Tabard Adjacent Garments Around the World: Workers, Warriors, and Worshippers - Part 2 of 3

The Four Basic Garments: A Foundation for Dress Theory

In dress theory (sometimes called fashion theory—a title I don’t particularly like), there are four fundamental garments from which all others are derived. These forms are not relegated to or separated by gender:

1. Cloak or “Flat Piece” (or Draped Cloth)

• A simple rectangle or square of fabric that is wrapped, tied, or draped around the body.

• Examples: Cape, sarong, toga, sari.

2. Tunic

• A T-shaped or tubular garment with openings for the head and arms, usually pulled over the body.

  • Examples: Chiton, T-shirt, caftan.

3. Trousers

• A bifurcated garment designed to cover each leg separately.

  • Examples: Pants, leggings, hose.

4. Skirt

• A tubular or cone-shaped garment that hangs from the waist to cover the lower body.

  • Examples: Kilt, petticoat, pleated skirt.

Examples The Four Basic Garments: A Foundation for Dress Theory: Linen Trousers 570-665CE, Cloak wearing, warriors from  “War (detail), The Standard of Ur”, 2600–2400 B.C.E. Mesopotamia, St. Michael statue.

These foundational silhouettes are used in both historical analysis and design thinking, as most clothing can be traced back to one or a combination of these forms.

A Universal Silhouette Draped in Meaning: Open-Sided Garments Across Cultures

Open-sided garments—those trusty tabard AND tabard adjacent wonders—have been worn by warriors, monks, traders, and fashion-forward historical figures for centuries. Why? Because they’re practical, symbolic, and, let’s be honest, undeniably stylish.

Whether emblazoned with a knight’s coat of arms, embroidered with spiritual motifs, or dyed in patterns rich with meaning, these garments tell stories of status, devotion, and cultural identity. Their global reach connects dots across time and place, proving that a good design never truly goes out of style.

The open-sided garment sits somewhere between a cloak and a tunic, derived from draped forms. Its widespread use across continents speaks to both necessity and aesthetic preference. These garments serve multiple functions—allowing ease of movement, ventilation in warm climates, and layering for colder regions. But beyond their practicality, they are canvases for meaning, displaying heraldry, spiritual symbolism, and intricate craft traditions.

From the viewpoint of dress theory, the tabard, an apparently straightforward garment, serves as an intriguing case study through various theoretical frameworks:

• Utilitarian: A practical outer layer worn by knights, servants, and laborers, designed for movement, protection, and climate adaptability.

• Semiotic: A garment often emblazoned with heraldic imagery that communicated lineage, allegiance, or institutional affiliation—effectively transforming the body into a moving banner.

• Identity Theory: A performative garment, signaling social rank, occupation, or spiritual devotion, shaping how the wearer was perceived within societal hierarchies.

• Economic: Tracing its evolution from elite martial garb to common livery reveals shifting labor dynamics and the commodification of status symbols.

• Anthropological: Reflecting ceremonial and ritual uses of clothing across cultures.

• Aesthetic: Its rectangular form invites analysis of proportion, silhouette, and visual clarity in design.

  
  

The tabard’s enduring legacy underscores its role as a richly layered object in the material culture of dress—simultaneously functional, symbolic, and expressive.

Sacred and Symbolic Wear

From the warrior’s surcoat to the monk’s scapular, these garments are worn with purpose, serving as visual shorthand for allegiance, belief, and belonging. And let’s be honest—who doesn’t love a garment that makes a statement while still letting you breathe? A garment that literally leaves room for the spirit? No wonder it endures.

Early 18th century patchwork Scapular Wardour Chapel, Sisters of the Good Shepherd In grey scapular,Chausable, Byzantine ,  St. Ignatius, 17th c by Rubens

In religious contexts, open-sided garments often mark devotion and humility:

• The Chasuble (Christian Europe): Worn by priests during Mass, symbolizing the yoke of Christ and a reminder of service and sacrifice. And it's sibling vestment the Scapular ( discussed last time)

  
  

• The Tallit (Jewish Prayer Shawl, Middle East and Diaspora): Worn over the shoulders, allowing for free movement during prayer and reflection.

Various examples of the Talit Katan or Short Tallit for both children and adults,

Side Seams and Variations

Throughout history, laborers, soldiers, and devotees have donned open-sided garments as clear symbols of allegiance. These garments, whether stitched at the sides to create armholes or left completely open, have many variations; here are just a few noteworthy examples.

The Surcoat (Europe): This garment, worn over armor and showcasing heraldic symbols, is known by various names throughout the medieval world, varying by language and region. Both men and women of this era wear variations on the sideless surcoat..

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  Pellote (Surcoat) of Fernando de la Cerda (1252-1275) gold brocade, decorated by generic coat of arm, Convent Las Huelgas near Burgos., Wood Scupture of Man in Pellote( Surcoat) Spain,  Detail from “Canticles of Holy Mary” 420 poems with musical notation, written in the medieval Spain 13th.

  
  

The Jinbaori (Japan): A sleeveless vest with deep-cut armholes, worn over samurai armor, often richly embroidered to reflect rank and power—similar to the tabard.

examples of various Jinbaori from Edo period through 19th c

Huipil (Guatemala, Mexico): A sleeveless, open-sided tunic with woven or embroidered designs, reflecting Indigenous identity and beliefs.

Frida Kahlo's Huipil tops at Casa Azul, Mexico, a Long Huipil found in Oaxaca Mexico

Ponchos and Regional Variations

A similar garment to the tabard is the poncho, which originates from the Americas, especially in Peru, Bolivia, Paraguay, Ecuador, Chile, Uruguay, and Argentina: These are large pieces of fabric with a central opening for the head, providing freedom of movement and perfect for layering.

Charapan , a variation on the ponch from Mexico, It is a rectangular, single-piece canvas with points or fringes at the two narrower ends and an opening in the center for inserting the head,It comes from the town of Charapan, in the Purépecha mountains of Michoacán

Ruana (Andean Region): A variation with a slit for the head and open sides.

" Rauna" a poncho-style outer garment native to the Colombian and Venezuelan Andes

Chamanto (Chile): A poncho crafted from silk thread and wool, designed to be reversible with dark and light sides, suitable for wearing during both day and night.

Chamanto poncho variation from central Chile—fully reversable and traditionally, the dark side of the poncho is used during the day, while its light side is mostly worn at night.

Quechquemitl (Mexico): A traditional pre-Hispanic garment similar to a poncho, intricately handwoven and adorned.

A collage highlighting the Quechquemitl, a unique garment worn by indigenous ethnic groups in Mexico since pre-Hispanic times, adorned with vibrant embroidery and various designs.

Poncho Salteño( Argentina) each province features its own traditional poncho design characterized by specific materials, colors, and patterns. The most renowned is the "Poncho Salteño" from the Salta province, which is even incorporated into the province's flag.

Regional Examples of Ponchos from Argentina, and a Guacho wearing a "Poncho Salteño"

Luhkka (Sami, Scandinavia): Crafted wadmal a dense a course woolen material usually undyed to provide warmth in severe weather conditions.

Traditional Sami luhkka made from thick wadmal, featuring intricate red and blue geometric embroidery along its edges and hood.

Cultural and Regional Expressions- Wraps, Shawls

If we stretch the comparison (okay, cheat a little), Wraps and shawls also fit into this lineage—single large woven fabrics that serve every day, ceremonial, and ritual functions worldwide: but that is another HUGE category and possible future blog post topic

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The Apron: A Final Thought

Finally, let’s add one last variation: the cobbler apron. Originating in the 18th–19th centuries as protective workwear for those needing front and back coverage such as shoemakers, blacksmiths, and factory workers, it became a staple in domestic and service jobs and crafters by the 20th century. Today, its functional and decorative versions remain a nod to protective, daily, and ritual dress.

In Closing...

Open-sided garments transcend mere practicality; they serve as a universal language of status, devotion, cultural expression, and functionality. Spanning from medieval battlefields to contemporary artisans, these garments have continually evolved, demonstrating that great design stands the test of time.

The final segment is coming up next. As fashion designers frequently revisit the tabard, we will look at contemporary fashion examples that could make you rethink your wardrobe choices.

- Val

Sources:

Jirousek, Charlotte, and Sara Catterall. Ottoman Dress and Design in the West: A Visual History of Cultural Exchange. Bloomington: Indiana University Press, 2019.

Paulicelli, Eugenia, and Hazel Clark, eds. The Fabric of Cultures: Fashion, Identity, and Globalization. New York: Routledge, 2008.

Renne, Elisha P., ed. Traditional Dress: Knowledge and Methods. Bloomington: Indiana University Press, 2021.

Salvador, Mari Lyn, ed. The Art of Being Kuna: Layers of Meaning Among the Kuna of Panama. Los Angeles: UCLA Fowler Museum of Cultural History, 1997.

Scott, Margaret. Medieval Clothing and Costumes. New York: Chelsea House, 2004.

Thursfield, Sarah. The Medieval Tailor's Assistant: Making Common Garments 1200–1500. Hollywood: Costume & Fashion Press, 2001.

Anderson, Marilyn. Traditional Textiles of Mexico and Guatemala. Austin: University of Texas Press, 1978.

Additional Resources:

Katoen Natie HeadquARTers. 3500 Years of Textile Art. Accessed March 2025. https://www.headquarters-katoennatie.com/en/exhibitions/3500-years-of-textile-art.

TRC Collection. "Textile Research Centre, Leiden." Accessed March 2025. https://trc-leiden.nl.

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