Introduction
This class is meant to be a basic introduction to Ottoman garb for the 16th century. It is not intended to be exhaustive, or cover any one item in detail. Both men’s and women’s garb are covered, along with general guidance for fabric selection and construction. This handout is a starting point—further research into surviving examples at the Topkapı Palace Museum is highly recommended.
Layers of Ottoman Costume
Ottoman dress was constructed in distinct layers, worn from the body outward:
- Çakşır – Underpants/underwear
- Salvar – Trousers
- Gömlek – Chemise/shirt
- Zibin – Short undercoat (women)
- Kaftan – Outer robe (worn in multiple layers)
- Ferace – Wool overcoat (outdoors)
- Hats, veils, and turbans
- Accessories and shoes
Fabrics
Common fiber choices were cotton, linen, wool, and silk. Silk was considered inappropriate worn directly against the skin for Muslim men, per Islamic law; for women and non-Muslim men, this restriction did not apply in the same way. Fur linings were used in winter-weight garments.
Woven and embroidered fabrics were standard, often featuring large-scale motifs. Common patterns include:
- Medallion-style prints (most common)
- Solid colors
- Ogival (oval lattice) repeats
- Stamped or block-printed fabrics (present but rare)
- Appliqué (used on some kaftans)
- Stripes – almost never used in Ottoman dress
Sumptuary laws existed but are not well documented for this period. In practice, fabric quality and quantity signaled status more than strict rules about who could wear what.
For recreation: lightweight cotton or linen is appropriate for undergarments and the gömlek. Heavier silk, wool, or cotton blends work well for kaftans. Heavy wool is correct for the ferace.
Çakşır – Underpants
The çakşır are underwear worn beneath the salvar. They are cut similarly to the salvar but shorter, ending at or just below the knee.
- Lightweight, typically cotton
- Only one surviving example is known, held at Topkapı Palace
- Drawstring waist
For recreation: the single surviving example tells us these were plain, lightweight, and functional. A simple cotton construction matching the salvar pattern but knee-length is the best approach.
Salvar – Trousers
Salvar were worn by both men and women as the main trouser layer. Surviving examples vary in their exact cut, but share common features:
- Wide, full seat with a generous crotch
- Gathered into a waistband with a long drawstring (uçkurt)
- Tapered toward the ankle; some ankle-length, some slightly shorter
- Men’s examples tend toward a slightly tighter fit than women’s
- Made from patterned or solid fabrics; lightweight silk and cotton are common
For recreation: the basic salvar pattern is a wide-leg trouser with a drop crotch. Lightweight fabrics drape better. Avoid heavy denim-weight materials. See the Turkish pants handout and the Şalvar Pattern Generator for drafting your own.
Gömlek – Chemise
The gömlek is a long shirt or chemise worn as a base layer. No 16th-century examples survive intact, but later examples and depictions in miniature paintings give us a reasonable picture.
- Made from sheer linen or fine cotton
- Can be full-length or knee-length
- Sleeves may be full/wide or fitted; some have very long decorative sleeves
- Often embroidered, particularly at the cuffs, neckline, and hem
- Worn by both men and women
For recreation: use sheer or semi-sheer linen or cotton. Embroidery at cuffs and hem is historically supported and adds visual interest. The talismanic shirts (tılsımlı gömlek) surviving at Topkapı give some construction clues even though they are specialized objects.
Zibin – Short Undercoat
The zibin is a short, closely fitted coat worn over the gömlek and under the kaftan. It is primarily documented as a women’s garment, though similar layering appears in some depictions of men.
- Cut similarly to the kaftan, but shorter
- Lined and closely fitted to the body
- May be sleeveless, short-sleeved, or long-sleeved
- Thought to have functioned as a support garment
- Typically made from silk or wool, matching kaftan-weight fabrics
For recreation: treat this as a fitted underlayer kaftan. Because it is worn under the main kaftan, lighter-weight fabric is practical.
Kaftan – Outer Robe
The kaftan is the defining garment of Ottoman dress, worn by everyone regardless of gender or rank. It was worn in multiple layers, with more layers indicating higher status. Kaftans were also given as ceremonial gifts (hil’at) to honor recipients – this was a formalized tradition at the Ottoman court.
- Men’s and women’s kaftans are nearly identical in cut; men’s are sometimes shorter
- Lined in contrasting silk; some lined in fur for winter
- Faced (iç astar) – a distinctive construction detail at the front edges
- Closed with silk-wrapped buttons (düğme) and thread loops, not buttonholes
- May feature çaprast (decorative woven bands) on the front opening and cuffs
- Sleeves vary: fitted, open hanging (false sleeves), or a combination
- Side seams include rounded gores for movement
- Has functional pockets
Çaprast are decorative and functional bands, typically tablet-woven or brocaded silk, applied to the front edges and cuffs. They are characteristic of 16th-century Ottoman kaftans and are a strong visual identifier of the style.
For recreation: the kaftan pattern is relatively straightforward – a T-shaped robe with gores. Finding a good period source such as the Topkapı kaftan collection for reference is strongly recommended. Button loops rather than buttonholes are an important accuracy detail.
Ferace – Overcoat
The ferace is an outer overcoat worn when leaving the home. It is the outermost layer of a complete Ottoman outfit.
- Typically made from wool
- Features a small standing collar
- The most commonly documented color for women’s street wear is black, for modesty; other colors are known
- Worn for warmth, modesty, and to protect finer garments from dirt and dust
- A men’s version existed as well, though it differed in some details
For recreation: black wool is the safest choice for a historically grounded ferace. The construction is relatively simple – an overrobe with a standing collar.
Hats, Veils, and Turbans
Headwear differed significantly between men and women, and varied by rank and occasion.
Women’s Headwear
- Talpush/Talpak – a stiff hat worn as the primary headcovering (also spelled tarpus, talpak)
- Hotoz – a decorative, often embellished hat worn indoors
- Yaşmak – a face/head veil worn in public, draped over the hat
- Pece – a face veil, typically sheer
- Kaşbastı – an embroidered hatband worn around the base of the hat
Men’s Headwear
- Turbans in many styles; winding style and color varied by rank and profession
- Kulah – a tall conical undercap worn beneath the turban
- Various caps and felt hats depending on role
Sorguç – Hat Ornament
Sorguç are decorative plume holders worn on hats and turbans. They held sprays of feathers – peacock feathers were the most prestigious, but heron, bird of paradise, and other feathers were also used. They were often set with jewels.
For recreation: the talpush and yaşmak combination is the most visually distinctive women’s head covering. Kaşbastı embroidery is a rewarding needlework project if you want to add detail.
Accessories and Shoes
Footwear
- Slippers (mest/pabuç) – worn by men and women indoors and outdoors
- Boots – worn by both men and women, particularly outdoors
- Nalin – wooden platform clogs, worn by women only, especially in baths
Sashes and Belts
The kuşak (sash/belt) was worn by everyone. Sashes were long lengths of fabric wrapped around the waist; metal belts (kemer) were also worn, often jeweled for wealthy individuals. Both were functional and decorative.
Jewelry
- Women: choker necklaces of gold or pearls, earrings, bracelets
- Men: earrings and rings
- Both men and women wore daggers as dress accessories
Other Accessories
- Yelpaze – rigid flag-style fans made of feathers or fabric on a handle
- Henna – used on hands for decoration, particularly by women
- Handkerchiefs – often embroidered, carried by both men and women
Further Research
The best primary sources for Ottoman garb are the surviving kaftans, salvar, and accessories in the Topkapı Palace Museum collection in Istanbul. Many have been photographed and published. Key resources include:
- Topkapı Palace Museum published catalogs
- Turkish and Islamic Arts Museum collections
- Ottoman miniature paintings (especially the Şehname of Suleiman the Magnificent)
- Sixteenth-century European depictions of Ottoman figures (useful but viewed with caution for accuracy)
This is an active area of research. New analysis of surviving garments continues to refine our understanding of construction methods.