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A long dashiki suit includes a shirt that is knee-length or longer. However, if the shirt reaches the ankles, it is a Senegalese kaftan. Finally, the lace dashiki suit includes a shirt made of lace. A hybrid of the dashiki and kaftan worn by females is a traditional male dashiki with a western skirt.
A formal dashiki suit will always include a crown style kufi, while the knitted style is most appropriate for non-formal occasions. Other caps worn with the dashiki, Senegalese kaftan, and grand boubou, include: [citation needed] The aso oke hat, or fila, from Nigeria; The fez, or tarboosh, a wool cap with a stem from North Africa and Turkey
The dashiki is highly stylized and is rendered with an ornate V-shaped collar. In contrast the grand boubou is simpler, even more so than the djellaba, though the color designs reach impressive proportions, especially among the Tuareg , who are known for their dyed indigo robes.
Its origin lies with the clothing style of the Mande, Songhai-Zarma, Hausa, Kanuri, Toubou, and other trans-Saharan and Sahelian trading groups who used the robe as a practical means of protection from both elements (the harsh sun of the day and sub-freezing temperatures at night) while traversing the Sahara desert.
During a wedding ceremony, the bride's kaftan is the same color as the groom's dashiki. The traditional color for West African weddings is white. [13] The most popular non-traditional color is purple or lavender, the color of African royalty. [14] Blue, the color of love, is also a common non-traditional color. [15]
A traditional cotton kurta with wooden cuff-links-style buttons, centre placket opening with chikan, a style of embroidery from Lucknow, India. A kurta is a loose collarless shirt or tunic worn in many regions of South Asia, [1] [2] [3] and now also worn around the world. [4]
Two guayaberas seen from the back, showing the alforza pleats and the Western-style yoke. The guayabera (/ ɡ w aɪ. ə ˈ b ɛr ə /), also known as camisa de Yucatán (Yucatán shirt) in Mexico, is a men's summer shirt, worn outside the trousers, distinguished by two columns of closely sewn pleats running the length of the front and back of the shirt.
Mahama's use of handcrafted textiles highlighted the importance of human labour and traditional craft practices. The batakari robes themselves embodied the concept of intergenerational knowledge and cultural heritage. The artwork sparked discussions about colonialism, trade, and the history embedded within everyday objects. [9]