As Turkish dance music and traditional folk melodies and dances played in the background, models emerged wearing layers of luxurious, flowing silks, dangling tassels, intricate headdresses, and fine embroidery. Over 20 different selections of music and costumes spanned the centuries of Turkish history.
The show was arranged and designed by the Olgunlasma Institute of Turkey, which opened in 1958 in order to preserve, adapt, and hand down traditional Turkish clothing and handicrafts that reflect the wealth of Turkish traditional culture. The school also aims to promote social change by encouraging women to become more productive members of society.
“It is a sad fact that traditional handicrafts are gradually being eliminated by technology and changing values … The times where feelings, thoughts, sadness, and love were expressed through colorful embroideries or crochet lie in the past,” said Emine Kirac, director of the Institute.
Rather than a single designer bearing responsibility for an entire ensemble, approximately 150 designers worked together to create the pieces for the show. From head to toe, the team of designers made everything by hand.
The expert handiwork is reflected in the richness and intricate nature of each piece, as well as the variety of colors, shapes, textures, and styles that prevailed throughout the show. Long, elegant silk dresses in ivory flowed under bold blue waistcoats rich with gold embroidery. Bejeweled jackets and kaftans were lined with fur and laid over long tunics, and topped with gold and silver coins that dangled from the model’s neck or waist. Colorful pastel threads intricately woven into floral designs on creamy white silk showed the delicacy and refinement of women in the sultan’s palace. Broad belts of silk or leather cinched layers of flowing fabric into a cohesive whole by elegantly wrapping around the waist.
In every piece, elegance, dignity, and femininity prevailed with confidence. In the intricate handiwork of every piece, one could sense restraint, strength, and great patience.
Even the so-called “casual, local” outfits inspired by areas in Turkey such as Mardin Cizre, or by the Sultan Kayseri, were rich in detail and color. Though the fabrics were thicker and more durable, they were layered and arranged with great care. Thick knit socks with colorful weaves disappeared under layers of skirts, aprons, and tunics embroidered by either machinery or certain needlework techniques, such as “blonya.”
Other designs reflected the dress of royalty under various sultans in Turkish history. Raw silk, satin, velvet, and chiffon formed layers of skirts, kaftans, dresses, aprons, short shirts, and dress coats in various combinations, ranging from simple two-layered pieces (inside-dress plus kaftan) to arrangements of three or more layers.
Memorable moments? A pale yellow dress under a long pale blue robe embroidered with gold flowers. Long ivory dresses that trailed under thickly embroidered robes and jackets, sweeping the ground with elegance and the hush of royalty. Shades of pink, lemon, and peach silk threaded with silver formed ruffled collars and wrapped into belts.
Before the start of the show, the Turkish ambassador’s wife gentley told this Epoch Times reporter that she was excited and added, “I hope you will like it.” And I certainly did.
