Kalasiris Research Paper

The Egyptian Kalasiris 1

Running head: THE EGYPTIAN KALASIRIS

The Egyptian Kalasiris: A Fascinatingly Enduring Garment

Jenna Alami

Cheryl Kremer

FCS 314: History of Costume

October 7, 2009


TABLE OF CONTENTSPage

ABSTRACT………………………………………………………………………….3

BACKGROUND OF ANCIENT EGYPT…………………………………………...4

CONCEPTION OF THE KALASIRIS………………………….…………………..4

FEATURES OF THE KALASIRIS………………………….………………………5

VITAL ASPECTS OF THE KALASIRIS…………………….……………………..6

USE OF LINEN IN THE KALASRIS……………………………….………………7

ANIMAL SKINS, COTTON, WOOL, AND SILK USAGE……………..……….…8

CONSTRUCTION PROCESS……………………………………………….…..…..8

DYING PROCESS…………………………………………………………..………10

TOOLS USED IN PRODUCTION…………………………...……………………..11

CARE OF THE KALASIRIS…………………………………………………….….11

EGYPTIAN FASHION………………………………………………………….…..11

PLEATS………………………………………………………………………………12

EMBELLISHMENTS AND ORTAMENTATION…………………………….……13

JEWERLY…………………………………………………………………………….13

KALASIRIS CHANGES…………………………………………………….……….14

STATUS AND WEALTH INFLUENCES…………………………………………...14

EVOLUTION OF THE KALASIRIS……………………………………….………..14

MODERN INFLUENCES……………………………………………………………15

CONCLUSION………………………………………………………………………..16

REFERENCES………………………………………………………………………..18

APPENDIX PAGES………………………..…………………………………………19


Abstract

Though the ancient Egyptian empire is gone, one powerful, influencing part of their

culture still remains ingrained in today’s society: the kalasiris. The kalasiris is said to be the

most significant piece of Egyptian women’s clothing, and is one that has left its mark on

fashion’s past, present, and future. The kalasiris was made out of an ultra-sheer, rectangular

piece of linen fabric. Though the kalasiris was designed and worn in a variety of ways, it is

typically described as having a scoop or v-neck neckline, being sleeveless, and hitting right

above the knees.

Starting in 2700 B.C. during the Old Kingdom, the kalasiris was introduced as a

unisex garment which was worn strictly by laborers. However, the popularity of the

resourceful, uncomplicated, and well-designed garment soon became one worn by women

and it stayed that way fall of the New Kingdom. Though it was predominantly made on un-

dyed white linen, bright colors, animal skins and feathers, embellishments, pleats and jewelry

were added the kalasiris to enhance not only the garment’s appearance but the wearer’s look,

confidence, and status as well. The construction process – including the weaving, sewing,

and dying – was one generally done by women.

The fashion trends of ancient Egypt changed gradually, along with their social status

and wealth, so the kalasiris went through a small amount of minor, but exquisite

modifications. The decline of the kalasiris came with the collapse of the Egyptian Empire as

it was invaded and finally conquered. However, the kalasiris is embedded in virtually every

garment that has been made and remains an iconic piece of clothing.


The Background of Ancient Egypt

Egypt, one of the greatest ancient civilizations of the world, developed in the northern

Nile river valley round 5000 BC. Since its beginning over 7,000 years ago, the land that is

now Egypt gave way to an astonishing revolutionary civilization – one of the oldest, most

influential, enduring, and “technically accomplished cultures the world has ever known”

(Malek, 1999). Egyptian achievements have never lost their power to amaze, fascinate, or

delight and justly so, its architects and artists produced some of the greatest masterpieces the

world has ever known. Accordingly, it comes as no surprise that ancient Egyptian fashion is

just as whimsical and detailed as its fascinating history.

The ancient Egyptians were the first human society to have a specialized sense of

style in clothing. “From Egypt's earliest beginnings around 3100 B.C.E., to its eventual

decline around 332 B.C.E., Egypt's kings and queens, called pharaohs, and its many noble

men and women placed great emphasis on the appearances of their clothes, jewelry, the wigs

they wore in place of natural hair, and their skin” (Owens, 2001, ¶ 2). The Egyptians

idolized the human body, and they wore clothes to proudly show off their figures. However,

there is one piece of clothing that stands out among the rest and deserves a special spot in

history and that is the Egyptian kalasiris.

The Conception of the Kalasiris

The background of the kalasiris is wonderfully enchanting and extraordinarily deep

and diverse. “[Egyptian women] wore tunics made of linen with fringes hanging about the

legs, called "kalasiris", and loose white woolen cloaks over these.” (Owens, 2001, ¶ 5). The

kalasiris that is predominantly depicted in ancient Egyptian art began as a simple garment for

men and women during the Old Kingdom (see Appendix A). The very beginnings of the


kalasiris actually show that it was first primarily used as a protective covering for workers,

but was promptly adapted by the royal families as well because of its simplicity, versatility,

and all together elegance.

The kalasiris was in the beginning made for comfort and ease of movement, and as a

defense from the harsh Egyptian sun. Also, due to their strong admiration for nature, the

Egyptians chose to wear figure-tracing garments and the kalasiris was no exception to this

rule. It was a rectangular length of commonly linen material, folded over to match the height

of the woman wearing it. A slit was cut on top to create a neckline, and the side seams were

sewn together from the armhole to the ankle (Ziegler, 1999). In many cases the straps

extended to mid torso, often leaving the breasts exposed. The kalasiris women wore might

cover one or both shoulders or be worn with shoulder straps.

The Vital Aspects of the Kalasiris

As Drioton positively states, “the single most distinctive and important garment worn

by women throughout the history of ancient Egypt was the kalasiris” (Drioton, 1950). The

often strapless, sometimes long-sleeved, sheer garment was the precursor to all Greco-

Roman fashions. Moreover, the kalasiris designs set the standard for unisex adornment,

body-conscious clothing, and finely woven, sheer fabrics. Though, it was not until the

kalasiris was fully implemented into Egyptian attire that it was transformed into mainly a

garment for women. Children did not typically wear a form of clothing, but in colder months

and during important events and special ceremonies they may have worn a kalasiris.

Moreover, it was not until after a girl reached puberty that she was to adopt a kalasiris into

her wardrobe (Owens, 2001, ¶ 7).


Through the earliest depictions of women at the beginning of the Old Kingdom

around 2700 B.C.E., to those at the end of the New Kingdom around 750 B.C.E., it is evident

that the kalasiris was the uniform of the Egyptian woman (Ziegler, 1999). Interestingly,

though, no remnants of a tangible kalasiris have ever been found. Costume historians are

also especially watchful of the depictions of the kalasiris and confirm that they may be

idealized images, not accurate pictures of real dresses (Petrie, 1974). For example, it is

believed that even though Egyptian hieroglyphics depict the kalasiris as a skin-tight garment,

it most likely was not that constricting due simply to the fact that their sewing skills were not

advanced enough to produce clothing that tight.

Clothing Materials, Fabric, Fibers of the Kalasiris

Archeologists found while excavating Egyptian tombs, that linen was the most

common fabric used in their ancient clothing. Since the Egyptian climate consisted of

blistering-hot summers and meek winters, Egyptians favored light clothing made especially

from these plant fibers. A papyrus drawing from a collection of religious texts known as the

Book of the Dead was found upon excavation of an Egyptian tomb and even depicts

Egyptians growing flax, a plant that yields fiber for linen.

Spun from the stem of the flax plant, different grades were produced depending on

the desired end product; the finest thread was produced from the youngest plant which was

often reserved for royalty. Linen was also easy to care for and wash, and in ancient Egyptian

culture cleanliness was considered more vital to the appearance than decoration (Owens,

2001, ¶ 11). Another quality of linen that was principally appealing was its thinness. Linen

could be made so thin, or sheer, that it was transparent. Egyptians enjoyed this for they as a

culture were not modest and enjoyed showing off their bodies.


However, fabric in the Egyptian society was not merely limited to the use of linen. In

fact, upon unearthing the earliest tombs, it was discovered that a variety of fabric was used in

the production of such garments as the kalasiris. Animal skins including sheep, cattle, goats,

pigs, and even horses were particularly dear to the Egyptians and directly denoted status.

The most vital of all was leopard skins and were worn by priest and pharaohs in their role as

first servants of the god (Wilkinson, 1994). Such outfits were even found in Tutankhamen's

tomb.

Egyptian culture believed that the wearer of an animal skin encrusted garment gained

the skill and power that the animal possessed. Animal skins were depicted on a majority of

Egyptian artifacts, walls of tombs, and pottery (Petrie, 1974). At times kings and queens

even adorned themselves with decorative ceremonial clothing adorned with feathers from

geese and ducks as a symbol of status, power, and altogether trendiness.

Occasionally additional fabrics were used as well. It was not until the New Kingdom

that cotton was introduced and began to gradually be imported from India. Cotton took the

place of linen as being a more sustainable fabric; however cotton usage never surpassed the

popularity of linen. Moreover, wool was used to an even lesser extent. Egyptians obsession

with cleanliness discouraged the use of wool, however, because it was seen as entirely

unclean and impure. Surprisingly, small amounts of silk have even been found in Egyptian

tombs. It is thought to have been introduced in the New Kingdom by trade with the eastern

Mediterranean in ancient times (Owens, 2001, ¶ 7).

The Construction Process of the Kalasiris

The manufacture of clothes was apparently mostly women's work. Women workers

were significant to the garment production process and were specially marked by it: “. . .


Spinning was a woman's work, or, among divine beings, a task for a goddess” (Drioton,

1950). It was generally done at home, but there were workshops run by noblemen or other

men of means too. Royal harem ladies were involved in production as a commercial

enterprise, and peasant and workers' wives produced clothing for their families and bartered

the surplus

The first stages of the linen production were performed by men. As acknowledged by

Tracy Owens of fabrics.net, “They reaped the plants and by beating and combing the plants,

they extracted fibers from them, which could be spun into thread, the first of the stages often

performed by women” (Owens, 2001, ¶ 11). When the loom was introduced later in the New

Kingdom, it made fabric more widespread, affordable, and even more sustainable than

before. The looms were horizontal on the ground for course work, such as mats; but fine

work was done on a vertical loom, such as the kalasiris. The size of the looms used to weave

cloth were sizeable and took more than one person to operate (see Appendix B).

When the cloth was still woven on horizontal looms, which were often just pegs

rammed into the ground and where the weavers, again generally women, had to stoop on the

floor. Though the ways in which they produced thread and fabric seems primitive, the

Egyptians’ perfected the art of fabric-making. For instance, it was discovered upon

excavation that the cloths on the mummy of King Zer are longer five feet wide and sixty feet

long! (Petrie, 1974). Captivatingly enough, a three-dimensional wooden model of a weaving

workshop was recently found during excavation of an ancient Egyptian tomb and it shows

workers spinning linen thread and weaving it into cloth.

As the sewing of clothes was extremely labor intensive and the art of tailoring to fit in

its infancy, many garments, including the kalasiris, consisted simply of a rectangular pieces

http://www.reshafim.org.il/ad/egypt/timelines/topics/flax.htm#weaving


of cloth draped around the body and held together by a belt. But the cloth was often hemmed

to prevent fraying, with either simple, or rolled and whipped hems. At times garments had

parts, which had to be stitched on such as sleeves or shoulder straps (Malek, 1999). The

seams used were generally simple or lap-over, though run-and-fell and overcast seams were

also known. The number of different stitch types was also limited to running, overcast, and

twisted chain stitches.

As it has been previously stated, the kalasiris was largely made of finely woven, sheer

linen (Ziegler, 1999). What makes it so unique is that there were gold threads that were

sown in when they were used in royal ceremonies. The full process of construction for the

kalasiris is still unknown, and no one has been able to figure out how they incorporated gold

thread into the fine weave of the fabric. They were sewn from a rectangular piece of cloth

twice the desired garment length. An opening for the head was then cut at the centre of the

cloth, which was then folded in half. The lower parts of the sides were stitched together

leaving openings for the arms (Owens, 2001, ¶ 11).

After the weaving was done, linen could be sun bleached to produce an attractive

white cloth that was very popular with the higher ranking Egyptians. Depictions found in

hieroglyphs, pictures of Egyptian life that have been preserved in tombs and on other relics

that have survived to modern day, reveal that women often dyed their kalasirises in bright

colors and, especially during the New Kingdom (c. 1500–c. 750), covered them with detailed

patterns (Malek, 2003). Various plant dyes were sometimes applied before weaving but the

process of dyeing material came very slowly to Egypt and did not completely develop until

the late Middle Kingdom. The dyes were made from mixing different substances. For

instance, to make the color red they mixed roots from plants and insects.


When the dye methods were eventually sophisticated, Egyptian women used a variety

of colors in their clothing. These colors had an assortment of symbolic meanings as author

for Ancient Egypt at the Louvre, Christie Ziegler conforms: “Blue, for example, stood for

Amon, god of air; green represented life and youth; and yellow was the symbol of gold. Red,

which symbolized violence, was seldom used, and black was reserved for the wigs worn by

both men and women. By far the most revered color was white. White was a sacred color

among the Egyptians, symbolizing purity” (Ziegler, 1999). Luckily, white was the natural

color of flax.

The tools used in the production of clothing such as knives and needles changed over

Egypt’s reign. “Blades were made from stone during the Neolithic, then from copper, from

bronze during the Middle Kingdom and finally from iron, though flint knives, which had

sharper edges than iron ones, continued to be used to an ever decreasing extent until Roman

times” (Hornung, 1993). Needles were fashioned from wood, bone and metal. The Egyptians

succeeded in making thick copper needles that could sew through even the coarsest fabric.

Scissors came into general use late in Egypt's history though the principle was known since

the second millennium BCE and helped enhance garment making.

The Launder and Care of the Kalasiris

Though the Egyptians were fanatical about cleanliness, the washing of their garments,

including the kalasiris, which they did habitually, was not an easy matter. In fact, it was a

tremendously tedious and time consuming process that was often performed by women.

Fascinatingly enough, when they washed their kalasiris, they would beat it, rinse it, and then

wring it out and leave it out to dry in the hot air (Owens, 2001, ¶ 11). Keep in mind that the

Egyptians did not have soap and they used various herbs to keep their garments clean. It was


not until around 1200 BCE, that the workload of washing clothes was lessened with the

invention of boilers in the washhouses.

Egyptian Fashion Overview

Social status and wealth did not change fundamentally throughout Egypt's history.

Clothing was relatively expensive and in the sizzling Egyptian climate people often wore as

little as possible. It is vital to keep in mind as well that although the kalasiris was indeed the

main garment worn by Egyptian women, it was not exclusive as Jaromir Malek states: “If

we are to believe the depictions, at parties servants and slave girls wore little more than

skimpy panties and jewelry, though one may assume that the reason for this undress was not

a lack of funds” (Malek, page 400).

Even though ancient Egyptians usually wore few clothes, clothing was imperative and

sacred in their culture. Wealthy women wore kalasirises of finely woven fabric, some so thin

that the dresses became transparent (Petrie,1974). While high ranking women wore elaborate

and elongated kalasirises while working women regularly dressed in a short kind of kalasiris.

Poorer women wore a kalasiris made from heavier, coarser fabric. Its cut was likely not as

tight fitting as the kalasirises of high and middle class women.

While the top could reach anywhere from below the breast up to the neck, the bottom

hem generally touched the calves or even the ankles, the length and features of the garment

was generally determined by what the user’s rank and occupation. Some women preferred

their kalasirises with short sleeves, while others insisted on sleeveless dresses. The fit might

be very tight or quite loose, but again aerologists and historians are still unclear about the

exact fit of the garment. The kalasiris was often worn with a belt which held together the

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folds of cloth. From about 1600 to about 1000 BC Egyptian women also wore a loose,

sleeveless cloak, called a haik, over the kalasiris (Hornung, 1993).

Themes, Ornamentations, and Embellishments of the Kalasiris

In concession with changing times was a changing kalasiris and ornamentation.

Everyday kalasirises were mostly undecorated and pleated lightly. Though pleating was

known since the Old Kingdom, it was typically only dresses of upper class Egyptians that

were pleated horizontally. A Middle Kingdom piece of clothing displays three different

types of pleating: “one part is pleated with pleats a few centimeters apart, another with very

narrow pleats and a third part is chevron-patterned, with horizontal and vertical pleats

crossing each other” (Hornung, 1993). In the New Kingdom the pleats were often vertical,

but pleating could be quite intricate.

As pleats changed so did embellishments. Women's dresses were at times

ornamented with beads. Vividly colored woven patterns and needlework added borders and

designs to clothing. In the New Kingdom, embroidery, influenced by Syrian culture, made

its debut. The author of Symbol and Magic in Egyptian Art, Richard Wilkinson makes

apparent the essential use of motifs in Egyptian embellishments: “A certain group of

decorative motifs show up in embroidery on collars, belts and sashes like the lotus flower,

papyrus bundle, birds in flight and many geometric forms” (Wilkinson, 1994). Sacred

emblems, such as the scarab beetle and the asp were worn by priests and royalty, but even

poor Egyptians found ways of adorning themselves with these enchanting insignias.

It is affirmed throughout Egyptian history that jewelry was a prime focus of women.

Intricate, striking, and exquisite pieces have been found in a numerous amount of

excavations carried out by archaeologists (Drioton, 1950). Jewelry was not limited to just


royalty either, women who belonged to the lower rank of society also sought out and wore a

moderate amount of jewelry.

Gold jewelry, set with beautiful carnelian and turquoise, pectorals which were

Egyptian pendants worn on the chest, amulets that protected against evil, and wide, jeweled

collars were used to enhance not only the wearer but the kalasiris she was wearing.

Bracelets, necklaces, earrings, rings, ankle bracelets - all made from semi-precious stones

and faience, the first ceramic material invented by the Egyptians - also set off the white

garments in a beautiful contrast of blues, greens and browns and golds. Egyptian women too

wore decorative, tightly hued bands made of embroidered materials and beads and set around

the neck and shoulders on the bare skin or on top of their kalasirises. Headgear too was rich

and wide-ranging. Women of elite classes often wore gold headbands that wrapped across the

forehead and around the head (Petrie, 1974).

The evolution of the Kalasiris

In today's world, fashions come and go on seasonally or quite frequently faster; in

Egypt, fashion changed very little in its three thousand year history like their social status and

wealth. One of the facts about Egyptian clothing that has intrigued historians the most is the

lack of change seen in the clothing over many centuries. Similarly, Egyptian women's

garments underwent fewer changes over time than the clothes men wore.

The various transitions of the kalasiris happened relatively slowly through the Old

Kingdom, Middle Kingdom, and the New Kingdom (Hornung, 1993). Nevertheless, over the

centuries gradual changes in the kalasiris did occur. During the Old Kingdom, which lasted

until about 2130 BC, men and women wore simple garments. The first kalasiris prototype

started here was functional in that it served to protect the Egyptians from the overbearing


weather elements. The sheer gown covered the body from the ankles to just above the

breasts, and was held up by somewhat decorative shoulder straps.

During the Middle Kingdom, which prospered until around 1600 BC, more material

was used in the skirt, making it longer, down to the ankles, and fuller (Drioton, 1950). The

second kalasiris was both purposeful and ornamental. It offered the same type of protection

as the first, yet it was far more lavish and stunning. Women also wore intricate and

ornamental pendants and charms which were attached to their belts.

The women continued with their simple, sheer kalasirises until the New Kingdom

from 1539 BC until 30 BC when the ancient civilization was finally conquered by Rome.

Women still wore the same type of garments but they were composed of larger pieces of

material and draping was more intricate and more richly decorated. Moreover, high-ranking

women wore robes over their kalasirises that were draped and pleated and held in place by

pins and belts. At this point, the Egyptians were influenced by the fashions brought by

Assyrians, Persians, and Greeks who successively conquered them until the final vanquishing

by Rome (Wilkinson, 1994).

The Kalasiris and the Modern Influence It Holds

The elements of Egyptian fashion have affected our history and continue to shape our

society’s style trends. The Egyptian influence in fashion has been around us quite

predominantly but sometimes we fail to notice this, because it has been modified and

enhanced to suit the modern woman. The simple yet refined beauty of the kalasiris has

woven its thread all through history:

“A garment that began as a covering for the common worker became the

covering of choice for royal courts for generations to come. Then it became


the basis for some of the most celebrated garments in history: the tunic and the

toga. The popularity of the slim kalasiris silhouette has dwindled at times, but

it’s always been in view.” (Owens, 2001, ¶ 14)..

Ever since its inception, the kalasiris has had a dominant influence on fashions and fabrics.

The evolution of the kalasiris is captivating and the modern influence it has had on

some of fashions most prevalent and sought after garments is extraordinary. It was during

the Medieval Period when a looser version of the kalasiris was introduced. The design

paralleled the kalasiris, yet the silhouette was slightly less figure-hugging and movement-

restricting. The garment, known as the chainse and sorquenie, also was two pieces and

extended from the top of the neck to the bottom of the ankles (Ancient Egypt: Clothing,

2000, ¶ 7). The chainse and sorquenie climbed in esteem and recognition throughout the

1300 and 1400s.

For the duration of the Renaissance during the 1500 and 1600s, a tight-fitting bodice

attached to a slightly form-fitting skirt known as the vaquero was a close relative of the

Egyptian kalasiris. (Ancient Egypt: Clothing, 2000, ¶ 9) The bodice was similar to the

kalasiris due to the fact that it enhanced the curves of the upper body, but it still allowed

room to carry out daily activities and rituals. Accordingly, the French Empire Period ushered

in the first a-line version of the kalasiris; the snug top that flowed into a loose skirt and

allowed total freedom of movement. The empire dress mirrored the kalasiris in fashion and

fabric use. The cut of the dress and the sheer woven fabric remained true to the Egyptian

tradition. The French too modeled their design after the Egyptian tradition and began to

weave gold and platinum thread into the sheer fabric of the gown.


The design and fabric usage of the kalasiris was most in style during the twentieth

century. As women were allowed more independence and equality as citizens, they were

also allowed more freedom in how they chose to express themselves with clothing (Ancient

Egypt: Clothing, 2000, ¶ 11). The 1920s and 1930s brought back a kalasiris revolution with

Coco Chanel’s little black dress. Although her curve-conscious designs were often

constructed with black crepe de chine or white satin, the little black dress was the ancient

Egyptian kalasiris in its most blatant form; this reinvention was the epitome of the Chanel

name, and symbolized her at her best.

Today, the Egyptian influence is still enormous (see Appendix C). Paul Poiret, just

last August 2008, had included the Egyptian elements and influence in his collections

because he wanted to combine various cultures into outfits that could be available across the

world (Ancient Egypt: Clothing, 2000, ¶ 5). Therefore, the ancient Egyptian kalasiris

continues to exceedingly inspire designers and fashion-conscious consumers today and will

far into the future.

Conclusion

The kalasiris is a symbol of this culture's consistently simple, beautiful, and enduring

sense of style:

“This garment has experienced an evolution since its origin, yet the

foundation that the kalasiris was built on still stands. The fabrics and fashion

of this garment were made to be functional, yet decorative, and comfortable,

yet body-conscious, and it has achieved all of the above. This modern

example of an ancient fabric tradition proves that history does not always

repeat itself- sometimes history just lives on” (Owens, 2001, ¶ 19).


Although the ancient Egyptians did not really have the comfort to create the latest fashion,

they sure managed to be creative with few resources. Ancient Egyptian fashion is one that

will never go out of style.


References

Ancient Egypt: Clothing. (2000). André Dollinger. Retrieved September 6, 2009, from

http://www.reshafim.org.il/ad/egypt/timelines/topics/clothing.html.

Digital Archive of Documents Related to Looms. (2009, June 30). Retrieved October 6, 2009,

from http://www.cs.arizona.edu/patterns/weaving/topic_loom.html. (see Appendix

B)

Drioton, E. (1950). Egyptian art (Golden griffin books). Italy: Arts.

Explore Elegance of Ancient Egypt in UNT Fashion Exhibition. (2009, January 30). Myra

Walker. Retrieved October 2, 2009, from

http://web3.unt.edu/news/story.cfmstory=11327. (see Appendix C)

Hornung, E. (1993). The Quest for Immortality: Treasures of Ancient Egypt. Fort Worth:

Prestel Publishing.

Malek, J. (2003). Egypt: 4000 Years of Art. London: Phaidon Press.

Malek, J. (1999). Egyptian Art (Art and Ideas). London: Phaidon Press.

MSN. (n.d.). Ancient Egyptian Clothing - Picture - MSN Encarta. Retrieved October 6, 2009,

from

http://encarta.msn.com/media_461553620_761569657_-1_1/ancient_egyptian_clothi

ng.html. (see Appendix A)

Owens, T. (2001, October 25). Fabric Properties and Distinctions - Kalasiris. Retrieved

September 2, 2009, from http://www.fabrics.net/amykalasiris.asp.

Petrie, W. M. (1974). Arts and crafts of ancient Egypt. New York: Attic Books.

Wilkinson, R. H. (1994). Symbol & Magic in Egyptian Art. New York: Thames & Hudson.

Ziegler, C. (1999). Ancient Egypt At the Louvre. New York: I. B. Tauris.

http://www.cs.arizona.edu/patterns/weaving/topic_loom.html

http://www.reshafim.org.il/ad/egypt/timelines/topics/clothing.html


Appendix A

This statue of the ancient Egyptian monarchs Nefertiti and Akhenaton shows the garment

known as a kalasiris on the figure to the left, worn by both men and women in ancient

Egypt.


Appendix B

This is a line-drawing of what an ancient Egyptian loom looked like. Notice how there is

more than one person involved as well as a hefty size of the loom. It is remarkable to think

that this was mainly a job for women.


Appendix C

The ancient Egyptian kalasiris continues to influences designers. This is a picture of a

modernized kalasiris taken from a fashion exhibition from the University Of North Texas

College Of Visual Arts and Design entitled “Egyptian Elegance”.

Kalasiris Research Paper

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