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Tunics worn by the Celts were documented by the Greek historian Diodorus Siculus: [T]he way they dress 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 ...
Arnold, Janet: Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660. Hollywood, CA: Quite Specific Media Group, 2008, ISBN 0896762629. Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5; Ashelford, Jane.
Bridal tunics are layered on top of each other; one old combination is as follows. A white nattiyak tunic as the base layer, a red tunic, a black tunic, a yellow tunic, and a blue tunic, topped by a red silk tunic and a green silk tunic, then a heavily embroidered tunic. These last three were probably liḥrīr likbīr. [31]
Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.
Musicians wear two long tunics, one over the other. The tunic on the left is an early example of mi-parti or particolored clothing, made from two fabrics. Cantigas de Santa Maria, mid-13th century, Spain. Pan-pipe players wear tunics with hanging sleeves over long-sleeved undertunics. Both wear coifs.
As in the previous centuries, two styles of dress existed side-by-side for men: a short (knee-length) costume deriving from a melding of the everyday dress of the later Roman Empire and the short tunics worn by the invading barbarians, and a long (ankle-length) costume descended from the clothing of the Roman upper classes and influenced by Byzantine dress.
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