Traditional Attire Quotes

Ski masks might be traditional attire for a burglary, but buying four of them when there was no snow on the ground was a great way to stand out like a sore thumb. Believe it or not, cops follow up on that kind of thing, and cashiers remember it.

Both had been riding horses and wielding bows and spears since childhood, so they probably took pleasure in chasing game and practicing battle skills together. She wore typical Amazon-Scythian-Persian attire, and we know that Mithradates dressed in traditional Persian style, so we can picture the couple similarly garbed in long-sleeved tunics adorned with golden animals and geometric designs, wool cloaks edged with gold, heavy leather and gold belts with golden buckles, and patterned trousers tucked into high boots. Each carried a Scythian bow exquisite workmanship, and two light spears. Their horses, of the finest stock from the high pastures of Armenia, would have been decorated with ornaments of gold.

I have a burgundy waistcoat that ticks in the dead of night, it being my favourite and the one that carries my pocket watch from day to day.

[…] Il n’en va pas de même des protestants ou des incroyants qui n’ont aucun droit d’enlever la vie, du moment que l’homme n’est pas capable de la donner, et qui attirent sur leur tête, lorsqu’ils tuent sans sacrifice, une sorte de vengeance de la part des espèces animales, sans oublier le châtiment de la Divinité vis-à-vis de Laquelle la tuerie des abattoirs profanes est une sorte de vol et d’outrage. C’est sans doute une conscience vague et instinctive de ces conséquences qui amène certains à adhérer au végétarisme comme s’il était une religion ; on peut dire qu’ils le font par mauvaise conscience, sans évidemment se rendre compte de ce que leur végétarisme a, pour eux, de logique et de prudent ; car s’ils s’en rendaient compte, ils n’hésiteraient pas un instant à se rattacher à une tradition, plutôt que de chercher à échapper à certains effets de l’hétérodoxie ou de l’incroyance.[...] Du Sacrifice (E.T. N°220 - avril 1938)

Magazine Street was a sea of green. Piper reveled in the pleasure and satisfaction of having finished the scene in her first feature film as she made her way through the crowds and watched the floats decorated by New Orleans marching clubs. The float riders threw carrots, potatoes, moon pies, and beads to the onlookers gathered on the sidewalk. Pets joined in the festivities as well, sporting leprechaun attire and green-tinted fur. Under a bright sun and a clear blue sky, families and friends were gathered for the opportunity to celebrate one of the biggest street parties of the year. Some set up ladders along the parade route, climbing atop for the best views. Others scaled trees and found perches among the branches. "Hey, mister, throw me something!" yelled a man next to Piper. Waving hands rose in the air as a head of cabbage came hurtling from the float. Everyone in the crowd lunged for it. The person who snagged it was roundly congratulated for the catch. "What's with the cabbage?" Piper asked the man standing next to her. "They aren't supposed to throw them, just hand them out. Somebody could get hurt by one of those things." The man shrugged. "But the tradition is to cook them for dinner on St. Patrick's Day night.

Par son chef-d'œuvre, Hypérion, [Mihai] Eminescu n'est pas seulement un exemple typique de la littérature roumaine cultivée, mais aussi, en un certain sens, la définition même de cette culture. En effet, ce qui attire l'attention dans la culture roumaine est le fait que la plupart des génies créateurs sont des hommes très cultivés et de bons patriotes, des hommes qui aiment profondément leur pays. J'ai déjà rappelé le nom du prince Dimitrie Cantemir. C'est lui qui a inauguré cette tradition de « l'homme universel » et du « roumanisme », qui subsiste encore, quoiqu'il fût accusé de « nationalisme exalté » par ses contemporains. Eminescu est un de ses représentants. Cet homme qui a traduit Kant et a lu Upanishad, était un prophète national, le véritable créateur du nationalisme poétique roumain. Un autre exemple Bogdan Petriceicu Hașdeu (1836–1907), l'homme le plus savant de son siècle, était professeur de langues indo-européennes à l'Université de Bucarest (il connaissait vingt langues environ, dont le persan, le turc, toutes les langues slaves, etc.) et il pouvait enseigner à la fois l'économie politique, le droit, l'histoire et l'ethnographie. Hașdeu était un écrivain qui, dans sa dramaturgie, ses poésies, ses romans historiques, dans ses conférences et ses articles politiques, témoignait d'un amour très vif pour sa patrie et son peuple et qui connaissait à fond la langue populaire : il était roumain des pieds à la tête.

Par suite, on peut dire que le sang est en rapport direct avec le côté inférieur de l’état subtil ; et de là vient l’interdiction du sang comme nourriture, son absorption entraînant celle de ce qu’il y a de plus grossier dans la vitalité animale, et qui, s’assimilant et se mêlant intimement aux éléments psychiques de l’homme, peut effectivement amener de fort graves conséquences. De là aussi l’emploi fréquent du sang dans les pratiques de magie, voire de sorcellerie (comme attirant les entités « infernales » par conformité de nature) ; mais, d’autre part, ceci est aussi susceptible, dans certaines conditions, d’une transposition dans un ordre supérieur, d’où les rites, soit religieux, soit même initiatiques (comme le « taurobole » mithriaque), impliquant des sacrifices d’animaux ; comme il a été fait allusion, à cet égard, au sacrifice d’Abel opposé à celui, non sanglant, de Caïn, nous reviendrons peut-être sur ce dernier point en une prochaine occasion.

In 1429, a seventeen-year-old girl who would soon come to be renowned as Jehanne la Pucelle (“Jeanne, the maiden”) left a small town in northeast France to offer her services as a military strategist to Charles VII, the Dauphin—or heir to the throne—whose forces were losing a protracted war against English partisans threatening to displace him. At first, no one took her seriously, but Jehanne’s determination overcame initial resistance: her skill and insight helped the French develop new battle plans and her courage inspired the demoralized troops. Under Jehanne’s leadership, the French forces successfully thwarted a siege on the city of Orleans. Later she led a campaign to retake the city and cathedral of Reims, where the kings of France had been crowned ever since the Frankish tribes were united under one ruler, allowing the Dauphin to be crowned king in the ancient tradition. Jehanne’s remarkable successes seemed divinely ordained, which necessarily implied Charles’s divine right to rule France. In 1430 Jehanne was captured in battle and imprisoned. An ecclesiastical tribunal stacked with English partisans tried her for heresy. But Jehanne’s faith was beyond reproach. She showed an astonishing familiarity with the intricacies of scholastic theology, evading every effort to lure her into making a heretical statement. Unable to discredit her faith through her verbal testimony, the tribunal seized on the implicit statements made by Jehanne’s attire. In battle, she wore armor, which required linen leggings and a form-fitting tunic fastened together with straps—both traditionally masculine attire—and, like the men she fought alongside, she adopted this martial attire when off the battlefield as well. Citing the biblical proscription in Deuteronomy 22:5 (KJV) which warns, “A woman shall not wear anything that pertains to a man, nor shall a man put on a women’s garment, for all who do are an abomination to the Lord your God,” the tribunal charged Jehanne with heresy. They burned her at the stake in 1431.

While the Tudors and their aristocratic contemporaries throughout Europe enacted sumptuary codes that reinforced traditional privilege, more radical thinkers imagined a world in which the symbolism of attire would be turned upside down. Henry VIII’s Lord Chancellor, Thomas More, wrote of a fictional utopia in which all clothing would be “of one and the same pattern… down the centuries.…” and “of one color… the natural color.…” More’s Utopia

Nothing makes a woman more beautiful than the belief she is gorgeous. Because you’re a woman, people will force their thinking, boundaries on you. They’ll tell you how to dress, how to behave, who you can meet and where you can go; don’t live in the shadows of people’s judgment. Make your own choices in the light of your wisdom. The way you dress is an expression of your personality; there’s no need to wear like everyone else. It’s much more fun to create your look! While a wedding on the beach may sound like a unique concept, it has been happening on various beaches of the world. A lot of brides are opting for exotic beach locations for their weddings instead of a traditional church wedding. To pick the right bridal attire for a particular wedding, you will need to consider many different elements. This can depend on the location, season and local practices or customs, as well as the type of beach itself, can be an important factor when selecting beach wedding dresses. Choosing from all the different beach wedding dresses can be one of the most fun things to choose from. Do you want to have an elegant and formal wedding, a casual and simple wedding, or a semi-formal or semi-casual wedding? Whichever you prefer, you can find the right style of dress for it.

Pride of place in my wardrobe is an Edwardian-style Norfolk Jacket in Derby Tweed. It is silk-lined with leather-clad buttons and has a smell that reminds me of wet moss and fallen leaves.

The real reason I like natural fabrics is not just because they are traditional, but because of their provenance. I like the thought that, for example, a favourite tweed jacket was once a sheep, living upon a mountain in Scotland.

Ritual characterizes every aspect of life here, and even mundane, daily activities take on an ageless quality. The daily rhythm begins at dawn, as the fishermen launch boats from countless harbors, an event that has taken place for centuries. The women go to market, exchanging greetings and comments. Ritual rules the care and time taken with every detail of the midday meal, from the hearty seafood appetizers to the strong, syrupy coffee that marks the end of the feast. The day winds down with the evening stroll, a tradition thoroughly ingrained in the culture of the Greek Isles. In villages and towns throughout the islands, sunset brings cooler air and draws people from their homes and the beaches for an enjoyable evening walk through town squares, portside promenades, and narrow streets. Ancient crafts still flourish in the artisans’ studios and in tidy homes of countless mountain villages and ports. Embroidery--traditionally the province of Greek women--is created by hand to adorn the regional costumes worn during festivals. Artists craft delicate silver utensils, engraved gems, blown glass, and gold jewelry. Potters create ceramic pieces featuring some of the same decorative patterns and mythological subjects that captured their ancestors’ imagination. Weddings, festivals, saints’ days. And other celebrations with family and friends provide a backdrop for grave and energetic Greek dancing. For centuries--probably ever since people have lived on the islands--Greek islanders have seized every opportunity to play music, sing, and dance. Dancing in Greece is always a group activity, a way to create and reinforce bonds among families, friends, and communities, and island men have been dancing circle dances like the Kalamatianos and the Tsamikos since antiquity. Musicians accompany revelers on stringed instruments like the bouzouki--the modern equivalent of the lyre. While traditional attire is reserved mainly for festive occasions, on some islands people still sport these garments daily. On Lefkada and Crete, it is not unusual to find men wearing vraka, or baggy trousers, and vests, along with the high boots known as stivania. Women wear long, dark, pleated skirts woven on a traditional loom, and long silk scarves or kerchiefs adorn their heads. All the garments are ornamented by hand with rich brocades and elaborate embroidery. All over the Greek Isles, Orthodox priests dress in long black robes, their shadowy figures contrasting with the bright whites, blues, and greens of Greek village architecture.