Folk costumes of the Albanians

Musician at the National Folklore Festival with Tirq and Qeleshe (1988)

The folk costume of the Albanians ( Albanian Veshjet tradicionale shqiptare (Traditional Albanian clothing) ; veshjet Kombëtare (national dress) or veshjet popullore (folk dress )) is the clothes of the Albanians and outside inside in all traditional areas of settlement of the state Albania in everyday life and was worn on special occasions before western clothing became popular. It shows the various cultural influences of the area and differs according to regional and social origin, age, marital status, urban or rural origin and religion.

The folk costume was still widespread in everyday life until the 1950s. Especially among younger people, it has long been replaced by Western clothing. Today, individual pieces of traditional costumes are still worn by older people in everyday life, otherwise by folklore groups, on market days and on special occasions. Older men from the countryside carry as yet often the qeleshe , a round cap of felt .

The costumes have of course changed constantly. Different regional types developed or disappeared again. External cultural influences such as Islamization and the Ottoman era have also left their mark. After the Albanian independence from the Ottoman Empire in 1912, the influence of Western Moder grew stronger.

Essential items of clothing

Different types of qeleshe in the Kruja Ethnographic Museum

Schematic representation of a costume from the Labëria

The clothing consisted primarily of products from local agriculture and livestock: leather , wool , flax fiber , hemp fiber and silk . For individual items of clothing such as the Fustanella , however, one was dependent on imports of the fabrics from abroad right from the start.

The most important parts of clothing include ( Albanian pronunciation in IPA -spoken next to it):

Headgear:
- Qeleshe [cɛˈlɛʃɛ] or Plisi : white felt cap for men from central and northern Albania and Kosovo . It is conical in central Albania ( Tirana , Durrës , Kavaja ), flat in northern Albania and round in Kosovo and northern Albania. In northern Albania and Kosovo, it is often wrapped in a scarf or a white or colored cloth.
- Fes ( Albanian Fez [fɛz] ): Originally a Turkish felt hat for men with a flat top and mostly red.
- Qylafë [ˈcylaf] : high wool cap from southern Albania for men.
- Kapica [kaˈpitsa] : Velvet cap for women.
- Long, narrow headscarves that have different names: peshqira , riza , marhamë , pashnik , etc.
- Lëvere [ləˈvɛɾɛ] : rectangular headscarves.
- Kryqe [ˈkɾycɛ] : square headscarves.

Upper body:
- Xhurdi [ˈdʒuɾdi] or Jakuce [jaˈkutsɛ] : half- length jacket, sometimes with shaggies on the sleeves.

Sash ( Albanian pretzel ): A sash is almost always tied around the waist for men and women. Especially with men it was often the only colorful item of clothing and also held the clothes together. Men often put their weapons in there or on all sorts of other items such as cartridge pouches, watches, cigarette holders, spoons and food. Often men tied a cartridge belt over the sash . It was important to tie the sash carefully. Above all, it was considered a shame to take off the sash in front of strangers. A man who hadn't carefully tied his sash was considered contentious - risking someone accidentally stepping on him, which was a dishonor. It was common for women and men to adorn their sashes with metal plates and metal buckles.
There are different types:

The me rrema sash , which consists of several wool cords .

Woven wool sashes.

Kërdhokla [kəɾˈðɔkla] : women's sash made of different felt strips, which is more like a belt.

Various leather belts for women.

Metal sashes that were only used in the richest families.

Silah : leather sash for men that was worn over the normal sash.

Apron ( Albanian Futa ): One or more aprons ( Albanian përparje , paranik , futare , barkore , peshqir , etc. ) - worn over the skirt - were compulsory for women . In addition to its practical function, the apron also had the symbolic task of covering the genitals. Depending on the region and the function, the aprons were single-colored or lavishly decorated, some with symbolic signs or fringes. Often the aprons are trapezoidal .
- Përparjet or paranik : apron that was worn in front.
- Mbrapanikët or pështjellak : apron that was worn on the back.

Lower body:
- Fustanella [fustaˈnɛɫa] : pleated skirt for men.
- Tirq [tiɾc] : tight, long felt pants for men.
- Brekusha [bɾɛˈkuʃa] : trousers for men and women similar to breeches .
- Xhubleta [dʒuˈblɛta] : bell skirt for women.
- Mbështjellëse [mbəʃtjɛˈɫəʃɛ] : open front skirt for women.

Shoes:
- Opingat [ɔˈpiŋgat] : Opanke ; a kind of sandals that are similar to the waistband shoe .

Costumes of men

The costume with the Fustanella

Man with Fustanella and woman from Elbasan

Two boys from the Shkodran upper class in the late 19th century with Fustanella

The most common clothing among Albanian men was the fustanella ( Albanian also fustan ). The Fustanella was widespread in large parts of the Balkans , especially among the Greeks , Macedonians , Romanians and Bulgarians . Nationalists on all sides claim that the Fustanella was "invented" by her people and "stolen" by the others. It is not clear where and when the item of clothing came up.

The Fustanella is a men's skirt that is more pronounced as a pleated skirt . Mostly it was white. For some rioters who acted as bandits or freedom fighters, dark brown and black fustanella were also common - others went to war in trousers, but did not choose the traditional white trousers for better camouflage. The length of the skirt had varied: mostly to the knee, but also longer or shorter. Boys in particular wore shorter skirts, while longer skirts were common among the upper classes.

A shirt that went down to the waist and usually had wide sleeves was worn with Fustanella. Depending on the season, a vest and a jacket made of felt, fabric or velvet were worn over this. Depending on the social class, these were lavishly decorated. In cold weather, a long, white wool coat ( Albanian flokata ) was also included. Long underpants made of fabric and a kind of felt leggings ( Albanian Kallcik or Tosllukët ) were worn under the fustanelle . This included a wool sash that was tied around the waist, opanks and various caps.

By the beginning of the 20th century, the Fustanella spread throughout almost all of Albania. It is even mentioned in folk songs - one is about a farmer from the Albanian highlands who was drafted into military service during the Turkish rule:

"I turned around and looked at the mountains in
surprise
that I have to take off the Fustanella
and dress in Turkish pants"

In another song it says:

"Oh Vladika, son of a Montenegrin mother,
don't aim your rifle at Vranina.
You don't know the Fustanella porters [the Albanians]
who close the loop with their hands."

In certain regions, however, the Fustanella was only worn by the upper class, where the length and decoration of the Fustanella had already assumed almost absurd proportions. The French consul Hecquard, for example, reported in the mid-19th century that the upper class men of Shkodra wore Fustanella with 500 to 750 folds. In the early 20th century, the upper class wore Fustanella, which was so heavy because of its length and size that men could hardly walk with it. So wrote the British Edith Durham in 1913:

“In Albania, the barbarian skirt has evolved into a wide, immobile kilt , and the Mohammedan Bey staggers around in an impractical fustanella that goes up to his knees. He cannot work while he is wearing the Fustanella, and it is said that he is wearing the Fustanella just so that he does not have to work. Forty meters of fabric are necessary for the colossal and ridiculous garment. "

- Edith Durham

That was probably the reason why the Fustanella very quickly went out of fashion at the beginning of the 20th century. As early as 1910, the Hungarian traveler to the Balkans and albanologist Franz Nopcsa reported that the Fustanella had disappeared from the highlands of northern Albania. But people reported that it was worn 50 years earlier. After the independence from Albania in 1912, the Fustanella was no longer worn by the upper class and had almost completely disappeared as everyday clothing by 1920. However, in many regions it was still worn at weddings and was specially made for the occasion.

The costume with the Tirq


Man from Kraja (now Montenegro) in full Tirq dress and with flat Qeleshe		Tirq , Shirt and Mintan on display in a museum

The Fustanella was often replaced by the Tirq , which today is generally considered to be the prototypical Albanian costume. The Tirq are tight felt pants that are mostly white, sometimes dark brown or black. They are decorated with black lines along the side seams and around the trouser pockets. Depending on the region and above all depending on the social class, these were differently complex. In particular, the trousers from the Elbasan area and the richer Muslims in Shkodra were known for their particularly elaborate decoration.

Felt gaiters were often worn over the Tirq - especially against the cold. On the upper body one usually wears a white shirt with long, wide sleeves. This also includes the mintan or a vest that is also decorated with black or gold embroidery. A colored sash is tied around the waist, in which the weapon was often tucked. The head is usually covered by a qeleshe.

In contrast to Fustanella, which was widespread in the southern Balkans, Tirq is found almost only among the Albanians - occasionally in Romania and Bulgaria. The costume originally comes from north-eastern Bania, from where it spread to southern Albania in the 19th century: in the late 19th century it was adopted in the highlands of Shkodra , then in the Mirdita a little further south, and until 1912 as far as Librazhd and Pogradec in Southeast Bania. Ultimately, the Tirq spread even further south to Berat . The spread continued into the 1950s when traditional costumes were increasingly replaced by western clothing.

The costume with Dollama

Man with Dollama (felt coat) and Xhurdia (jacket) from Lura

The essential items of clothing in this costume are a long shirt that goes below the knees and a long coat made of white felt ( Albanian Dollama ). In the warmer seasons, the men often only wore a coat without a shirt. In northern Albania, the xhurida , a tight jacket made of felt or wool, was worn over this, and in the south the cibun , a wide wool coat that widens from the waist. On the lower body, gaiters, harem pants or breeches ( Brekusha in Albanian ) belong over the underpants . The typical sash is wrapped around the waist.

The costume with a long felt coat also occurred in other areas of Southeast Europe. Among the Albanians in the south it was particularly common among the Orthodox farmers - the upper class and Muslims tended to wear the Fustanella. In northern Albania the costume was hardly worn any more from the middle of the 19th century. It was more and more replaced by the traditional costume with felt trousers Tirq . However, the coat and especially the Xhurdia jacket were retained.

The costume with brekushe

Peqin man with black brekushe

The special feature of this costume are the brekushe , a kind of breeches , that is, wide trousers that become tighter at the bottom. They are reminiscent of the Turkish harem pants , but have a different cut that clearly distinguishes them from the harem pants. The latter was also common in Albania and was called Shallvare there. The brekushe are mostly white, brown or black. At the top, they were usually combined with the Xhurdia , a half- length jacket that is decorated with shaggies and embroidery. The obligatory sash was wrapped around the waist.

These clothes were mostly work clothes or the costume of the simpler people in contrast to the fustanella, which was worn on special occasions or by the richer class. Originally it was widespread mainly in central Albania in the areas around Shijak , Kavaja , Tirana and Kruja as well as in the Mat region, but also as summer clothing in northern Albania. In the south near Lushnja and Berat , the costume has also prevailed against the Fustanella .

The costume with poture

The essential feature of this costume is the poture , a kind of knee breeches . It came to her knees and was wide at the top. They were made of fabric and felt, the latter were a little less wide. A kind of gaiter, the kalce , was usually worn on the calf . Richer people wore a vest made of expensive, dark blue fabric on their upper body, which was replaced by a felt vest in poorer layers. The cone-shaped qeleshe is also typical of this costume .

The costume was widespread in large parts of southern Albania around Saranda , Vlora , Gjirokastra , Lushnja , Berat and Korça , where it replaced the Fustanella. The pants consisted of a simple version of white wool, in certain regions they were dark blue.

Costumes of women

The women's costumes are more diverse, colorful and lavish than the men's costumes. Filigree ironwork - mostly made of silver - was not only worn on the ears and fingers as well as around the neck, but also adorned vests, jackets, caps and especially sashes and belts as chains, buckles, buttons and brooches. Many pieces of jewelry were provided with coins and also served as nest eggs .

The costume with a long shirt and Xhoka

Women's costume with a long felt coat (Kosovo)

The most widespread was a traditional costume with a long shirt, apron, a wool or felt coat ( Albanian Xhoka ) and a sash. The Xhoka is quite short and as required by an additional shell as the Mintan or Dollama been completed. This usually included a headscarf.

The costume was worn in many varieties from southern Albania to Montenegro and Kosovo , but also in other areas of Southeast Europe: You can find it from Croatia and from Hungary in the north via Serbia and Bosnia to Greece , Bulgaria and Romania .

Regionally, it differs mainly in the cut and length of the shirt and coat. In most areas, the shirt goes up to or below the knee. In addition, the shape, the colors and the pattern of the apron are different. In the Pogradec area, a single-colored apron was more common, while in the Elbasan area, a wool apron with colorful motifs was more common. The apron was particularly large in the coastal plain.

In the Mirdita, in the Mat Valley, around Tirana and Kruja as well as in Dibra , in addition to the long shirt, one wears a white, sleeveless felt coat that is so long that only about ten centimeters of the shirt are visible at the top.

A second type of this costume had two instead of an apron: the Pështjellak in the back and the Paranik in front . It is probably an older form of this costume. In northern Albania this form is still documented in the area of Shkodra, in the south in the regions of Vlora and Saranda and among the Albanians of Greece . In the north this was partly the summer clothing, which was replaced by the Xhubleta in winter .

The costume with the Xhubleta


Woman from Gruda (Montenegro) with Xhubleta		Tight Xhubleta

Another important women's costume is widespread especially in the northern highlands of Albania , in the Albanian settlement areas in Montenegro and the Rugova region in western Kosovo: the costume with a bell- shaped skirt ( Albanian Xhubleta ), which becomes wider and stiff towards the bottom. The Xhubleta is usually made from thick strips of felt alternating with braided cords. In contrast to the wide Xhublete , the narrow Xhubleta has only a few such stripes at the bottom and is made of wool at the top. The production from so many individual parts was very complex. From the 1930s onwards, the Xhubleta was replaced by a fabric skirt and was only worn on special occasions.

The Xhubleta is held in place by two felt straps and a belt worn over the shoulders. It is combined with a short blouse ( Albanian Gryka ), a long-sleeved Mintan and a waistcoat with wool fringes ( Albanian Kraholi ). For this purpose, two aprons in the shape of trapezoids are worn, the Paranik in front and the Pështjellak in the back. The latter was often omitted. Finally, an approximately 20 centimeter wide felt sash, the kërdhokla , belongs to the costume. A kind of mesh, which is also made of felt, is worn on the feet. A cap made of velvet ( Albanian Kapica ) and a headscarf ( Albanian Ruba ) are often used as headgear . The capica of the adult woman was decorated with elaborate metal ornaments.

Today the Xhubleta is mostly black with little white and red or purple. But there are reports from the 18th century where much more colorful versions of the Xhubleta are described. In the 19th century, the Xhubleta costume was lavishly decorated and also had orange, red-violet and violet stripes in addition to the black and white.

"Neither the peacock nor the rainbow wear colors like the Xhubleta of the women of the mountains"

- Daniel Kordinez (1754)

There is evidence that the forerunners of the Xhubleta were already widespread in the region in antiquity: depictions of clothing on antique clay pots are similar to the Xhubleta . With this thesis nationalists try to prove which people first settled in the region.

The costume with the Mbështjellëse

The hallmark of this costume is a wide skirt that is open at the front and is called Mbështjellëse . The woman wears a shirt on her upper body that goes down to her calf. The Mbështjellëse is put on over this and is held together with a sash around the waist. This includes a waistcoat or jacket and usually a headscarf. An apron is also often worn.

The costume has been common in the areas of Lezha , Tropoja , Kukës , Gjakova and Prizren . There is a similar costume in Bulgaria, Serbia and Romania.

The costume with the Brekusha

The women's brekusha has the same cut as the men's, as a kind of breeches: wide trousers that taper towards the bottom. It is more of a newer variation, which was adopted as work clothing especially after 1912 in central Albania around Tirana, in the Mat region, in Librazhd and Elbasan. Apart from the Brekusha , the costume was almost identical to the older clothes with an apron: On the upper body one wears a vest or a mintan over a shirt . The apron was also taken over and worn over the Brekusha .

The costume with a wrap skirt

The wrap skirt consisted of two pieces of linen, cotton or wool that were strapped at the hips. It was combined with a white shirt and an apron.

This costume was hardly widespread in the region. It was worn in particular in the areas south of Shkodra along the Drin ( Zadrima ) and in some areas in the Kukës district . The fabric differs in folds, cut and firmness and was mostly black or white.

Differences according to function, marital status and religion

Mostly different clothes were worn for work and for festive occasions. The everyday clothes were mostly a simplified version of the good clothes , which consisted of less expensive material and were processed less expensively. The noble costume was worn on visits, on holidays and festivals and had richer ornaments and more jewelry. The most elaborate dress was the wedding dress. The bride's dowry included three to seven different costumes that were intended for different occasions. At the Arbëresh in Italy , a bride was given three costumes: everyday clothes, Sunday clothes and special festive clothes for weddings or holidays. Poor people sometimes changed the side of their clothes: the inside was worn for work, the outside was spared for special occasions. In some areas, however, everyday clothing was also completely different from the festive costume. This was especially the case when Western clothing was adopted. In the 1930s, for example, women in Malësia e Madhe wore a black fabric skirt for everyday life and the Xhubleta , which used to be part of everyday clothing, for special occasions .

Kolë Idromeno : Motra Tone (Sister Tona, 1883)

Girls and boys were dressed alike until they were nine or ten years old. Afterwards, boys mostly wore the regular costume, but it was less expensive. For girls, however, there was a special costume from puberty onwards , which was as simple and colorless as possible. For example, girls in Mirdita wore a red sash until they were twelve and then a black sash until they were married. The girls wore their hair short until they were 12 years old. From then on they let it grow, but carefully covered it up until the wedding. The girls' clothes were no longer put on after the wedding and were replaced by the sumptuous adult clothes from the dowry. The most sumptuous and most expensive clothes the family could afford were bought for the wedding. On this day, women and men were allowed to dress in adult costume for the first time. Women wore extra clothes almost everywhere at the wedding. The most common was the duvak , a piece of cloth that the bride wore over her head. Originally it went up to the waist, but often only symbolically veiled the face. The man often wore a special cloak.

Shkodra woman with veil (early 20th century)

Sworn virgins , who were practically equal to men by renouncing marriage and sexual intercourse, wore the same clothes as men or a mixture of women and men. In the Malësie e Madhe and in the Mirdita they were dressed like the men in Tirq trousers. In Dukagjin and Kosovo they wore the women's xhubleta , but a cloak and cap like the men.

In northern Albania a man who rejected his wife cut the fringes off her apron or sash.) This was called cutting the fringes ( Albanian prerja e thakut ) and it showed everyone that the woman was divorced. Widows displayed their marital status with simpler colors and less jewelry. In men, the marital status was less evident from the clothing. Older people generally avoided elaborate decorations more and more. In old age, single-colored clothing - white or black - was common. Dead were buried in their best clothes.

The social origin was evident not only in the elaborate execution, but in some places, as in Shkodra, also in the color of the coat (Dollama) . There were also differences between Christians and Muslims, with the Muslims adopting more oriental influences. However, this was particularly the case in the cities; in the countryside, the differences between Christian and Muslim farmers were less pronounced, and were mainly related to jewelry and the color of clothing. In any case, the discrepancies were large enough that one could see a person's faith straight away. In the cities the oriental influence also affected the Christians: in Shkodra it was also customary for urban Catholic women to veil themselves .

Urban and western clothing

Urban clothing from Shkodra, 1904

In the cities, special clothing was sometimes worn. With fine embroidery and imported colorful fabrics, she usually showed a stronger Turkish-Oriental influence than rural clothing. In southern Albania, women mostly wore a skirt and a jacket made of lavish purple velvet embroidered with gold thread. The Catholics in Shkodra wore the brandareka , a special baggy pair of harem pants that was combined with a red vest. Harem pants with jacket or dolloma and waistcoat, richly embroidered if the owner can, were generally characteristic of the urban costume.

At the end of the 19th century, the middle and upper classes in the cities - especially in southern Albania - gradually began to adopt western fashion. Until the independence of Albania in 1912, the various traditional costumes were mainly worn. In addition to home-made clothing, traditional costumes and fabrics made in factories were also on sale in the markets. At least there were tailors and opank makers in the cities. After the independence of Albania, oriental clothing in particular quickly disappeared. Wearing oriental clothing for longer was seen as a sign of conservative attitudes and a lack of patriotism. In 1929 the government even passed a law banning Turkish fez as headgear and veils for women. In the less affluent classes, however, it also played a role that western textiles and clothing produced in factories were much cheaper and easier to manufacture than dresses that you made yourself.

Couple from the mountains out and about in the Albanian highlands in a mixture of traditional and modern clothes (around 2003)

However, older or rural clothing has continued to be worn by many people in the cities, especially in Tirana, Elbasan and Shkodra. Many reports and photos from the 1920s describe the colorful variety of clothing in the Albanian cities: In addition to western suits, there was a variety of oriental clothing and rural costumes from all parts of the country and all conceivable mixtures of these clothing items. Since the 1950s, traditional costumes have been worn less and less and only on special occasions - for men they have been replaced by a simple suit, which is still omnipresent in older men and is sometimes also worn during field work, and in women by simple clothes. The Qeleshe felt cap is still worn by some older rural men from northern Albania and Kosovo, in some cases even after moving to the capital Tirana. But it disappears more and more from everyday life. The traditional costumes of market visitors in northern Albania cities, which were still common in the 1990s, are becoming increasingly rare today.

photos

Folklore group from Skrapar in Fustanella
Lord Byron in southern Albanian costume (painting by Thomas Phillips (1835))
Various traditional costumes in an Albanian bazaar (1906)
Woman from Shkodra (around 1910)
Traditional costumes from Kosovo

literature

Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 .
Andromaqi Gjergji: The national costumes . In: Werner Daum (Ed.): Albania - between cross and crescent . Pinguin Verlag, Innsbruck 1998, ISBN 3-7016-2461-5 , p. 179-197 .

Web links

Commons : Clothes from Albania - Collection of images, videos and audio files

Commons : Traditional Albanian Clothing - Collection of Pictures, Videos and Audio Files

Albanian folk costumes on old postcards

Remarks

↑ Some sources also interpret it as cutting a fringe of hair (according to Robert Elsie (Ed.): Der Kanun . Dukagjini Publishing House, Peja 2001.

Individual evidence

^ Robert Elsie : Albanian folk costumes on old postcards. (No longer available online.) In: Albanische Kultur. Archived from the original on March 4, 2016 ; Retrieved September 7, 2011 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w Andromaqi Gjergji: The national costumes . In: Werner Daum (Ed.): Albania - between cross and crescent . Pinguin Verlag, Innsbruck 1998, ISBN 3-7016-2461-5 , p. 179-197 .
↑ Friedrich Markgraf : In Albania's mountains . Strecker and Schröder, Stuttgart 1930.
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 191 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 194 .
↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Helga Stein: Volkskultur . In: Klaus-Detlev Grothusen (Hrsg.): Albanien (= Südosteuropa-Handbuch ). tape VII . Vandenhoeck & Ruprecht, Göttingen 1993, ISBN 3-525-36207-2 , pp. 635–652 , traditional clothing: pp. 642–645. .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 104 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 116 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 134 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 70 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 92 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 141 .
↑ Feride Papleka (Ed.): Thesare të kulturës populore . 8 Nëntori, Tirana (unknown year of publication between 1978 and 1990).
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 155-167 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 184 .
^ Andromaqi Gjergji: Traditional Culture . In: Genc Myftiu (ed.): Guide of Albanian History and Cultural Heritage . Sustainable Economic Development Agency, Tirana 2000, p. 125-132 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 89 .
^ Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 71 .

[17] Some sources also interpret it as cutting a fringe of hair (according to Robert Elsie (Ed.): Der Kanun . Dukagjini Publishing House, Peja 2001.

[elsieweb-1] Robert Elsie : Albanian folk costumes on old postcards. (No longer available online.) In: Albanische Kultur. Archived from the original on March 4, 2016 ; Retrieved September 7, 2011 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2

[münchen-2] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u ^v ^w Andromaqi Gjergji: The national costumes . In: Werner Daum (Ed.): Albania - between cross and crescent . Pinguin Verlag, Innsbruck 1998, ISBN 3-7016-2461-5 , p. 179-197 .

[markgraf-3] Friedrich Markgraf : In Albania's mountains . Strecker and Schröder, Stuttgart 1930.

[g191-4] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 191 .

[g194-5] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 194 .

[handbuch-6] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j Helga Stein: Volkskultur . In: Klaus-Detlev Grothusen (Hrsg.): Albanien (= Südosteuropa-Handbuch ). tape VII . Vandenhoeck & Ruprecht, Göttingen 1993, ISBN 3-525-36207-2 , pp. 635–652 , traditional clothing: pp. 642–645. .

[g104-7] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 104 .

[g116-8] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 116 .

[g134-9] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 134 .

[g70-10] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 70 .

[g92-11] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 92 .

[g141-12] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 141 .

[13] Feride Papleka (Ed.): Thesare të kulturës populore . 8 Nëntori, Tirana (unknown year of publication between 1978 and 1990).

[g155ff-14] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 155-167 .

[g184-15] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 184 .

[guide-16] Andromaqi Gjergji: Traditional Culture . In: Genc Myftiu (ed.): Guide of Albanian History and Cultural Heritage . Sustainable Economic Development Agency, Tirana 2000, p. 125-132 .

[g89-18] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 89 .

[g71-19] Andromaqi Gjergji: Albanian Costumes through the centuries . Mësonjëtorja, Tirana 2004, ISBN 99943-614-4-9 , p. 71 .