Culture of Cornwall - Traditional Dress

Traditional Dress

See also: Cornish kilts and tartans

The "traditional dress" of Cornwall for women is a bal maiden's or fishwife's costume which included the wearing of a bonnet known as a "gook" (which were peculiar to a district or community), aprons and woollen shawls. For men fishermen's smocks, Guernsey sweaters (known as worsted-frocks in Cornwall) and long cut shirts are worn. The adoption of the Cornish kilt has recently become popular, and these kilts are available in various Cornish tartans or plain black. The first reference to a "Cornish" kilt is from 1903 when the Cornish delegate to the Celtic Congress, convening at Caernarvon, L. C. R. Duncombe-Jewell, appeared in a woad blue kilt, to impress upon the delegates the Celtic character of Cornwall. Black kilts are proposed by some as the traditional version of the garment, some claiming that the Duke of Cornwall's Light Infantry wore black kilts on occasions in the 19th century (this may have been similar to the Irish saffron kilt). The most common kilt used in Cornwall is pleated Scottish-style with a leather, Duchy of Cornwall shield-style, sporran.

The Cornish national tartan was designed by E. E Morton Nance in 1963 using colours traditionally associated with Cornwall. Fragments of tartan have been found in Penwith.

Read more about this topic:  Culture Of Cornwall

Famous quotes containing the words traditional and/or dress:

    We should have an army so organized and so officered as to be capable in time of emergency, in cooperation with the National Militia, and under the provision of a proper national volunteer law, rapidly to expand into a force sufficient to resist all probable invasion from abroad and to furnish a respectable expeditionary force if necessary in the maintenance of our traditional American policy which bears the name of President Monroe.
    William Howard Taft (1857–1930)

    Iconic clothing has been secularized.... A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.
    Angela Carter (1940–1992)