Just like their Kartli-Kakhetian neighbors, women in Khevsureti wore a headdress. Traditional Khevsur headdresses were greatly admired and decorated with cross-shaped ornamental patterns. Pshav and Khevsur women would also wear silver coins and cross necklaces.
Both women and men in Tusheti wore colorfully knitted shoes called chitebi. When making chitebi, the weaver would start from the tip of the shoe and continue backwards towards the heel. Chitebi shoes also played a role in local superstition: On a Wednesday during Lent, mothers would put male chitebi under the pillow of their daughters right before they went to sleep, in the hope that they would see their future husband in their dreams.
Traditionally, a Tushetian woman wore a black headscarf which reached down to her knees, a loose-fitting dress underneath her robe and an outer garment adorned with jewelry across the chest. Men's clothing consisted of a chokha and a warm black hat. Svan hats were usually gray with black seams.
Traditional Svan clothing consisted of a shirt, chokha, trousers and Svan hat. Women wore a woolen dress and headdress adorned with earrings and jewelry, while those who were wealthy also wore silk shirts and a velvet cloak.
Iakob Gogebashvili, a leading 19th-century Georgian pedagogue, described female outfits from Racha in one of his writings, noting that they wore the chokha and an akhalukhi undershirt.
In , German scientist Dr. Traditional Georgian men's clothing in the western Adjara and Guria provinces differed dramatically from that of eastern Georgia. Throughout the ages, women in Adjara have worn three types of dresses. The dress was long and hemmed in at the waist, with special attention paid to lavish embellishments on the bodice. This gentleman wears a smart summer suit, with the coat more tightly fitting than at the end of the 17th century.
It is made of plain cloth embroidered on edges and pockets, which are raised to hip level. The waistcoat is plain and the breeches are tighter and fasten below the knee.
The shirt is frilled at the cuff and around the neck is a knotted muslin or lace cravat. He wears his own hair. For formal occasions a powdered wig tied back with a bow would be worn and his coat and waistcoat would be of patterned silks. Beneath are a stiff corset and cane side hoops supporting the skirts. For formal dress she would wear richly brocaded or embroidered silks.
This gentleman wears a plain coat, tightly fitting and cut away, forming curving tails. The waistcoat is shortened to just below the waist and the breeches are longer and tighter than before. His coat has a band collar and he wears a rather stiff stock instead of a cravat. He wears his own hair, but for formal occasions he would have a powdered wig, dressed high and tied at the back.
Embroidery and trimming were no longer fashionable except for formal wear. This dress is typical of the simple countrified styles which became fashionable towards the end of the century.
The hair is dressed in a mass of loose curls and the lady wears a huge hat inspired by a midth century riding hat. Woollen cloth, cotton and linen had become fashionable materials, while silks were worn for evening, as were small hoops since wide ones were only worn for court. The waist is high and uncorsetted, and the materials light in colour and texture. Muslin had become a fashionable fabric.
What is its history? The piece originally hails from Persia and came to Georgia around the 9th century. The chokha is also worn elsewhere in the Caucasus region, like Chechnya. Depending on the part of Georgia, the garment differs in appearance, whether that means the length or how the holders are used. It has become popular to sport the garment at religious ceremonies like weddings and funerals and at political events.
Why is it having a fashion moment?
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