Phoenician Clothing

Having previously explored the complete history of the Phoenicians, including a brief mention of their clothing, I now aim to jump deeper into the topic. By combining information from reliable books published in the late 19th and early 20th centuries, as well as various credible online sources, I have created this article for your enjoyment; a treat for your intellectual palate.

Part I: The Attire of Phoenician Women

Submerged in an age of prevailing conventions, Phoenician women were epitomes of modesty, for their attire was a reflection of their esteemed position within society, much like Babylonians. Unlike their male counterparts, Phoenician women adopted a modest sartorial code, donning garments that concealed their forms from head to foot. Exquisite clothing was thoroughly draped upon them, beautifully shrouding their figures with folds of fabric that were arranged in a myriad of lovely patterns.

Spirituality

Within the sphere of Phoenician relics, one encounters a profusion of nude figures, depicting none other than the (idolatrized) goddesses, foremost among them Astarte. These worshipped figures, believed to possess an otherworldly beauty beyond mortal needs, were deemed exempt from the embellishment of garments or the veiling of modesty. Their nakedness, an emblem of their celestial status, was much different than the attire worn by mortal women.

Covered in Splendor

When it came to representations of mortal women, the Phoenician artisans exercised their artistry with utmost finesse. From the nape of the neck to the very soles of their feet, these female figures were enveloped in layers of sumptuous attire. Majestic robes, meticulously arranged in abundant folds, concealed their forms mysteriously, albeit magnificently. A singular robe, billowing out in luxurious dimensions, enshrouded the entire being beneath its cascading drapery. In some instances, a second garment embellished their frame, gracefully cascading from the left shoulder to the knees or lower. The waist, a focal point of feminine draw, was accentuated by a richly knotted girdle. Scant are the occasions when sandals encased their feet, ensuring both comfort and modesty.

Tresses as Crowned Glory

Like the smooth petals of a blossoming flower, Phoenician women’s hair was a captivating sight to behold. While some concealed their tresses beneath caps, many allowed their locks to flow freely, dangling from beneath the cap in resplendent rolls or undulating waves. Occasionally, tresses were coiled and allowed to fall gracefully over their shoulders, framing their countenance with tendrils of unfettered beauty. Often, their heads were gently cloaked by loose hoods or caps, while at times, their hair was adorned with bands that delicately cradled its mesmerizing ripples.

Treasures Garbed

Throughout the history of Phoenician culture, the adornment of personal ornaments held a strong significance for women. It was through their devotion to these exquisite embellishments that the Hebrew women of Isaiah’s era derived their splendorous tinkling ornaments of the feet, the cauls, the round tires like the moon, the chains, the bracelets, and the mufflers, the bonnets, and the ornaments of the legs, and the headbands, and the tablets, and the earrings, the rings and nose-jewels, the changeable suits of apparel, and the mantles, and the wimples, and the crisping pins, the glasses, and the fine linen, and the hoods, and the veils.

Phoenician excavation sites have yielded a profusion of necklaces, armlets, bracelets, lockets, earrings, finger-rings, hair ornaments, buckles, brooches, seals, buttons, and various exquisite articles that brought delight to women’s hearts.

The Opulence of Necklaces

Necklaces, stunning in their diversity, graced the necks of Phoenician women, a beguiling symbol of their beauty and charm. Layer upon layer, these necklaces spoke a tale of splendor. The adornment began with a string of beads or pearls, covering the neck just beneath the chin. As the eye descended, a second string of larger beads, crafted from gold or perhaps even glass, prettified the region where the chest begins. And further down, as the expanse of the chest unfolded, rows of magnificent ornaments were worn — pendants of glass, crystal, gold, or agate finely sculpted into the forms of acorns, pomegranates, lotus flowers, cones, or vases, cascading in congruent arrangements numbering fifty or sixty.

Among the Phoenician treasures discovered, the splendor of Cypriote ladies’ necklaces outshines. One such masterpiece comprises a procession of one hundred and three gold beads, alternating between round and oval shapes, with oval ones serving as hosts to pendants crafted in gold. These pendants depict the blossoms and buds of the lotus plant, with a single exception — a central bead decorated with a human head and bust, artfully fashioned in the Egyptian style.

Another masterpiece presents sixty-four gold beads, with twenty-two boasting superior size, accompanied by eighteen delicately chased pendants resembling flower buds. Others mesh gold beads with carnelian and onyx bugles, where the pendants mirror the beauty of the beads, or alternate between carnelian and gold, with carnelian cones — symbolic of Astarte — gracing as pendants. Occasionally, the lavishness rests solely within glass, with necklaces crafted entirely from long oval beads of blue or greenish-blue, or even dark olive-colored glass.

In Sardinia’s Tharros, a glass necklace was also discovered, garnished with beads of various colors and sizes, featuring two rough cylinders, four animal heads, and a central human head, perhaps representing Bacchus. Though individually unremarkable, the amalgamation of whites, greys, yellows, greens, and blues evokes a harmonious and joyful whole.

The Paragon of Elegance

Among the treasures unearthed, none rival the elegant and refined taste of alone particularly remarkable necklace — a true display of supreme craftsmanship. Fashioned from a thick, elastic cord of solid gold, it exudes unmatched beauty. At each extremity, a finely granulated cylinder graces the scene — one culminating in the artistry of a skillfully executed lion’s head, while the other garlanded with a simple cap. The lion’s mouth gently clasps a ring, while the cap supports a long hook, emerging from a mesmerizingly detailed knot, within which a lovely rosette dances. The arrangement displays an effortless beauty, the sinuous curves of the slender wire fold upon themselves in a fabulous display of technical mastery, an apparent nonchalance that transcends perfection itself.

Truly, the Phoenician women, their beings adorned with these resplendent ornaments, emanated an aura of unequaled radiance. Each piece whispered tales of exquisiteness, forever immortalizing the supreme beauty of Phoenician femininity.

Phoenician Bracelets

Noble ladies furnished their wrists with an array of bracelets that exhibited beauty and elegance. These fascinating ornaments came in diverse forms, each catching the eye with its unique appeal. Some bracelets, fashioned from pure, unvarnished gold, possessed a weightiness befitting their magnificence, each one tipping the scales at a staggering 200 to 300 grams. Their simplicity spoke volumes, for they required no embellishment to assert their superbness.

Symbolism

In the treasure trove of Phoenician artistry, several bracelets stand out, narrating tales of ancient splendor through their exquisite design. Venturing into the imaginative, their creators brought forth open-ended bracelets, presenting themselves in the likenesses of noble beasts. The revelations by General Di Cesnola (c. 1870s) in Curium, Cyprus, brought to light a spellbinding piece — a bracelet whose ends were marked by lion heads, locked in a perpetual, menacing standoff. The craftsmanship of these lion effigies was impeccable, catching the gaze of all who witnessed them. From the heartlands of Phoenicia Proper came equally impressive pieces, featuring bullheads with stout horns. Diversifying the collection, another creation showcased the essence of variety, marrying the head of a wild goat with that of a steadfast ram on opposite ends. Occasionally, the depiction of animals adorned a single end, as seen in a Phoenician artifact from Camirus, where a lion’s head emerged on one side, merging into a serpentine tail on the other.

Glimmers of Refinement

Within the precincts of the British Museum, a duo of bracelets from Tharros epitomized understated elegance. These slender gold hoops, designed to encircle the wrist, were centered by a golden orb. This sphere, embellished with spirals and protuberant accents, casts a stunning draw. Despite the potential for discomfort, their wear did not compromise on grace.

Revealing Mastery

Phoenician bracelets of another genre entirely also drew attention. Wide, flat strips that hugged the wrist closely were fastened with clasps, displaying beauty and charm. Within the confines of the New York Museum, two such pieces shone brilliantly, an inch thick, decorated with high-relief depictions of rosettes, florals, and elaborate motifs, hints of once-vibrant blue enamel peeking through. Another standout piece consisted of fifty-four ribbed gold beads, arranged in groups of three, centering a medallion that housed a gleaming onyx, framed by gold and accompanied by four elegant pendants. A third, hailing from Tharros, featured six hinged plates, each carved with designs that resonated with Phoenician spirit — palms, scrolls, and florals.

A Spectrum of Ear Ornament Extravagance

While bracelets drew the eye, Phoenician earrings offered a playground for creativity and whimsical expression. The variety presented was incredible, bedazzling even the most refined tastes. Among these, a singular piece, unearthed in Cyprus by the same General Di Cesnola, stood out. Dangling from a polished hook, this lavish earring demonstrated a medallion of remarkable craftsmanship. At its core, a shiny rosette demanded attention, surrounded by artfully chaotic spirals. A band resembling a chain encased these elements, from which finely crafted chains hung, each bearing its own treasure. The central strand featured a human head, a showcase of the artisan’s skill, while a conical vessel, shrouded at its peak, added a touch of the mysterious. Flanking this, shorter chains held enigmatic charms, and from these, longer strands bore tiny vases or flasks, each adding to the cascade of marvels from this singular piece.

Another piece, found in Sardinia, displayed similar intricacy. Its ring, passing through the earlobe, functioned as the handle to a basket, richly decorated. Below, connected by rings, a hawk with folded wings emerged, and further down, another pair of rings held a vase, its surface garnished with delicate bosses, diamonds, and zigzags. Variants on this design were also discovered, some simplifying the arrangement by omitting the bird or basket, yet they still conveyed a mesmerizing beauty.

Cyprus’ Ornamental Marvels

The New York Museum houses an enthralling array of Cypriot earrings that signify a bold divergence from traditional designs. These pieces, embellished with motifs of rounded protrusions and helices, feature an attractive horseshoe-shaped base. Encircling the loop, a sequence of textured beads is artfully spaced, their coarse surfaces imparting a rustic charm.

Cyprus’ Diverse Earring Variations

Cyprus, a crucible of creativity, reveals a broader spectrum of earring designs that stir the imagination. Among these, a design stands out with its elongated, pear-shaped drop, elaborately decorated with petite floral motifs, ending in a tiny orb, resembling the craftsmanship of modern jewelers. Another variant presents a loop cradling an ankh, a venerable emblem of life, imbuing the ornament with deep symbolism. Intriguingly, certain pieces feature a diminutive cubic vessel or receptacle brimming with grains, conjuring visions of fecund harvests. Others dangle clusters of fruit, a homage to the generosity of the earth.

The Elegance of Helical Bands

In this array of ornamental elegance, a particularly refined piece captures attention: a helical band that artistically arcs into a hook at one end, terminating in the finely sculpted head of a goat. Affixed to this figure is a sleek ring, through which the hook passes with smooth ease, binding the elements in a perfect balance. Another earring, unique in its conception, holds a peculiar charm. Composed of a dual helix adorned with minutely detailed diamond shapes, it ends in angular tips, lending an element of whimsy and fascination.

Contemplating the Mystery of Decorative Spirals

In the sphere of Phoenician decorative arts, a reflective discussion unfolds over the nature of certain elaborate and robust ornaments. These pieces, similar to previously mentioned spiral rings, ignite diverse scholarly debates. Some experts argue they served as earrings, while others see them as clasps for attire, and yet another group views them as embellishments for the hair. Fashioned with a dual spiral design, these artifacts are adorned with rich details, sometimes on one end, at times on both. Frequently, the figure of a lion or a griffin, majestic in demeanor, enhances the primary extremity, surrounded by a double or triple band, leading to a finely executed rosette. In a notable example, a pair of griffins are depicted side by side, showcasing their noble heads, torsos, wings, and front limbs. Between them sits an emblazon, evoking the imagery of Phoenician stelae, topped with an elaborate rosette. The meticulous artistry of these pieces often leaves the reverse side hidden, suggesting their integration into a rich mane of hair, intended to merge subtly with the wearer’s locks.

Revealing the Art of Hair Embellishment

Phoenician women skillfully utilized hairpins, models of refined simplicity, to grace their locks. These pins, slender and ranging from two to three inches in length, feature distinctly ribbed heads, each topped with a pair of spheres, one resting upon the other. Fashioned from either the radiance of gold or the luster of silver, these hairpins speak volumes of the sophistication and aesthetic sensibility of their users.

Embellishing the Garb — Toilet Pins and Buckles

To secure their garments splendidly, Phoenician ladies turned to fibulae, harnessing the power of simplicity. Though brooches bejeweled with precious stones have yet to be unearthed in Phoenician sites, certain fibulae reveal a modest level of ornamentation. Some bear the adornment of glass beads strung along the pin inserted into the catch. Others feature a rounded portion surmounted by the bewitching figures of horses or birds. Most fibulae bear the bronzed hue of their material, while a golden exception emerges — a remarkable discovery from the treasury of Curium, now housed within the Museum of New York. Yet, it is believed that this golden gem served a purpose beyond the realm of fashion: a votive offering to (idolatrized) deities that held sway over their related domain.

Part II: Attire of Phoenician Men

Among the vestiges of time, a figure discovered in Golgi, thought to personify a high priest of the idolatrized Ashtoreth, reveals the epitome of male splendor. Enriching the conical head-dress, narrow stripes partition its surface, converging to a pinnacle. Crowned upon this apex, a majestic representation of a calf’s or bull’s head sends out regal fineness. The central garment, a flowing robe cascading from neck to feet, drapes in a manner reminiscent of the early Greek peplos worn by female figures. Adorning the neck of the robe, two rows of vibrant red stars, seemingly embroidered, bestow an ethereal look. Just below the knee, another band of exquisite embroidery beautifies the fabric, from which the robe descends in a series of pleats, gracefully hugging the legs. A dazzling mantle envelops the figure, harmoniously covering the right arm and shoulder before descending below the right knee. From the shoulder, it crosses the breast in numerous folds, completing a twist around the left arm before descending below the left knee. The coiffure emits fascination as well, as beneath the cap’s rim, a row of crisp curls graces the forehead. Adding to the touch, three lengthy tresses descend from behind the ears, framing the neck on either side. The figure’s feet, left bare, express a sense of earthly connection. In the right hand, poised gently between the middle and forefingers, a cup finds solace in its grasp. Meanwhile, the left hand cradles a dove, its wings elegantly unfurled, symbolizing peace and serenity.

The Humble Tunic of Phoenician Commoners

The lower orders of Phoenician society often donned a singular, snug-fitting tunic that extended from their waist to just above the knee. Crafted from either linen or cotton, this unadorned garment bore a striking resemblance to the modest shenti worn by the Egyptians. Atop their heads, these men often sported various caps, ranging from rounded to conical in shape, and occasionally even resembling a helmet. Notably, these conical headdresses were frequently crowned with a top knot or button, adding a touch of individuality.

Attire of the Upper Classes

For Phoenician men of higher rank, the shenti ascended to new heights of splendor. Exquisite patterns embellished the fabric, and it attractively parted toward both sides, while a luxurious lappet, decorated with uræi, cascaded down the front. This embellishment was suspended from a patterned girdle, further enhancing the appeal of the shenti, which now became a garment of undeniable elegance. The men of noble stature would also often wear a form-fitting tunic, mimicking a modern jersey, draping over their bust and shoulders, with dainty short sleeves. In some instances, they would layer their attire, combining an inner robe that flowed to their feet with an outer blouse or shirt boasting elbow-length sleeves. Occasionally, in lieu of the outer blouse, the dignified gentlemen would don a mantle over their left shoulder, cascading in folds. And no ensemble would be complete without the iconic conical cap, crowned with a top-knot, which became the quintessential headwear of this class.

Tyrian Purple and Luxurious Fabrics

In ancient times, none could rival the coveted fabrics dyed with Tyrian purple. These lavish textiles stood as the pinnacle of Phoenician opulence, connected with their very fortunes. The illustrious violet-purple color owed its origin to the hypobranchial gland of the Murex marine snail, once abundant in the coastal waters of the eastern Mediterranean Sea but exploited to local extinction. It is believed that the Phoenicians, with their ingenious spirit, discovered the secrets of this dye as early as 1750 BCE. Expanding their mastery, the Phoenicians established a second production center for this prized dye in the lands of Mogador, in present-day Morocco.

The Phoenicians’ unrivaled control over the production and trade of Tyrian purple, combined with its labor-intensive extraction process, rendered it a luxury beyond compare. Consequently, this magnificent hue became the emblem of the upper echelons of society. It swiftly evolved into a status symbol prized across various civilizations, most notably among the Romans. Assyrian records of tribute paid by the Phoenicians noted the inclusion of “garments of brightly colored stuff,” undoubtedly alluding to the splendid Tyrian purple. While the particulars of Phoenician textile designs, ornamentation, and embroidery earned well-deserved acclaim, the precise techniques and detailed descriptions of their creations remain unknown.

Hair and Beards: A Mark of Distinction

The Phoenician men bestowed great care upon their hair and beards. When not furnished with a cap, their hair clung tightly to their heads, forming a compact, undulating mass. However, it escaped from beneath the wreath or diadem that took the place of a cap, flowing in one or two rows of lustrous, rounded curls. As for the beard, it bore a striking resemblance to the distinguished style favored by the Assyrians, as immortalized in their sculptures. The beard was thoroughly arranged in three, four, or even five rows of small, tightly coiled curls, enveloping the cheeks and chin from ear to ear. Occasionally, instead of multiple rows, a single row of the beard would flow in elegant tresses, curled delicately at the ends. Notably, there is no evidence to suggest that Phoenicians grew mustachios, setting them apart from certain other cultures of their time.

Masculine Finery: Ornamentation Fit for Nobility

In matters of beautification, Phoenician men displayed their refined taste through the donning of various embellishments. Collars held particular prominence, featuring stunning designs that covered their necks in a captivating manner. Reminiscent of Egyptian styles, these collars featured three rows, tumbling over their chests. Armlets, on the other hand, displayed a simpler elegance, consisting of a mere twist of metal, encircling their limbs once, twice, or thrice. The armlets of Paphos’ esteemed monarch, Etyander, were crafted from single twists of gold, with the ends barely overlapping. Though modest in design, they bore the inscription “Eteadoro to Papo basileos” or “The property of Etyander, King of Paphos.” Men’s bracelets followed a similar character, exuding understated sophistication. Finger rings, crafted from gold or silver, held their own charm, often enhanced with a precious stone bearing elaborate designs. These rings also functioned as functional seals.

Phoenician Influence

During the Late Iron Age, Phoenicia reached the peak of its maritime supremacy, mercantile prowess, and cultural influence, particularly between 750 and 650 BCE. This era witnessed a remarkable orientalization of Greek cultural and artistic conventions, greatly influenced by the Phoenicians. Among the Phoenicians’ most sought-after creations were their exquisite textiles, reputed for their impeccable craftsmanship and dyed with the legendary Tyrian purple. Even the poet Homer, in his monumental work, the Iliad, composed during this period, extolled the superior quality of Phoenician clothing and metal goods.

The Phoenicians, with their cosmopolitan exposure to a multitude of cultures, possessed a remarkable ability to tailor their wares to specific markets. Exemplifying their ingenuity, the Phoenicians also crafted specialized goods for their discerning clientele, including intricately carved ivory reliefs and plaques, sculpted clam shells, scrupulously worked amber, and exquisitely painted and detailed ostrich eggs. Their artistry found its way across the globe.

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