The traje de flamenca ("flamenco outfit") or traje de gitana[1] ("Gitana outfit") is the dress traditionally worn by women at Ferias (festivals) in Andalusia, Spain. There are two forms: one worn by dancers and the other worn as a day dress.
The day dress is body-hugging to mid-thigh, and then continues in multiple layers of ruffles to the ankle. Modern interpretations of the style are difficult to walk in, let alone dance. The dancers' version therefore flares out from higher on the hip to allow freedom of movement.
Both versions are trimmed with layers of ruffles on both the skirt and sleeves. The dress is typically brightly colored, usually in black, red or and may be either plain or patterned, with the most famous being the polka dottedtraje de lunares.[2]
Traditionally, the outfit is completed with a shawl (mantón de Manila) worn over the shoulders. The traditional dancer will also wear her hair in a bun adorned with flowers, and perhaps a decorative hair comb.
The outfit was attributed to the Gitanos (Roma people of Spain), but is now generally thought of as typically Andalusia. The outfit originated in the late 19th and early 20th centuries when women vendors dressed in modest calico gowns trimmed with ruffles came to the fairs along with livestock traders. In time, women of the propertied classes copied these outfits. Ever since the Seville Exposition of 1929, the traje de flamenca has had a status as the official outfit of the event.[3]
Fashion
Shop of trajes de flamenca in Seville.Dancer in the typical traje de lunares.
The traje de flamenca has undergone changes over the century or more that it has been in widespread use. For example, in the 1960s and '70s, the skirts became shorter, with skirts reaching only to the middle of the calf or even to the knee (the so-called Marisol style). Beginning in the 1970s, the frogs are dropped back to the ankle so that they are not distracting on the legs.[3]
Madonna wore a flamenco dress in the video for her 1987 signature song La Isla Bonita. This was her first song to have a Latino influence and was a tribute to the beauty of the Latin people according to Madonna. Following its release, the video achieved worldwide popularity, and the flamenco red dress she wore became a trend later.
In the early 21st century there are a wide variety of designs of traje de flamenca for women and girls. They come in a variety of colors, plain or patterned, with short or long sleeves, and more or fewer ruffles. This folkloric outfit has inspired numerous Spanish and international fashion designers, among them Victorio & Lucchino, who have their own line of trajes de flamenca. Others who have been influenced include Yves Saint Laurent, John Galliano, Valentino Garavani, and Tom Ford.[citation needed]
New designs in trajes de flamenca ae shown annually at the Salón Internacional de la Moda Flamenca (SIMOF), which celebrated its 15th year in 2009. The event takes place at the start of the year in Seville. In 2009, 32 designers showed 1,200 different outfits; there were also fashion accessories from 90 firms.[4]
A tutu is a dress worn as a costume in a classical ballet performance, often with attached bodice. It may be made of tarlatan, muslin, silk, tulle, gauze, or nylon. Modern tutus have two basic types: the Romantic tutu is soft and bell-shaped, reaching the calf or ankle; the Classical tutu is short and stiff, projecting horizontally from the waist and hip.
1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.
A pollera is a Spanish term for a large one-piece skirt used mostly in traditional festivities and folklore throughout Spanish-speaking Latin America. Polleras are made from different materials, such as cotton or wool and tend to have colorful decorations. Most of the decorations are embroidered, flowers and regional animals are among the most common designs found in polleras.
1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.
Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.
Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.
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.
Fashion in the period 1650–1700 in Western clothing is characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.
1880s fashion in Western and Western-influenced countries is characterized by the return of the bustle. The long, lean line of the late 1870s was replaced by a full, curvy silhouette with gradually widening shoulders. Fashionable waists were low and tiny below a full, low bust supported by a corset. The Rational Dress Society was founded in 1881 in reaction to the extremes of fashionable corsetry.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Maya textiles (k’apak) are the clothing and other textile arts of the Maya peoples, indigenous peoples of the Yucatán Peninsula in Mexico, Guatemala, Honduras, El Salvador and Belize. Women have traditionally created textiles in Maya society, and textiles were a significant form of ancient Maya art and religious beliefs. They were considered a prestige good that would distinguish the commoners from the elite. According to Brumfiel, some of the earliest weaving found in Mesoamerica can date back to around 1000–800 BCE.
Western fashion in the 1920s underwent a modernization. Women's fashion continued to evolve from the restrictions of gender roles and traditional styles of the Victorian era. Women wore looser clothing which revealed more of the arms and legs, that had begun at least a decade prior with the rising of hemlines to the ankle and the movement from the S-bend corset to the columnar silhouette of the 1910s. Men also began to wear less formal daily attire and athletic clothing or 'Sportswear' became a part of mainstream fashion for the first time.
The baro’t saya or baro at saya is a traditional dress ensemble worn by women in the Philippines. It is a national dress of the Philippines and combines elements from both the precolonial native Filipino and colonial Spanish clothing styles. It traditionally consists of four parts: a blouse, a long skirt, a kerchief worn over the shoulders, and a short rectangular cloth worn over the skirt.
Twelfth century European fashion was simple in cut and differed only in details from the clothing of the preceding centuries, starting to become tighter and more similar for men and women as the century went on, which would continue in the 13th century. Men wore knee-length tunics for most activities, and men of the upper classes wore long tunics, with hose and mantle or cloaks. Women wore long tunics or gowns. A close fit to the body, full skirts, and long flaring sleeves were characteristic of upper-class fashion for both men and women.
The April Fair of Catalonia is an annual event held in the Catalan capital of Barcelona, Spain. It usually takes place over the last week of April and the first week of May.
The Manila shawl is an embroidered silk shawl derived from the Philippine alampay or scarf. They were popular in the Philippines, Latin America, and Spain during the colonial era. It was also adopted and became popular in European fashions in the 19th century. In modern times, it is still an aspect of various traditional clothing in Hispanic cultures and is particularly prominent as part of the costume of flamenco dancers (bailaoras) and Gitana women.
The María Clara gown, historically known as the traje de mestiza during the Spanish colonial era, is a type of traditional dress worn by women in the Philippines. It is an aristocratic version of the baro't saya. It takes its name from María Clara, the mestiza protagonist of the novel Noli Me Tángere, penned in 1887 by Filipino nationalist José Rizal. It is traditionally made out of piña, the same material used for the barong tagalog.
Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.
The clothing style and fashion sense of the Philippines in the modern-day era have been influenced by the indigenous peoples, Chinese waves of immigration, the Spaniards, and the Americans, as evidenced by the chronology of events that occurred in Philippine history. At present, Filipinos conform their way of dressing based on classic fashion or prevailing fashion trends.
The alegrías are one of the varieties of flamenco singing and dancing. They are part of the group of cantiñas, which are the songs of Cádiz par excellence.
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