Byzantine Fashion

Originally small Greek colonies of Byzantium and of modern Istanbul, its imperial court have always presented an endless source of inspiration for the fashion industry, which is Constantinople. The imperial court was renowned for the adornment of its halls and the clothes and jewelry worn by the emperor and the empress in public ceremonies.

Garments had strong social implication in the Byzantine Empire. Colors varied according to the social status of the wearer; purple, for example, was a privilege of the imperial family. 

Many designers devoted entire collections to the influential empress wrapped in a long gold embroidered crimson purple cloak, a diadem on her head and the hair braided with ornaments embellished with valuable gems and pearls.

Romeo Gigli was inspired by the empress when he created his first collection showing in Paris, the F/W 1989/90 collection suitably entitled “Teodora”. Gigli’s collection was the result of a detailed research through the history of costume that recreated the Byzantine atmosphere thanks to garments designed following the dressmaking traditions of that period.

Gigli drew on those same shapes, fabrics, decorative elements and embroideries and gave them a contemporary appeal. His muse was a woman clad in long draped coats embroidered with gold and beads enveloping the body in a graceful 3D effect. The prevailing color was crimson violet, the imperial color par excellence. Accessories – earrings, bracelets and necklaces – were authentic replicas of those worn by Empress Theodora.

Byzantium and Theodora inspired garments and colors feature heavily also in Chanel collections. And with the Paris-Byzance pre-fall 2012 collection the reference became unequivocal. The show was accompanied by the release of a book which comprises some photos of the well-known Ravenna mosaics taken by Karl Lagerfeld. Compared to Romeo Gigli’s creations, in the Chanel collection the reference was not so much to the structure of the Byzantine garment but was rather concerned with the ornaments. The focus was on details, colours and accessories. While the lines and shapes of the garments remained faithful to the signature codes of the Maison. Walking down the runway were modern “Theodoras” flaunting lavishly embellished garments that exuded majesty and opulence. Green, violet and purple dominated the collection although what truly attracted the attention were the beads and stones decorating the clothes and the model’s hair. From the invitation card to the hairstyles, from make-up to the decor that transformed Chanel headquarters in rue Cambon in an imperial palace, nothing was left to chance.

The collections by Gigli and Chanel represent an explicit reference – and tribute – to the style of Byzantium, an empire that is undoubtedly far away in time but whose allure is still very relevant. The East seen through the eyes of Western fashion.