Due to their strong reverence for nature, the Egyptians chose to wear
figure-tracing garments. The first kalasiris prototype was functional in that it served to
protect the Egyptians from overbearing weather elements; the second kalasiris was both
functional and decorative. It offered the same type of protection as the first, yet it was
far more lavish and beautiful.
The new kalasiris was made of finely woven sheer flax (linen). Gold threads were
sewn in when they were used in royal ceremonies. The 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. The often strapless, sometimes long-sleeved
sheer garment was the precursor to all Greco-Roman fashions. Kalsiric designs set the
standard for unisex adornment, body-conscious clothing, and finely woven, sheer fabrics.
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
kalasiric silhouette has dwindled at times, but it’s always been in view. Every since
its inception, it’s had a dominant influence on fashions and fabrics.
The Medieval Period brought a looser version of the kalasiris; the design was
the same, yet the silhouette was a little less constrictive and body-conscious. The
two-piece garment, known as the chainse and sorquenie, also stretched from neck to ankle.
These two spin offs of the kalasiris remained popular throughout the 1300 and 1400’s.
The Renaissance of the 1500 and 1600’s brought us the vaquero- a
tight-fitting bodice attached to a slightly form-hugging skirt. The bodice followed the
same rules as the kalasiris by hugging the curves of the upper body, yet allowing room to
perform daily activities.
The French Empire Period ushered in the first a-line version of the kalasiris;
the snug top that flowed into a loose skirt 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 Empire Period of the 1700’s
also brought us the chemise, a more figure-conscious version of the empire dress. The
chemise represented a truer depiction of the original kalasiris since it was worn in
either a strapless or halter style, and was composed of cotton or flax (linen) fabric. The
chemise snugly traced the female frame just as its Egyptian predecessor had done centuries
before.
The 1800’s brought the Leroy gown into prominence. The figure-tracing Leroy
gown also originated in France, yet had a more relaxed skirt than the chemise. The French,
modeling their design after the Egyptian tradition, began to weave gold and platinum
thread into the sheer fabric of the gown. The French saved the sparkling threads of their
kalasiris-like garments for royal ceremonies, much like the Egyptians did in order to show
reverence for their Kings and Pharos.
The design and fabric usage of the kalasiris was most popular during the 20th
century. As women were allowed more freedom and equality as citizens, they were also
allowed more freedom in how they chose to express themselves with clothing. The
1920’s and 1930’s brought back a kalasiris revolution with Coco Chanel’s
"little black dress." Although her skin-hugging 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.
The "little black dress" of the 20’s, 30’s, and 40’s
evolved into the form-fitting, pencil-slim sheath of the 1950’s. The sheath hugged
every curve, from halter sleeves to floor-length skirt, and was designed to fit like a
glove. The sheath, like many other formal kalsiris style gowns of the decade, was composed
of fabrics that reflected financial prosperity; silks, satins, and clinging crepes were
the most popular fabrics in use at the time. The knee length cocktail gowns of the
1960’s also replicated the opulence of the previous decade by using lavish fabrics to
compliment their kalasiric style. The first half of the 20th century helped
reestablish the kalasiris as a garment of class and distinction, and served as a precursor
for the chic or classy styles that are evident today.
The advent of the "little black dress" created an opening for all
types of "little" dresses. Kalasiric style has become more popular due to a
greater appreciation of the human form. Dresses have become shorter and tighter than the
original, utilizing fabrics that further accentuate the form-fitting design.
The invention of spandex, increased employment of knitted fabrications and
technologies, as well as a more risqué society has forged the way for a new kalasiris.
The new kalasiris is not limited to the wealthy or the royal, but is the
preferred garment for any woman who is willing to reveal her figure. The kalasiris is
treasured by Hollywood starlets in satin, hip-hop music divas in flax (linen) and Lurex,
and society ladies in silk. This garment has not only played a part in merging the styles
of different cultures, but it has also forged a fabric revolution.
The fabrics used throughout history were often a reflection of the wealth,
status, and position of the women who wore them; today, the fabrics used are just a
manifestation of personal preference and figure type. The kalasiris changed the way women
perceived their bodies; the fabrics used in achieving this goal mirrored the direction the
society was moving towards: wealth, success, failure, or achievement.
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.
BIBLIOGRAPHY
1. Bigelow, Marybelle S. Fashion In History: Western Dress, Prehistoric to
Present (Second Edition). Macmillan Publishing Company, New York, 1979.pp.19-35.
2. www.uky.edu/AS/Classics/wardlect.html
