"By the fourteenth and fifteenth century we see fur-lined coats that bear a striking resemblance to the Ottoman style. From this time on coats, short and long, become part of the repertoire of fashion.
The visual effect of layering inevitable with coats is particularly interesting. Coats are a very important feature of male dress in the first half of the sixteenth century. A short wide coat is worn that creates an impressive upper body silhouette without obscuring the essential European feature beautifully hosed and decorated legs, the fitted doublet, and the ostentatiously displayed codpiece. The sleeve of the coat is short, permitting display of an elaborately decorated under-sleeve in the Turkish manner. Loose short coats of this type first appeared in the 1490s in Italy, where the cut of sleeve and collar is virtually equivalent to Turkish examples. By the 1530s the form had been adapted to European tastes, becoming much more structured and elaborated in keeping with the aesthetics of the Mannerist style then in vogue in Europe.
The sixteenth century was a period in which in both war and commerce the Ottomans were a crucial issue for the European powers. Henry VIII is known to have been taken with Turkish dress. His chronicler Edward Hall described a fete at the English court at which Henry appeared with his retinue dressed as a Turkish Sultan as part of a masquerade.[24] Toward the end of his reign in 1542, Henry VIII posed for a portrait that is a striking comparison (apart from headgear) to that of his contemporary, Süleyman the Magnificent, but because of the pose even more dramatically resembles that of a later sixteenth-century sultan, Mehmed III .
Another item of dress inevitably associated with coats is the button. In the early Medieval period European clothing was normally secured with brooches, pins, or laces (also known as points). It is part of the Middle Eastern and Central Asian tradition of coats from an early date. In the Book of Chess of Alfonso the Wise of Castile a Moor is shown wearing a long gown with buttons, but buttons were not worn by the Spaniards in the illustrations. Buttons can also be seen in a Moorish ceiling painting in the Alhambra (c. 1354). Button makers are one of the trades listed in a document from Paris dated 1292, so by this date, buttons were beginning to come in to use in France at least. On sixteenth century European coats rows of horizontal bands form distinctive closures not previously seen in European fashion. Comparable examples can be seen on kaftans from the late 15th century in the Topkapi collections. The Turkish examples use an applied flat silk braid joining the fronts with a button and loop; Henry’s more ostentatious Mannerist version seen to the left is created in bejeweled gold, but braid equivalents were also being used. This type of closure first appears in European dress in the first half of the sixteenth century, and will become a staple of European fashion, particularly associated with military or ceremonial dress. However, it does not only appear as a closure on men’s coats. A portrait of Elizabeth I c. 1575 has a bodice closed with such bands of decorative braid. When trade negotiations were concluded in 1581 between the Ottoman Empire and the English, the exchange of royal gifts included an entire ensemble of Turkish clothing sent by Sultan Murad to Elizabeth.[25] A delightful portrait by Rubens of the child Eleonora Gonzaga dating from 1600 also shows an Ottoman style short sleeved coat with rows of gold braid and buttons."
from Ottoman Costumes: From Textile to Identity. S. Faroqhi and C. Neumann, ed.
http://char.txa.cornell.edu/influences.htm
Categories:
Türk etkileri
