.C, 275- 279.
41
Riefstahl, E., (1970), A Note on Ancient Fashions: Four Early Egyptian dresses in the
Museum of Fine Arts, Boston", BMFA 68, 244- 259.
42
Hamar, R.V., (2006), The Queens of Egypt: The Complexities of Female Rule in the First
through the Nineteenth Dynasty, 26- 27.
43
Vogelsang-Eastwood, G., (1993), op.cit, 95.
44
Hall, R., (1980), A Pair of Lines Sleeves from Gurab, GM 40, 29- 38.

123
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Present Day
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fitted on the body with fastened straps on the shoulder. The modern Egyptian
Fōstan took its design from the design of the wrap-around dress with broad
fastened shoulder straps and with bright colors; also the designers in modern
history used a belt around the waist to create pleats in all over the Fōstan the
designers became a creative in making various design of Fōstan, it became
fitted to held different festivals and celebrations. The modern designers
imitated the ancient Egyptian pleats of female dresses which spread in New
Kingdom garments,45 these pleats became one of the characteristic features of
Fōstan in Egyptian modern time especially for celebration and festivals
Fōstan which were known as ‘Sahãrat‘.
As mentioned before, the tunic is worn by both sexes and even
children. However, there are some differences in the way it is worn between
the different classes of society46. There could be several reasons for this. The
lower classes are generally depicted only in scenes where they are practicing
their profession47 which might have been different from what they wore at
home. However, this would presume that people had several outfits.48 While
there are some outfits which are related to the particular profession, such as
the vizier`s high wrap-around49, most professions do not seem to have had a
particular uniform (Figs. 22- 23)

Cloaks or blanket for winter

It is a sort of free piece of clothing that is worn over indoor apparel
and fills the same need as a jacket; it shields the wearer from the frosty, rain
or twist for instance, or it might shape part of an elegant outfit or uniform.
Cloaks are as old as mankind's history; there has about dependably been
some type of since quite a while ago, unstructured external piece of clothing
used to shield individuals from the climate. After some time shroud outlines
have been changed to match current styles and textile needs.50 It for the most
part secures at the neck or over the shoulder, differs long, from hip the
distance down to the lower leg, mid-calf being the ordinary length. They may
have an appended hood, and may cover and affix down the front, in which
case they have gaps or openings for the hands to go through. Be that as it

45
Riefstahl, E., (1975), An Additional Footnote on Pleating in Ancient Egypt, ARCE 92;
Cartland, B.M., (1916), The Dress of the Ancient Egyptians in the Empire, BMMA 11, New
York, 211- 214.
46
Vogelsang-Eastwood, G., (1992), Deciphering A Pictorial Clothing List, GM 128, 105 -
111, pl. 1-8 a-c.
47
Janssen, J. J., (1975), Commodity Prices From the Ramessid Period, Leiden, 249- 250.
48
Vogelsang - Eastwood, G., (1933), Pharaonic Egyptian Clothing, Leiden.
49
Hall, R., (1986), Egyptian Textiles, Aylesbury, 63.
50
Kemp, Barry J. and Vogelsang-Eastwood, G., (2001), The Ancient Textile Industry at
Amarna, London, 23- 27; Vogelsang - Eastwood, G., (1993), op.cit, 159.

124
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
may, shrouds are quite often sleeveless. There is an early dynasty statuette of
a king (British museum, London, BM. 37996) which shows him wearing a
short ‘cloak’ that could be portrayed as being, among others, embroidered,
quilted or knitted. Whatever is the case it is clear, he is wearing a piece of
clothing which has been patterned.51 (Fig. 24)
It is spread all over Egypt particularly in Upper Egypt, and is known
as ‘Abaya ‫ ’العباءة‬or ‘which is made of wool for cold protection’ used also
additional above Ghalabiyah.

Skirt ‘Tanura ‫’التنورة‬

This tube or cone-shaped garment hangs from the waist and covers all
or part of the legs. In the western world, skirts are typically viewed as ladies'
garments. In any case, there are special cases. In Ancient Egypt, it was some
kept set up with basic band and the length of it changes impressively from
mid-thigh to lower leg length. The period appears to have next to no effect to
the presence of ladies' skirts.52 It was worn by both male and female
however ladies are just indicated wearing basic skirts without extra pieces of
clothing. The length of these skirts changes extensively. There is likewise
little proof of enhancement. These days, it was worn just by ladies and I think
with the same shape in some cases or with a long trouser under it.

Apron:
The basic construction of the apron is simple, consisting of one or
more bits of fabric connected to a belt, scarf or band which is affixed around
the waist. There are not any Pharaonic Egyptian aprons, yet we have case
from Qasr Ibrim and Gebel Adda in Nubia from the Meroitic period (200
BC). Single aprons form Gebel Adda (Figs. 27, 28), precisely from tomb of
adult male in C. III in grave (622. AI) (Rom, u 62, Royal Ontario museum,
Toronto). Nowadays, there are various cook's garment frames relying upon
the purpose of the apron. A fundamental refinement is between waist aprons
which cover the body starting from the waist and a tucker cook's garment
which additionally covers the upper part of the body (Fig. 29). Covers are
these days considered similarly proper for both ladies and men by the vast
majority. In any case, winning social standards guarantee that ladies regularly
wear more fragile dress, and may along these lines will probably need the
insurance a cook's garment offers. This can likewise be on the grounds that
the apron is the conventional garments for cooking and washing dishes,
typically done by ladies.

51
Vogelsang-Eastwood, (1993), Pharaonic Egyptian Clothing, Leiden, 4- 5, fig. 1:1.
52
Ibid, 70.

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Present Day
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Sashes and Neck-Sash ‫الشال‬:
There are various portrayals for ancient Egyptians wearing scarves/
sashes. It is a piece of cloth wrapped around the body or around the waist.
We have numerous sorts of scarves in ancient Egypt.53 In situations where
one expected to hold clothing in place, Egyptian ladies utilized a scarf like
moderns do these days. Scarves were regularly made of rope; plain-woven
linen, sometimes with edges or decorations; extravagantly composed with
weaving; or twofold woven fabrics.
Despite the fact that ladies wore scarves, men were portrayed wearing
them all the more regularly. The most well-known sash is from the time of
King Tutankhamen (Victoria and Albert Museum, London), which made
from a fine linen,54 and there are numerous different bands from the same
time.55 There is also a girdle from the time of king Ramesses III,56 which now
in Liverpool museum (M. 11156). (Fig. 30)
Sashes today are represented as tied at the front. While on the other
side hair appears to be fixed by a comb. Neck-sashes are different types of
Egyptian costume dating back to the Old Kingdom in a two statues of
Metjetji,57 the 1st one at Knsas Museum, while the other at Brooklyn Museum
(Figs. 31, 32).
It hangs around the neck with different brilliant colors and falling
ends reach to the waist, also sometimes it fixed by knot behind the neck with
other accessories such as necklace or it composite from one piece. It looks
like nowadays style worn by the youth and also like Egyptian tradition of
neck sash worn in Upper Egypt by many people (fig. 33).

Conclusion:
The clothes were quickly adopted because of its practical advantages;
it took into consideration more liberated development (particularly for ladies)
and the detachment of the fabric more likely than not invited in hot Egypt.
All in all, what we see these days is that the local Egyptian populace
embraced various components of the dress of the occupiers of the time. This
is not very remarkable, in light of the fact that to ascend inside society, one
would need to receive the traditions of the colonizers. To be seen as an

53
Ibid , 73- 74.
54
Landi, S., (1987), Tutankhamun in the Victoria and Albert Museum, ATN, 5, 9- 10.
55
P. M, I, 582; Pfister, R., (1937), Les Textiles du Tombeau de Toutankhamon, RAA, 11,
207- 218, pls. 23- 26.
56
Peet, E., (1933), The So-Called Ramesses Girdle, JEA, 19, 143- 149.
57
Metjetji’s mastaba at Saqqara; Cooney, J., (1953), The Wooden Statues Made for an
Official of King Unas, Brooklyn Museum, Bulletin 15, 1, 1- 25.

126
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
equivalent one can't show up a savage. In any case, is it safe to say that this
was selection truly a figured demonstration? Besides, it appears this is not an
instance of clear duplicating. Components were received, adjusted and
reinterpreted to a specific degree. Likewise, inside different connections
identified with religion, Pharaonic-style dress appears to have kept going any
longer, as obvious in portrayals of Egyptian divine beings, clerics and
admirers.
The introduction of the bag-tunic represents an innovation in a
specialized sense, and also in a social sense. This development is prone to
have been of inward cause, as a useful minor departure from another sewn,
body-covering piece of clothing, the V-necked dress. The tunic, in spite of
the fact that not the most dress prestigious piece of clothing, added another
layer to the collection of wrap-around dresses, kilts and skirts, for the tip top
as well as for the ordinary people (as underwear for ladies and over article of
clothing for men). This likewise what we have these days in our Egyptian
life. There is by all accounts astoundingly the broad of the sack tunic amid
the new kingdom for all classifications of society.
Also, I would like to propose that this particular quality of society is
actually the key mechanism behind change in clothes, which serves as a sign
that the individual has a place with a specific gathering, however at the same
time separates the same individual from all others: it incorporates and avoids.
It is a method in the meaning of new gathering personalities and redefinition
of old characters amid the reconfiguration of society. Through (components
of) dress, personality is communicated and strengthened; it outwardly makes
qualifications and thusly additionally a feeling of having a place.
Of course, when analyzing changes in dress a number of other factors
should also be taken into account, for example, official directions or
impediments, mechanical development, association of generation, and trade
frameworks, which all cutoff or encourage inventiveness. Finally, maybe we
have to say that, the migration, or globalization might play an important role
in the clothes from the past to the modern life. From the ancient Egyptian
period, we have many intermediate periods and after that the Greco- Roman
period, Christian, Islamic, and finally the modern period. All of them have
their concept and traditions in clothes, so we must have many changes.
Figures:
▪ Fig. 1 Construction of bag-tunic, Vogelsang-Eastwood, G., op.cit, 1993,
fig. 8: 2.
▪ Fig. 2 Wearing methods of bag-Tunic.
▪ Fig. 3 Bag-tunic nowadays.

127
 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
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▪ Fig. 4 Two ladies with full length bag tunic, Middle Kingdom- Egyptian
museum.
▪ Fig. 5 Two ladies with full length bag tunic.
▪ Fig. 6 Meryre and his wife Iniuia, 18th dynasty (Reign of Akhenaten or
Tutankhamun).
▪ Fig. 7 Sennofer tomb.
▪ Fig. 8 Bag-tunic nowadays.
▪ Fig. 9 Sitting statue of king Akhenaten with full-length bag-tunic with
sleeves, EM. JE. 44866, Vandier, J., op.cit., III, 1958, pl. CVI, 4.
▪ Fig. 10 Standing statue of king Amenhotep III with full-length bag-tunic
with sleeves, M.M.A. 30.8.74, Vandier, J., op.cit., III, 1958, pl. CVI, 4.
▪ Fig. 11 Standing statue of Queen Nefertiti with full-length bag-tunic,
BM. 935, Strudwick, N., Masterpieces of Ancient Egypt, AUC, 2006, p.
177.
▪ Fig. 12 Standing statue of king Akhenaten with short bag-tunic- Oxford
museum.1924.162, Vandier, J., op.cit., III, 1958, pl. CXIV, 4-5
▪ Fig. 13 King Akhenaten and his queen, Nefertiti, Tell el-Amarna, New
Kingdom, Amarna Period, Painted limestone, Musée du Louvre, Paris,
France
▪ Fig. 14 The only example of a lightweight linen tunic without sleeves for
summer.
▪ Fig. 15 Ancient Egyptian V-necked dress.
▪ Fig. 16 Ancient Egyptian V-necked dress.
▪ Fig. 17 Tunic, with one long sleeve attached bears a painted image of the
goddess Hathor, maybe from Deir el Bahri, New Kingdom, EA 43071,
British museum.
▪ Fig. 18 Tarkhan dress of king Djet, 1st dynasty or Old Kingdom, (about
3000-2300 BC) UC 28614Bi, Petrie museum.
▪ Fig. 19 Linen bag tunic with a neck, 18th dynasty, Thebes, EA 2565,
British museum (London).
▪ Fig. 20 Child tunic found on a grave at the temple of Mentohotep,
Thebes, 26th dynasty, (MMA 25.3.215, Rogers Fund, 1925, Metropolitan
Museum of Art, New York.
▪ Fig. 21 Tomb of kha, Thebes, 18th dynasty, S. 8530, Museo Egizio
(Turin), Tightly woven, undyed, linen bag tunic with a slightly napped
surface and decorative bands on hem, neck opening and sides.
▪ Fig. 22 Sitting statue of princess with delicate full length bag-tunic,
Royal museum, Holland AST 2, Schneider, H. D. en M. J. Raven, De
Egyptische Oudheid, Den Haag 1981, nr. 81.
▪ Fig. 23 High official wearing the bag-tunic- Mry re tomb, Tell El
Amarna, Davies, N de Garis., The Rock Tombs of El Amarna, I, London,
1903, pl. X.
128
 Ahmed Ebied Ali Hamed
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
▪ Fig. 24 Ivory early dynasty statuette of a king (British museum, London,
BM. 37996).
▪ Fig. 25 God Osiris.
▪ Fig. 26 Nowadays Milaya for Woman
▪ Fig. 27 Meroitic apron, Gebel Adda, Nubia (Ontario museum, Toronto,
Rom u 62).
▪ Fig. 28 Reconstruction of a Meroitic apron, Gebel Adda, Nubia (Rom u
62, Ontario museum, Toronto).
▪ Fig. 29 nowadays apron.
▪ Fig 30 Girdle from the time of king Ramesses III, Liverpool museum
(M. 11156), Hall, Egyptian textile, p. 46, fig. 35.
▪ Fig. 31 Ancient Neck-Sash in statue of Metjetji, Knsas Museum.
▪ Fig. 32 Ancient Neck-Sash in statue of Metjetji, Brooklyn Museum.
▪ Fig. 33 Modern Neck-Sash for youth and villager men in Upper Egypt.

References:
▪ Barber, E. J. W., Prehistoric Textile, Princeton, 1991.
▪ Barry J. Kemp, B. J., Commodity Prices from the Ramessid Period, An
Economic Study of the Village of Necropolis Workmen at Thebes by Jac. J.
Janssen, JEA, 65, 1979.
▪ Bonnet, H., Die Ägyptische Tracht zum Ende de Neuen Reiches,
Leipzig, 1917.
▪ Bouriant, U., Petits Monuments et Petits Textes Recueillis en Egypte,
REI 10, 1987.
▪ Brunton, G., and Caton-Thompson, G., The Badarian Civilization and
Predynastic Remains near Badari, BSAE 46, London, 1928.
▪ Budge, E. A., The Book of the Dead, Papyrus of Ani, Great Britain
Press, 1913.
▪ Carter, H., and Mace, C., the Tomb of Tutankhamen, III, London, 1933.
▪ Cartland, B.M., The Dress of the Ancient Egyptians in the Empire,
BMMA 11, 1916, New York.
▪ Černý, J., and Gardiner, A., Hieratic Ostraca, 1, Oxford, Griffith
Institute, 1957.
▪ Cooney, J., The Wooden Statues Made for an Official of King Unas,
Brooklyn Museum Bulletin 15, 1 (Fall 1953), 1- 25.
▪ Cordin, A., Fashion and Clothing, Egyptian Art Principles and Themes
Foreign Cultural Information Department, 2000.
▪ Crowfoot, G. M and Davies, N de Garis.,The Tunic of Tutankhamen,
JEA 27, 1941.
▪ -----------,Methods of Hand Spinning in Egypt and Sudan, Halifax, 1931.
▪ Entwistle, J., The Fashioned Body: Fashion Dress and Modern Social
Theory, Polity Press, Cambridge, 2000.

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 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
‫ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
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 Preserving our Tangible Heritage: Clothing in Ancient Egypt to the
Present Day
‫ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬
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▪ Figures
▪

Fig. 1 Fig. 2 Fig. 3

Fig. 4 Fig. 5

Fig. 6 Fig. 7

132
 ‫‪Ahmed Ebied Ali Hamed‬‬
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬

‫‪Fig. 8‬‬ ‫‪Fig. 9‬‬ ‫‪Fig. 10‬‬

‫‪Fig. 11‬‬ ‫‪Fig. 12‬‬ ‫‪Fig. 13‬‬

‫‪Fig. 14‬‬ ‫‪Fig. 15‬‬

‫‪133‬‬
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‫‪Present Day‬‬
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‫‪Fig. 16‬‬ ‫‪Fig. 17‬‬ ‫‪Fig. 18‬‬

‫‪Fig. 19‬‬ ‫‪Fig. 20‬‬ ‫‪Fig. 21‬‬

‫‪Fig. 22‬‬ ‫‪Fig. 23‬‬ ‫‪Fig. 24‬‬

‫‪134‬‬
 ‫‪Ahmed Ebied Ali Hamed‬‬
‫ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬

‫‪Fig. 25‬‬ ‫‪Fig. 26‬‬ ‫‪Fig. 27‬‬

‫‪Fig. 28‬‬ ‫‪Fig. 29‬‬ ‫‪Fig. 30‬‬

‫‪135‬‬
 ‫‪Preserving our Tangible Heritage: Clothing in Ancient Egypt to the‬‬
‫‪Present Day‬‬
‫ــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ ـــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــــ‬

‫‪Fig. 31‬‬ ‫‪Fig. 32‬‬

‫‪Fig. 33‬‬

‫‪136‬‬