Fustanella (English Wikipedia)

Tzanelli, Rodanthi (2008). Nation-Building and Identity in Europe: The Dialogics of Reciprocity. Palgrave Macmillan. pp. 78–80. ISBN 978-0-230-55199-2.
St. Clair 1972, p. 232: "Gradually, more and more Greeks found ways of getting themselves on the Government's pay roll. The money was never accounted for in detail. A captain would simply contract to provide a number of armed men and draw pay for that number. Again, the opportunities for embesslement were eagerly seized. Anyone who could muster any pretensions to a military status appeared in Nauplia demanding pay. It was probably at this time that the Albanian dress made its decisive step towards being regarded as the national dress of Greece. The Government party, being largely Albanians themselves, favoured the dress and a version of it was common among the Greek klephts and armatoli. Now it seemed that anyone who donned an Albanian dress could claim to be a soldier and share in the bonanza." St. Clair, William (1972). That Greece Might Still be Free: The Philhellenes in the War of Independence. Oxford: Oxford University Press. ISBN 978-0-19-215194-0.

archives-ouvertes.fr

hal.archives-ouvertes.fr

De Rapper 2005, pp. 182–183: "By the beginning of the nineteenth century and later on, the British, French and Austrian travellers who visited Lunxhëri, most of them arriving from Ioannina, described the Lunxhots as Albanian-speaking Orthodox Christians, and had the feeling that, starting north of Delvinaki, they were entering another country, although the political border did not exist at the time. Greek was not spoken as it was further south, there was a change in the way of life and manners of the peasants. As one traveller reported Hobhouse 1813: Every appearance announced to us that we were now in a more populous country. (...) the plain was every where cultivated, and not only on the side of Argyro-castro [Gjirokastër]... but also on the hills which we were traversing, many villages were to be seen. The dress of the peasants was now changed from the loose woollen brogues of the Greeks, to the cotton kamisa, or kilt of the Albanian, and in saluting Vasilly they no longer spoke Greek." De Rapper, Gilles (2005). "Better than Muslims, Not as Good as Greeks: Emigration as Experienced and Imagined by the Albanian Christians of Lunxhëri". In King, Russell; Mai, Nicola; Schwandner-Sievers, Stephanie (eds.). The New Albanian Migration. Brighton-Portland: Sussex Academic. pp. 173–194.

ascsa.edu.gr

Notopoulos 1964, p. 114 Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 110, 122. Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, p. 110: "These lines are triply valuable for they tell us (1) the early popularity of Akritas; (2) the existence of the source of the Grottaferrata by the twelfth century; (3) that Digenes wears kilts which appear in the Byzantine plates as the fustanella, the key for the identification of the warriors in the plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, p. 113: "We can dispose of any lingering doubts as to the identification of the hero with Akritas rather than St. George or Alexander by considering one important piece of evidence that has not been exploited before, namely, the fustanella, the pleated kilt worn by the dragon slayers and by many other figures in the Byzantine plates. We have already seen that the twelfth century poet Prodromos describes Digenes as wearing kilts, a detail which is also mentioned in the Grottaferrata version. The Byzantine plates corroborate this key detail in the identification. Thirty-five plates show such warriors wearing the fustanella. Of these at least eight plates, on which the identification with Digenes rests, show a warrior slaying a dragon." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 114: "They are not clad in armor, nor in helmets. They wear a cap, a cloth doublet, and their pleated kilt is unmistakably different from that of the other class of warriors. Their kilt resembles the klepht fustanella; it is longer, more flared, fluid, and ornamented with decorative stripes, horizontal or vertical. It is this difference in kilts that distinguishes the warriors in the Byzantine plates from the imperial forces depicted in other manifestations of Byzantine art. The kilts in our plates belong to the akrites, whose garb is required by their way of life and the guerrilla type of warfare described in the Byzantine military treatise." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 113–115: "A comparison of the fustanella warriors on the Byzantine plates with the klephts of the Greek Revolution of 1821–30, shown in the primitive paintings of Makriyiannes, shows that we are dealing in both instances with a garment which is peculiarly suited to a fast, mobile guerrilla mountain type of warrior...This kind of warfare, also described in the Akritan ballads, called for a fast mobile guerrilla type of soldier. What kind of dress is suitable for this kind of warfare? Nothing better than the fustanella worn by the Akritan warriors in the Byzantine plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.

www3.ascsa.edu.gr

"Ιματιογραφία Γ΄ Ελλάς εν γένει". The American School of Classical Studies - Digital Collection. Title: Albanais au service d' Ali Pacha. (ο τίτλος είναι γραμμένος με μολύβι εκτός πλαισίου εικόνας). Publication/Bibliography: Voyage a Athènes et a Constantinople ou collection de portraits, de vues et de costumes Grecs et Ottomans. Peints sur les lieux, d' aprés nature, lithographieés et coloriés par L. Dupré, éléve de David; Accompagné d' un texte orné de vignettes. Paris, Imprimarie de Dondey-Dupré, rue Saint-Louis, No 46, au Marais. M DCCC XXV.

benaki.org

Prokopiu, Geōrgios A. (2019). Archontika tēs Kozanēs: architektonikē kai Xyloglypta (PDF). Athens: Benaki Museum. p. 13. ISBN 978-960-476-261-3. Εικ. 11. Η αίθουσα των ακροάσεων του Αλή-Πασά στα Γιάννενα (περί το 1800).

books.google.com

Volait 2021, p. 202; Flaherty 2023, pp. 38–39; Scarce 2017, pp. 159–164, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Flaherty, Chris (2023). Turkish Army & Navy 1826-1850. Soldiershop Publishing. ISBN 9788893279505. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Romagnoli 2010, p. 68; Brnardic 2004, pp. 37–38 Romagnoli, Gianfranco (2010). "Il Reggimento Real Macedone". In Gianfranco Romagnoli (ed.). Miti e Cultura Arbëreshë (PDF) (in Italian). Italy: Centro Internazionale Studi sul Mito Delegazione Siciliana. Brnardic, Vladimir (2004). Napoleon's Balkan Troops. Illustrated by Darko Pavlovic. Bloomsbury. ISBN 9781841767000.
Volait 2021, p. 202; Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243; Scarce 2017, pp. 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876.
Koço 2004, p. 161 Koço, Eno (2004). Albanian Urban Lyric Song in the 1930s. Lanham: Scarecrow Press. ISBN 978-0-8108-4890-0.
Andromaqi Gjergji (2004). Albanian Costumes Through the Centuries: Origin, Types, Evolution. Academy of Sciences of Albania, Inst. of Folc Culture. p. 209. ISBN 978-99943-614-4-1.
Skafidas 2009, p. 148. Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Evans 2006, p. 126: "The peasant women, whose attire through this and the adjoining Serbian provinces is as exclusively Slavonic as their language, have here preserved a distinctively Illyrian element in their dress. They wear, in fact, over and above the Slavonic apron, an Albanian fustanella;". Evans, Arthur (2006) [1886]. Ancient Illyria: An Archaeological Exploration. New York and London: I.B. Tauris. ISBN 978-1-84511-167-0.
Keramopoulos, Antonios (1953). "Η φουστανέλλα". Λαογραφία (in Greek). Vol. 15. Ελληνική Λαογραφική Εταιρεία. pp. 239–240, 243.
Papantoniou, Ioanna (2000). Greek Dress: From Ancient Times to the Early 20th Century. Εμπορική Τράπεζα. p. 208. ISBN 978-960-7059-11-6. Keramopoullos's theory that the fustanella was descended from the Roman military uniform seems to me more likely.
Smithsonian Institution & Mouseio Benakē 1959, p. 8: "From the ancient chiton and the common chitonium (short military tunic), fastened by a belt round the waist and falling into narrow regular folds, is derived the fustanella which by extension gives its name to the whole of the costume." Smithsonian Institution; Mouseio Benakē (1959). Greek Costumes and Embroideries, from the Benaki Museum, Athens: An Exhibition Presented Under the Patronage of H.M. Queen Frederika of the Hellenes. Washington, District of Columbia: Smithsonian Institution.
Fox 1977, p. 56: "The young shepherd wears a fustanella, descendant of the military tunic of ancient Greece, now rarely worn except by certain regiments." Fox, Lilla Margaret (1977). Folk Costumes from Eastern Europe. London: Chatto & Windus (Random House). ISBN 0-7011-5092-0.
Brnardic 2004, pp. 37–38. Brnardic, Vladimir (2004). Napoleon's Balkan Troops. Illustrated by Darko Pavlovic. Bloomsbury. ISBN 9781841767000.
Gjergji 2004, p. 16: "Among the most important documents is one of the year 1335, which relates how at the port of Drin, near Shkodra, a sailor was robbed of the following items: (ei guarnacionem, tunicam, mantellum, maçam, de ferro, fustanum, camisiam abstulerunt). This is the earliest known evidence in which the "fustan" (kilt) is mentioned as an item of clothing along with the shirt." Gjergji, Andromaqi (2004). Albanian Costumes through the Centuries: Origin, Types, Evolution (in Albanian). Tirana: Mësonjëtorja. ISBN 978-99943-614-4-1.
Skafidas 2009, pp. 146–147. Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Welters 1995, p. 59. Welters, Lisa (1995). "Ethnicity in Greek dress". In Eicher, Joanne (ed.). Dress and ethnicity: Change across space and time. Oxford: Berg Publishers. pp. 53–77. ISBN 978-0-85496-879-4.
Nasse 1964, p. 38: "The Albanian soldier who arrived in southern Italy during the days of Scanderbeg wore a distinctive costume; if he was a "Gheg" (northern Albanian), he wore rather tight breeches and a waistcoat; if he was a "Tosk" (southern Albanian), he wore a "fustanella" (a white pleated skirt) and a waistcoat." Nasse, George Nicholas (1964). The Italo-Albanian Villages of Southern Italy. Washington, District of Columbia: National Academy of Sciences-National Research Council. ISBN 9780598204004. {{cite book}}: ISBN / Date incompatibility (help)
Gjergji 2004, p. 115. Gjergji, Andromaqi (2004). Albanian Costumes through the Centuries: Origin, Types, Evolution (in Albanian). Tirana: Mësonjëtorja. ISBN 978-99943-614-4-1.
Flaherty 2023, pp. 38–39. Flaherty, Chris (2023). Turkish Army & Navy 1826-1850. Soldiershop Publishing. ISBN 9788893279505.
de la Poer Beresford, George (1855). Twelve Sketches in Double-tinted Lithography of Scenes in Southern Albania. London: Day and Son.
Baleva 2017, p. 241–243. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876.
Koço 2015, p. 17: "The closely observing eye of the painter Edward Lear, in his travels around Albania in 1848 and 1849, depicted the fustanella as a typical national costume of the Albanians." Koço, Eno (2015). A Journey of the Vocal Iso(n). Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-7578-3.
Blumi 2004, p. 167: "While quite popular among those who depicted Malesorë life in paintings, the use of the foustanella among Ghegs was basically reserved for formal occasions; it was worn by groups in the Kelmendi, Hoti, Shala and Berisha village groups. On such important occasions such as declarations of allegiance, the settlement of disputes and the election of paramount representatives, elite males would adopt these long white garments and wear their tirq underneath. The foustanella became famous once King Otto of Greece declared it the national dress of independent Greece, probably due to the fact his largely Albanian speaking army wore it." Blumi, Isa (2004). "Undressing the Albanian: Finding Social History in Ottoman Material Cultures". In Faroqhi, Suraiya; Neumann, Christoph (eds.). Ottoman Costumes: From Textile to Identity. Istanbul: Eren. pp. 157–180. ISBN 978-975-6372-04-3.
Tomes 2011, p. 44. Tomes, Jason (2011). King Zog: Self-Made Monarch of Albania. Stroud: The History Press. ISBN 9780752470870.
Konitza 1957, pp. 85–86. Konitza, Faik (1957). Albania: The Rock Garden of Southeastern Europe, and other Essays. Boston, MA: Vatra.
Konitza 1957, p. 67. Konitza, Faik (1957). Albania: The Rock Garden of Southeastern Europe, and other Essays. Boston, MA: Vatra.
Kaphetzopoulos, Ioannis; Flokas, Charalambos; Dima-Dimitriou, Angeliki (2000). The struggle for Northern Epirus. Hellenic Army General Staff, Army History Directorate, Hellenic Army General Staff. ISBN 9789607897404. Initially, as there were no military uniforms, the enlisted men were distinguished by wearing a uniform head covering, made of a khaki material, with the sign of a cross, for enlisted men, and the double-headed eagle for officers, as well as a blue arm-band, and the initials of the Delvino Regiment (Sigma Delta). Later on, the situation improved, and all enlisted men wore Evzone uniforms.
Lada-Minōtou, Maria (1993). Greek Costumes: Collection of the National Historical Museum. Historical and Ethnological Society of Greece. p. xxvii. There are, however, examples where the sigouni is worn over a pleated skirt of the foustanela type, as at Dropoli and Tepeleni in Northern Epirus
Flaherty, Chris (2021). "Arnaout: Albanian (mounted infantry) regiment". Turkish army Crimean war uniforms – Volume 2. Soldiers & Weapons. Vol. 41. Soldiershop Publishing. p. 23. ISBN 9788893277846.
Wahba 1990, pp. 103–104. Wahba, Magdi (1990). "Cairo Memories". In Neil Fodor, Tony McKenna (ed.). Studies In Arab History: The Antonius Lectures 1978-1987. Springer. pp. 103–117. ISBN 9781349206575.
Morgan 1942, pp. 132–133: "Most of these men are warriors with long curling locks falling down their backs, clad in pleated tunics or chain mail with short pointed caps on their heads. They wield swords, and protect themselves with shields, either round or shaped like a pointed oval...The mace-bearer of No. 1275 is clad in chain mail with a heavy pleated fustanella worn about his hips. The importance of this latter piece is very considerable, for the details of the costume, often shown on Incised-Sgraffito figures, are very clear, and make it certain that the fustanella exists as an independent garment and is not an elaboration of the lower part of a tunic. It is consequently demonstrable that this characteristic garment of latter-day Greece was in common use as early as the twelfth century in Greek lands." Morgan, Charles Hill (1942). Corinth: The Byzantine Pottery. Vol. 11. Cambridge, MA: Published for the American School of Classical Studies at Athens, Harvard University Press. ISBN 9780876611111. OCLC 36957616. {{cite book}}: ISBN / Date incompatibility (help)
Morgan 1942, pp. 133, 317–318, 333. Morgan, Charles Hill (1942). Corinth: The Byzantine Pottery. Vol. 11. Cambridge, MA: Published for the American School of Classical Studies at Athens, Harvard University Press. ISBN 9780876611111. OCLC 36957616. {{cite book}}: ISBN / Date incompatibility (help)
Skafidas 2009, pp. 146–147. Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Maxwell 2014, pp. 170–171: "The foustanela, like the Scottish kilt or Lady Llanover's Cambrian Costumes, provides ample material for authenticity—fabrication debates, not least because its origins apparently lie in Albania. During the Greek independence war, however, its Greek connotations became so powerful that foreign Philhellenes adopted it to show their sympathy for the Greek cause. Henry Bradfield, a surgeon who served in Greece, observed one English gentleman who tried to make a foustanela from a sheet. Philhellene enthusiasm for the foustanela survived knowledge of its Albanian origins, Philhellene William Whitcombe described the foustanela as a light Albanian kilt" in his 1828 memoirs." Maxwell, Alexander (2014). Patriots against fashion: Clothing and nationalism in Europe's age of revolutions. Basingstoke: Palgrave Macmillan. ISBN 978-1-137-27713-8.
Skafidas 2009, p. 148: "The modern fustanella appears in Greece worn by Albanians, and especially the Arvanites, as Greeks of Albanian ancestry were called, most of whom fought alongside the Greeks against the Turks in the long war of independence." Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Angelomatis-Tsougarakis 1990, p. 106: "On the other hand, Albanian dress was daily becoming more fashionable among the other nationalities. The fashion in the Morea was attributed to the influence of Ydra, an old Albanian colony, and to the other Albanian settlements in the Peloponesse. Ydra, however, could not have played a significant part in the development since its inhabitants did not wear the Albanian kilt but the clothes common to other islanders. In the rest of Greece it was the steadily rising power of Ali Pasha that made the Albanians a kind of ruling class to be imitated by others. The fact that the Albanians dress was lighter and more manageable than the dress the Greek upper classes used to wear also helped in spreading the fashion. It was not unusual even for the Turks to have their children dressed in Albanian costume, although it would have been demeaning for them to do so themselves." Angelomatis-Tsougarakis, Helen (1990). The Eve of the Greek Revival: British Travellers' Perceptions of Early Nineteenth-Century Greece. New York and Oxford: Routledge. ISBN 978-0-415-03482-1.
Gerolymatos 2003, p. 90: "Greek fashion in the nineteenth century saw men dressed in the Albanian kilt while women followed the Muslim tradition of covering themselves up, including the face and eyes." Gerolymatos, Andre (2003). The Balkan Wars: Conquest, Revolution, and Retribution from the Ottoman Era to the Twentieth Century and Beyond. New York: Basic Books. ISBN 978-0-465-02731-6.
Welters 1995, pp. 59: "According to old travel books, the nineteenth-century traveler could readily identify Greek-Albanian peasants by their dress. The people and their garb, labeled as "Albanian", were frequently described in contemporary written accounts or depicted in watercolours and engravings. The main components of dress associated with Greek-Albanian… men an outfit with a short full skirt known as the foustanella.", pp. 59–61. "Identifying the Greek-Albanian man by his clothing was more difficult after the Greek war of Independence, for the so-called "Albanian costume" became what has been identified as the "true" national dress on the mainland of Greece. In admiration for the heroic deeds of the Independence fighters, many of whom were Arvanites, a fancy version of the foustanella was adopted by diplomats and philihellenes for town wear.", pp. 75–76. "The townspeople who gave up their Turkish-style clothing after Greece attained its independence communicated solidarity with the new Greek democracy by wearing foustanella. This was clear example of national dress. At the same time, those who dwelled in villages and on mountainsides kept their traditional clothing forms, specifically the sigouni and the chemise." Welters, Lisa (1995). "Ethnicity in Greek dress". In Eicher, Joanne (ed.). Dress and ethnicity: Change across space and time. Oxford: Berg Publishers. pp. 53–77. ISBN 978-0-85496-879-4.
Murawska-Muthesius, Katarzyna (2021). "Mountains and Palikars". Imaging and Mapping Eastern Europe: Sarmatia Europea to Post-Communist Bloc. Routledge. pp. 77–79. ISBN 9781351034401.
Brnardic 2004, p. 37. Brnardic, Vladimir (2004). Napoleon's Balkan Troops. Illustrated by Darko Pavlovic. Bloomsbury. ISBN 9781841767000.
Maxwell 2014, pp. 172: "Othon apparently arrived in Greece wearing a Bavarian military uniform, but soon adopted the foustanela (see Figure 8.1) not only for official portraits, but in daily life. Courtier Hermann Hettner wrote that the King habitually received guests in "the Greek national costume, resplendent in silver and gold." Othon dressed his court in foustanela as early as 1832, queen Amalia also dressed her ladies-in-waiting in analogous Greek costumes. The costume seems to have genuinely pleased Othon: after being forced from power in 1862, he continued to wear it in his German retirement. Othon also made the foustanela a service uniform by imposing it on government officials… Government officials also wore the foustanela abroad, which occasionally led to embarassment [sic] ... Othon showed less enthusiasm for the foustanela as a military uniform. He initially intended to use Bavarian-style uniforms in his army, but backed down when threatened with mass resignations and the resultant banditry." Maxwell, Alexander (2014). Patriots against fashion: Clothing and nationalism in Europe's age of revolutions. Basingstoke: Palgrave Macmillan. ISBN 978-1-137-27713-8.
Skafidas 2009, p. 150. Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Welters 1995, p. 70: "The name Roumeliotes was applied to the Sarakatsani because centuries ago they returned to mainland Greece to pasture their sheep every summer (Koster and Koster 1976: 280)."; p. 63. "Sarakatsani men were not as uniform in their attire as Sarakatsani women. The men wore outfits made from handwoven wool with either trousers (panovraki) or foustanella skirts depending on the local tradition (Papantoniou 1981:11)."; p. 67. "Papantoniou associates two types of male garments with the Vlachs, the white trousers (of the type seen in Fig. 3.4) and the homemade foustanella (Papantoniou 1981: 11, 41). It should be remembered that both trousers and foustanella were also worn by Sarakatsani men." Welters, Lisa (1995). "Ethnicity in Greek dress". In Eicher, Joanne (ed.). Dress and ethnicity: Change across space and time. Oxford: Berg Publishers. pp. 53–77. ISBN 978-0-85496-879-4.
Maxwell 2014, pp. 176: " By the end of the nineteenth century, the foustanela was no longer an everyday costume. Civilians wore what James Verinis dubbed the "town foustantela" [astiki enthimasia fóustanela] only on special occasions. On the Aegean Islands, where it had never been part of peasant dress, the foustanela appeared even more ceremonial. At the turn of the century, Harriet Boyd Hawes, a British archaeologist in Crete, reported that Locals had seen the foustanela "if at all, only in patriotic plays representing heroes of the Revolution of '21." Hawes also found that when she dressed her Greek assistant in one, he could overawe Local villagers who mistook it for a government uniform." Maxwell, Alexander (2014). Patriots against fashion: Clothing and nationalism in Europe's age of revolutions. Basingstoke: Palgrave Macmillan. ISBN 978-1-137-27713-8.
Papaloizos, Theodore C. (2009). Modern Greek: Nea ellenika. Papaloizos Pub: Greek123. p. 107. ISBN 978-0-932416-02-5.{{cite book}}: CS1 maint: publisher location (link)
Karalis, Vrasidas (2012). History of Greek Cinema. A&C Black. p. 23. ISBN 9781441194473.
Psaras, Marios (2016). The Queer Greek Weird Wave: Ethics, Politics and the Crisis of Meaning. Springer. p. 105. ISBN 9783319403106.
Skafidas 2009, pp. 150–151. Skafidas, Michael (2009). "Fabricating Greekness: From Fustanella to the Glossy Page". In Paulicelli, Eugenia; Clark, Hazel (eds.). The Fabric of Cultures: Fashion, Identity, and Globalization. New York and Oxford: Taylor & Francis (Routledge). pp. 145–163. ISBN 978-1-135-25356-1.
Smithsonian Institution & Mouseio Benakē 1959, p. 31; Fox 1977, p. 56. Smithsonian Institution; Mouseio Benakē (1959). Greek Costumes and Embroideries, from the Benaki Museum, Athens: An Exhibition Presented Under the Patronage of H.M. Queen Frederika of the Hellenes. Washington, District of Columbia: Smithsonian Institution. Fox, Lilla Margaret (1977). Folk Costumes from Eastern Europe. London: Chatto & Windus (Random House). ISBN 0-7011-5092-0.
Smithsonian Institution & Mouseio Benakē 1959, p. 8: "The yileki (bolero), the mendani (waistcoat) and the fermeli (sleeveless coat) which are worn with the fustanella, and their mode of decoration, are reminiscent of the ornamented breastplates of ancient times. The selachi (leather belt) with its gold or silver embroidery, worn round the waist over the fustanella, and in whose pouches the armed chieftains, the Armatoli and Klephts of the War of Independence placed their arms, recalls the ancient girdle; 'gird thyself' meant 'arm thyself' (Homer, Iliad)." Smithsonian Institution; Mouseio Benakē (1959). Greek Costumes and Embroideries, from the Benaki Museum, Athens: An Exhibition Presented Under the Patronage of H.M. Queen Frederika of the Hellenes. Washington, District of Columbia: Smithsonian Institution.
Gjergji 2000, p. 182. Gjergji, Andromaqi (2000). "Le costume albanais dans le contexte sud-est". Studia Albanica. 33. Academy of Sciences of Albania.
Gjergji 2004, p. 207 Gjergji, Andromaqi (2004). Albanian Costumes through the Centuries: Origin, Types, Evolution (in Albanian). Tirana: Mësonjëtorja. ISBN 978-99943-614-4-1.
Tracey-Miller & Strauss 2014, p. 127 Tracey-Miller, Caitlin; Strauss, Mitchell D. (2014). "Fustanella". In Lynch, Annette; Strauss, Mitchell D. (eds.). Ethnic Dress in the United States: A Cultural Encyclopedia. Rowman & Littlefield. pp. 126–128. ISBN 978-0-7591-2150-8.
Institute of Modern Greek Studies 1998. Institute of Modern Greek Studies (1998). Λεξικό της Κοινής Νεοελληνικής. Thessalonica: Aristotelion Panepistimio Thessaloniki. ISBN 9789602310854.
Oxford English Dictionary; Babiniotis 1998. Babiniotis, George D. (1998). Λεξικό της Νέας Ελληνικής Γλώσσας (in Greek). Athens: Kentro Leksikologias. ISBN 978-960-86190-0-5.
Koço 2015, p. 15. Koço, Eno (2015). A Journey of the Vocal Iso(n). Newcastle upon Tyne: Cambridge Scholars Publishing. ISBN 978-1-4438-7578-3.
Balta, Evangelia; Wittman, Richard (2019). "Historical comments on the Illustrations in the Harvard Fulgenzi Album of Lithographs (1836-38)". In Collaço, Gwendolyn (ed.). Prints and Impressions from Ottoman Smyrna: The Collection de Costumes Civils Et Militaires, Scènes Populaires, Et Vues de L'Asie-Mineure Album (1836-38) at Harvard University's Fine Arts Library. Memoria : fontes minores ad historiam Imperii Ottomanici pertinentes. Vol. 4. Max Weber Stiftung. p. 76. The 1861 depiction of an Arvanite warrior by Carl Haag at the Benaki Museum in Athens is but one of the more well-known such portrayals.

britishmuseum.org

"drawing _ British Museum". Retrieved 3 November 2022. Description: Albanian Palikars in pursuit of an enemy

centrointernazionalestudisulmito.com

Romagnoli 2010, p. 68; Brnardic 2004, pp. 37–38 Romagnoli, Gianfranco (2010). "Il Reggimento Real Macedone". In Gianfranco Romagnoli (ed.). Miti e Cultura Arbëreshë (PDF) (in Italian). Italy: Centro Internazionale Studi sul Mito Delegazione Siciliana. Brnardic, Vladimir (2004). Napoleon's Balkan Troops. Illustrated by Darko Pavlovic. Bloomsbury. ISBN 9781841767000.
Romagnoli 2010, p. 68. Romagnoli, Gianfranco (2010). "Il Reggimento Real Macedone". In Gianfranco Romagnoli (ed.). Miti e Cultura Arbëreshë (PDF) (in Italian). Italy: Centro Internazionale Studi sul Mito Delegazione Siciliana.
Romagnoli 2010, p. 69. Romagnoli, Gianfranco (2010). "Il Reggimento Real Macedone". In Gianfranco Romagnoli (ed.). Miti e Cultura Arbëreshë (PDF) (in Italian). Italy: Centro Internazionale Studi sul Mito Delegazione Siciliana.

dergipark.org.tr

Doğer 2004, p. 89 Doğer, Lale (2004). "Bizans Dönemi Fantastik Kurgulu Betimleme Taşıyan Yeni bir Seramik Obje" (PDF). Sanat Tarihi Dergisi (in Turkish). 13 (2): 79–98.

doi.org

Volait 2021, p. 202; Flaherty 2023, pp. 38–39; Scarce 2017, pp. 159–164, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Flaherty, Chris (2023). Turkish Army & Navy 1826-1850. Soldiershop Publishing. ISBN 9788893279505. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202; Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243; Scarce 2017, pp. 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876.
Volait 2021, p. 202; Scarce 2017, pp. 158, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Hoti 1989, p. 224. Hoti, Afrim (1989). "Enë me glazurë nga qyteti i Durrësit (shek. X-XV)/ Récipients à glaçure découverts à Durrës". Iliria. 19 (1): 213–240. doi:10.3406/iliri.1989.1519.
Verinis 2005, pp. 139–175. Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Hernandez, David R. (2019). "The Abandonment of Butrint: From Venetian Enclave to Ottoman Backwater". Hesperia. 88 (2): 365–419. doi:10.2972/hesperia.88.2.0365. S2CID 197957591. p. 408: "George de la Poer Beresford published 12 double-tinted lithographs of scenes from southern Albania in 1855.214"
Scarce 2017, pp. 170–171. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Scarce 2017, pp. 170–172. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Baleva 2021, pp. 77–85. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5.
Verinis 2005, pp. 139–175: "Thought originally to have been a southern Albanian outfit worn by men of the Tosk ethnicity and introduced into more Greek territories during the Ottoman occupation of previous centuries, the "clean petticoat" of the foustanéla ensemble was a term of reproach used by brigands well before laografia (laographía, folklore) and disuse made it the national costume of Greece and consequently made light of variations based on region, time period, class or ethnicity." Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Verinis 2005, pp. 139–175 Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Scarce 2017, p. 172. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Scarce 2017, p. 164. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.

jhu.edu

muse.jhu.edu

Verinis 2005, pp. 139–175. Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Verinis 2005, pp. 139–175: "Thought originally to have been a southern Albanian outfit worn by men of the Tosk ethnicity and introduced into more Greek territories during the Ottoman occupation of previous centuries, the "clean petticoat" of the foustanéla ensemble was a term of reproach used by brigands well before laografia (laographía, folklore) and disuse made it the national costume of Greece and consequently made light of variations based on region, time period, class or ethnicity." Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Verinis 2005, pp. 139–175 Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}

jstor.org

Volait 2021, p. 202; Flaherty 2023, pp. 38–39; Scarce 2017, pp. 159–164, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Flaherty, Chris (2023). Turkish Army & Navy 1826-1850. Soldiershop Publishing. ISBN 9788893279505. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202; Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243; Scarce 2017, pp. 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202; Scarce 2017, pp. 158, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Notopoulos 1964, p. 114 Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 110, 122. Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Beresford, G. de la Poer. "Janina, Albania (subsequently Greece): the audience chamber of Ali Pasha. Colour lithograph after G.D. Beresford, 1855". Artstor.
Scarce 2017, pp. 170–171. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Athanassoglou-Kallmyer 1983, pp. 487–488: "Delacroix's fascination with the near east in the 1820s, in part as a result of his interest in the Greek War of Independence, accounts for a number of studies of oriental costumes, among which the best known are perhaps his oil sketches representing dancing Suliots (Fig. 38). A water-colour of Two Albanians, in a private collection in Athens, can now be related to this group of works (Fig. 34). Two chieftains are shown within a landscape that recedes towards a low, distant horizon. The man on the left poses in rather stiff contrapposto. His companion sits cross-legged, Oriental style. The standing man wears the white kilt, and embroidered vest and sash typical of Albanian dress...As opposed to the rather general handling of the setting, the figures are depicted with great specificity. Delacroix must have intended the latter to serve as mementoes, as records of ethnic types and dress, part of the process of collecting Orientalist visual imagery in which he was engaged in the 1820s. His enthusiasm at the lush beauty of the Albanian costume must have matched that of his favourite poet at the time, Byron. In a letter to his mother from Epirus dated 12 November 1809, Byron had marvelled at 'the Albanians, in their dresses, (the most magnificent in the world, consisting of long, white kilt, gold-worked cloak, crimson velvet gold laced jacket and waist-coat, silver mounted pistols and daggers)...he admitted to having succumbed to the temptation and acquired some of these 'magnificent Albanian dresses...They cost fifty guineas each, and have so much gold, they would cost in England two hundred'." Athanassoglou-Kallmyer, Nina (1983). "Of Suliots, Arnauts, Albanians and Eugène Delacroix". The Burlington Magazine. 125 (965): 487–490. JSTOR 881312.
Scarce 2017, pp. 170–172. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10.
Notopoulos 1964, p. 110: "These lines are triply valuable for they tell us (1) the early popularity of Akritas; (2) the existence of the source of the Grottaferrata by the twelfth century; (3) that Digenes wears kilts which appear in the Byzantine plates as the fustanella, the key for the identification of the warriors in the plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, p. 113: "We can dispose of any lingering doubts as to the identification of the hero with Akritas rather than St. George or Alexander by considering one important piece of evidence that has not been exploited before, namely, the fustanella, the pleated kilt worn by the dragon slayers and by many other figures in the Byzantine plates. We have already seen that the twelfth century poet Prodromos describes Digenes as wearing kilts, a detail which is also mentioned in the Grottaferrata version. The Byzantine plates corroborate this key detail in the identification. Thirty-five plates show such warriors wearing the fustanella. Of these at least eight plates, on which the identification with Digenes rests, show a warrior slaying a dragon." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 114: "They are not clad in armor, nor in helmets. They wear a cap, a cloth doublet, and their pleated kilt is unmistakably different from that of the other class of warriors. Their kilt resembles the klepht fustanella; it is longer, more flared, fluid, and ornamented with decorative stripes, horizontal or vertical. It is this difference in kilts that distinguishes the warriors in the Byzantine plates from the imperial forces depicted in other manifestations of Byzantine art. The kilts in our plates belong to the akrites, whose garb is required by their way of life and the guerrilla type of warfare described in the Byzantine military treatise." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 113–115: "A comparison of the fustanella warriors on the Byzantine plates with the klephts of the Greek Revolution of 1821–30, shown in the primitive paintings of Makriyiannes, shows that we are dealing in both instances with a garment which is peculiarly suited to a fast, mobile guerrilla mountain type of warrior...This kind of warfare, also described in the Akritan ballads, called for a fast mobile guerrilla type of soldier. What kind of dress is suitable for this kind of warfare? Nothing better than the fustanella worn by the Akritan warriors in the Byzantine plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Scarce 2017, p. 172. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Scarce 2017, p. 164. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.

macgregorandmacduff.co.uk

"The History of Irish Kilts". 17 October 2019.

revistia.com

books.revistia.com

Mesi 2019, p. 54. Mesi, Agron (2019). "The "Discovery" of Albanians and Their Culture from Western Europe". 20th International Conference on Social Sciences Zurich, 6-7 September 2019 (PDF). Revistia. pp. 42–58. ISBN 978-164669411-2.
Mesi 2019, p. 46: "The most common element in men's clothing is the white, long and multi-pleated fustanella, widely known as the garment, used centuries before the Ottoman occupation, by a large population living in the Albanian territories lying in the Balkans." Mesi, Agron (2019). "The "Discovery" of Albanians and Their Culture from Western Europe". 20th International Conference on Social Sciences Zurich, 6-7 September 2019 (PDF). Revistia. pp. 42–58. ISBN 978-164669411-2.
Mesi 2019, p. 47. Mesi, Agron (2019). "The "Discovery" of Albanians and Their Culture from Western Europe". 20th International Conference on Social Sciences Zurich, 6-7 September 2019 (PDF). Revistia. pp. 42–58. ISBN 978-164669411-2.

scottishtartansmuseum.org

"Brief History of the Kilt - the Scottish Tartans Museum and Heritage Center, Inc".

semanticscholar.org

api.semanticscholar.org

Verinis 2005, pp. 139–175. Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Hernandez, David R. (2019). "The Abandonment of Butrint: From Venetian Enclave to Ottoman Backwater". Hesperia. 88 (2): 365–419. doi:10.2972/hesperia.88.2.0365. S2CID 197957591. p. 408: "George de la Poer Beresford published 12 double-tinted lithographs of scenes from southern Albania in 1855.214"
Verinis 2005, pp. 139–175: "Thought originally to have been a southern Albanian outfit worn by men of the Tosk ethnicity and introduced into more Greek territories during the Ottoman occupation of previous centuries, the "clean petticoat" of the foustanéla ensemble was a term of reproach used by brigands well before laografia (laographía, folklore) and disuse made it the national costume of Greece and consequently made light of variations based on region, time period, class or ethnicity." Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}
Verinis 2005, pp. 139–175 Verinis, James P. (May 2005). "Spiridon Loues, the Modern Foustanéla, and the Symbolic Power of Pallikariá at the 1896 Olympic Games" (PDF). Journal of Modern Greek Studies. 23 (1): 139–175. doi:10.1353/mgs.2005.0010. S2CID 146732138.^{[permanent dead link]}

tatavla.org

"Tatavla Karnavalı" (in Turkish). Tatavla. Archived from the original on 16 December 2011. Retrieved 28 December 2011.

travelogues.gr

el.travelogues.gr

"Σουλιώτες πολεμιστές καταδιώκουν τον εχθρό. - Hughes, Thomas Smart - Mε Tο Bλεμμα Των Περιγηηγητων - Τόποι - Μνημεία - Άνθρωποι - Νοτιοανατολική Ευρώπη - Ανατολική Μεσόγειος - Ελλάδα - Μικρά Ασία - Νότιος Ιταλία, 15ος - 20ός αιώνας". Retrieved 3 November 2022. Πρωτότυπος τίτλος: View of Albanian palikars in pursuit of an enemy

umass.edu

scholarworks.umass.edu

Bialor 2008, pp. 67–68 (Note #4): "Also, Albanians, Arvanito–Vlachs, and Vlachs, from the fourteenth until the nineteenth centuries, had settled major areas of Northwestern and Central Greece, the Peloponessos and some of the Saronic and Cycladic islands. Though usually remaining linguistically distinct, they participated "as Greeks" in the War of Independence and in the further development of the new nation. As a consequence of extensive Albanian settlement, the Greek national dress up until the twentieth century was the Albania foustanella (pleated skirt) with pom-pommed curved shoes called tsarouchia." Bialor, Perry A. (2008). "Greek Ethnic Survival Under Ottoman Domination". Research Report 09: The Limits of Integration: Ethnicity and Nationalism in Modern Europe. Amherst, MA: University of Massachusetts.

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Kyrou, Adonis K. (2020). "The Cave of Nympholeptos: From the dances of the Nymphs to neoplatonic contemplation". KYDALIMOS: Studies in Honor of Prof. Georgios St. Korres, Vol. 3 (in Greek). National and Kapodistrian University of Athens. p. 157. ISBN 978-960-466-231-9. Πρόκειται για τη, λίγο μεγαλύτερη του φυσικού, ανάγλυφη απεικόνιση του Αρχεδήμου, λαξευμένη από τον ίδιο επάνω στην επιφάνεια του ενδιάμεσου βραχώδους σχηματισμού, που όπως είδαμε χωρίζει το σπήλαιο σε δύο μεγάλους θαλάμους. Φορώντας βραχύ χιτώνα, δεμένο σε πτυχές στη μέση σαν φουστανέλα (εύζωνος, από το επίρρημα ευ και το ρήμα ζώνυμι), όπως συνήθιζαν οι αρχαίοι σε ώρες γεωργικής ή άλλης χειρωνακτικής απασχολήσεως, ...

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Koryllos, Christos (1903). Χωρογραφία της Ελλάδος (in Greek). Εκ του Τυπογραφείου των Καταστημάτων "Ανέστη Κωνσταντινίδου". pp. 21–23.

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Todorova 1984, p. 544. Todorova, Maria N. (1984). "The Greek volunteers in the Crimean War". Balkan Studies. 25 (2): 539–563. ISSN 2241-1674.
Todorova 1984, p. 559. Todorova, Maria N. (1984). "The Greek volunteers in the Crimean War". Balkan Studies. 25 (2): 539–563. ISSN 2241-1674.

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"Tatavla Karnavalı" (in Turkish). Tatavla. Archived from the original on 16 December 2011. Retrieved 28 December 2011.

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Volait 2021, p. 202; Flaherty 2023, pp. 38–39; Scarce 2017, pp. 159–164, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Flaherty, Chris (2023). Turkish Army & Navy 1826-1850. Soldiershop Publishing. ISBN 9788893279505. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202; Baleva 2021, pp. 77–85; Baleva 2017, pp. 241–243; Scarce 2017, pp. 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Baleva, Martina (2021). "Geschichtete Sichtbarkeiten. Trendsetter und Kleidercodes in Porträtfotografien vom osmanischen Balkan". In Thomas Grob; Anna Hodel; Jan Miluška (eds.). Geschichtete Identitäten: (post-)imperiales Erzählen und Identitätsbildung im östlichen Europa (in German). Böhlau Verlag GmbH & Cie. KG. pp. 71–98. doi:10.7788/9783412512255. ISBN 978-3-412-51225-5. Baleva, Martina (2017). "The Heroic Lens: Portrait Photography of Ottoman Insurgents in the Nineteenth-Century Balkans - Types and Uses". In Ritter, Markus; Scheiwiller, Staci G. (eds.). The Indigenous Lens?: Early Photography in the Near and Middle East. Studies in Theory and History of Photography. Vol. 8. Walter de Gruyter GmbH & Co KG. pp. 237–256. ISBN 9783110590876. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Volait 2021, p. 202; Scarce 2017, pp. 158, 170–172. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10. Scarce, Jennifer M. (2017). "Lord Byron (1788–1824) in Albanian Dress: A Sartorial Response to the Ottoman Empire". Ars Orientalis. 47: 158–77. doi:10.3998/ars.13441566.0047.007. JSTOR 45238935.
Notopoulos 1964, p. 114 Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 110, 122. Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Langkjær 2012, p. 114. Langkjær, Michael Alexander (2012). "A case of misconstrued Rock Military Style: Mick Jagger and his Evzone "little girl's party frock" fustanella, Hyde Park, July 5, 1969". Endymatologika. 4: 111–119. ISSN 1108-8400.
Volait 2021, p. 202. Volait, Mercedes (2021). "Guise and Disguise Before and During the Tanzimat". Antique Dealing and Creative Reuse in Cairo and Damascus 1850-1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform. Leiden studies in Islam and society. Vol. 12. Brill. pp. 186–241. ISBN 9789004449879. ISSN 2210-8920. JSTOR 10.1163/j.ctv1v7zbh3.10.
Morgan 1942, pp. 132–133: "Most of these men are warriors with long curling locks falling down their backs, clad in pleated tunics or chain mail with short pointed caps on their heads. They wield swords, and protect themselves with shields, either round or shaped like a pointed oval...The mace-bearer of No. 1275 is clad in chain mail with a heavy pleated fustanella worn about his hips. The importance of this latter piece is very considerable, for the details of the costume, often shown on Incised-Sgraffito figures, are very clear, and make it certain that the fustanella exists as an independent garment and is not an elaboration of the lower part of a tunic. It is consequently demonstrable that this characteristic garment of latter-day Greece was in common use as early as the twelfth century in Greek lands." Morgan, Charles Hill (1942). Corinth: The Byzantine Pottery. Vol. 11. Cambridge, MA: Published for the American School of Classical Studies at Athens, Harvard University Press. ISBN 9780876611111. OCLC 36957616. {{cite book}}: ISBN / Date incompatibility (help)
Notopoulos 1964, p. 110: "These lines are triply valuable for they tell us (1) the early popularity of Akritas; (2) the existence of the source of the Grottaferrata by the twelfth century; (3) that Digenes wears kilts which appear in the Byzantine plates as the fustanella, the key for the identification of the warriors in the plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Morgan 1942, pp. 133, 317–318, 333. Morgan, Charles Hill (1942). Corinth: The Byzantine Pottery. Vol. 11. Cambridge, MA: Published for the American School of Classical Studies at Athens, Harvard University Press. ISBN 9780876611111. OCLC 36957616. {{cite book}}: ISBN / Date incompatibility (help)
Notopoulos 1964, p. 113: "We can dispose of any lingering doubts as to the identification of the hero with Akritas rather than St. George or Alexander by considering one important piece of evidence that has not been exploited before, namely, the fustanella, the pleated kilt worn by the dragon slayers and by many other figures in the Byzantine plates. We have already seen that the twelfth century poet Prodromos describes Digenes as wearing kilts, a detail which is also mentioned in the Grottaferrata version. The Byzantine plates corroborate this key detail in the identification. Thirty-five plates show such warriors wearing the fustanella. Of these at least eight plates, on which the identification with Digenes rests, show a warrior slaying a dragon." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 114: "They are not clad in armor, nor in helmets. They wear a cap, a cloth doublet, and their pleated kilt is unmistakably different from that of the other class of warriors. Their kilt resembles the klepht fustanella; it is longer, more flared, fluid, and ornamented with decorative stripes, horizontal or vertical. It is this difference in kilts that distinguishes the warriors in the Byzantine plates from the imperial forces depicted in other manifestations of Byzantine art. The kilts in our plates belong to the akrites, whose garb is required by their way of life and the guerrilla type of warfare described in the Byzantine military treatise." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Notopoulos 1964, pp. 113–115: "A comparison of the fustanella warriors on the Byzantine plates with the klephts of the Greek Revolution of 1821–30, shown in the primitive paintings of Makriyiannes, shows that we are dealing in both instances with a garment which is peculiarly suited to a fast, mobile guerrilla mountain type of warrior...This kind of warfare, also described in the Akritan ballads, called for a fast mobile guerrilla type of soldier. What kind of dress is suitable for this kind of warfare? Nothing better than the fustanella worn by the Akritan warriors in the Byzantine plates." Notopoulos, James A. (1964). "Akritan Ikonography on Byzantine Pottery" (PDF). Hesperia. 33 (2): 108–133. ISSN 0018-098X. JSTOR 147182.
Todorova 1984, p. 544. Todorova, Maria N. (1984). "The Greek volunteers in the Crimean War". Balkan Studies. 25 (2): 539–563. ISSN 2241-1674.
Todorova 1984, p. 559. Todorova, Maria N. (1984). "The Greek volunteers in the Crimean War". Balkan Studies. 25 (2): 539–563. ISSN 2241-1674.