Tradition in Action-Traditional Costume Innovations

Abstract

Traditional costumes and crafts are a basic form and element of local culture and a vital pathway for perpetuating traditional art and design culture. They are an artistic form of historical and cultural significance. This paper focuses on three traditional costumes from Malta, Ireland, and Finland. The għonnella, worn by Maltese women of different social classes, consisted of a voluminous cape-like covering reinforced with whalebone and cardboard and was worn over the head and shoulders, reaching ankle length. Irish costumes were adorned with beautiful Irish lace, crochet, and embroidery. Celtic embroidery was added to clothing to develop a distinctive Irish dress style during the great cultural revival of the early 20th century. The Karelian costume from Finland was constructed using wool and linen. Ladies in Karelia wore handcrafted, highly embroidered gowns, and traditions were passed down from older ladies, including mothers and grandmothers. These costumes were collected in the late nineteenth and early twentieth centuries when Finnish Karelia was known as ‘The Old Finland’. This paper delves into the origins of these costumes and how social and cultural events, with their intriguing influence, shaped their styles, features, colors, and fabrics.

1. Introduction

This study delves into the origins of traditional costumes from Malta, Ireland, and Finland and how cultural and social influences impacted styles, features, colors, and fabrics. Handcrafted objects such as crafts, costumes, jewellery, textiles, and apparel symbolise our traditions and are deeply rooted in our culture. These customs and skills are passed down through generations. TRACtion, Tradition in Action, an EU-funded project through the Creative Europe Programme (CREA), seeks to maintain, develop, and promote European cultural and linguistic variety, ensuring that cultural legacies are relevant, reproduced, and passed down from generation to generation for preservation. This project strives to spread knowledge, skills, and values about various costumes and crafts from three different European countries while raising awareness about the need to preserve cultural heritage. Economic and social cohesion will benefit from cultural variety, and Europe’s cultural history is a communal asset, inheritance, and gift to future generations. It is a priceless resource for economic growth, employment, social solidarity, and knowledge, and it improves lives by motivating intellectuals and artists and moving cultural and creative industries ahead.

Traditional costumes are diverse even across small physical borders, and their preservation represents cultural diversity protection, an issue that is becoming increasingly essential as globalization processes develop. Craft preservation in its cultural context is an act of respect for culture and its bearers. Furthermore, researching the history of different ethnic groups in various nations exhibits respect for other cultures and will help communication and understanding during conflict. TRACtion also investigates the central concept of creativity and associated innovation in crafts from multiple perspectives, including traditional, modern, historical, and contemporary, thus demonstrating how art must constantly reinvent itself and how this benefits its growth and broader fields of human interaction and existence.

The University of Malta project team studied the għonnella, a traditional costume known as faldetta. This costume was selected for its unique form and construction. These elements were involved for centuries until they took this distinctive form. Furthermore, a limited body of research is available on this remarkable costume. The għonnella consisted of a voluminous cape-like covering reinforced with whalebone and cardboard and was worn over the head and shoulders, reaching ankle length. It was originally black or dark, but by the 15th century, noblewomen and women from rich families wore white or brightly colored għennienel. The għonnella’s upper half was stiffly starched and gave a broad, circular frame of cardboard and whalebone. The Maltese team will preserve the għonnella and pass on comprehensive knowledge to future generations. They will utilize and disseminate the għonnella as a creative and innovative source of inspiration for artists and designers, as traditional costumes and crafts frequently inspire artists’ and designers’ works.

The University of Helsinki investigated East Karelian women’s traditional folk garments, the foundation for Finnish national costumes in the late 17th and early 18th centuries. This particular costume was chosen for research due to its unique historical significance. The costumes of this region in Finland have the longest tradition and are relatively unaffected by contemporary European influences. This makes them a fascinating research subject. Moreover, the South Karelia Museum extended a rare invitation to Finnish researchers, allowing them to examine these ancient costumes physically. These outfits indicate a person’s wealth, with more expensive gowns signifying higher social groups. Dress codes prohibited people from wearing too formal attire if they were not part of the upper class, influencing how ordinary people dressed and the look of Finnish national costumes. Traditional costumes, representing the most primitive and obsolete garments in Finland, contain the most peculiar characteristics of Karelian textile culture. Women in Karelia made gowns using expertise and patterns passed down from older women, moms, and grandmothers.

ATU St. Angelas studied traditional Irish apparel, frequently decorated with lace and embroidery. The Irish lace fabric was predominantly used in traditional costumes. Wedding dresses, court dresses, and christening robes provide the best examples of traditional embellishments. Traditional Irish clothing and artifacts from the Decorative Arts and History Museum in Dublin, the Hunt Museum in Limerick, and the Sheelin Irish Lace Museum in Fermanagh were selected for analysis. The artifacts for this study were chosen because they represent a broad range of traditional surface ornamentation and embellishment textile craft techniques. The researchers studied these techniques in traditional Irish clothing and artifacts from the Decorative Arts and History Museum, Sheelin Irish Lace Museum, and a private collection.

2. Historical Background

Traditional costumes and crafts are a basic form and element of the local culture; they are the artistic form of historical and cultural significance and an essential path for carrying on the traditional art and design culture. This paper aims to study three traditional costumes, one from each country, i.e., Malta, Ireland, and Finland. The study will unravel the history and context of each costume, as well as their designs and embellishments, and later use them as an inspiration source for modern, innovative, and sustainable fashion designs.

2.1. The Għonnella

The traditional Maltese costume has undergone evolution shaped by the geographic location of the Maltese Islands and the influences of past conquerors. Detailed descriptions and illustrations in travel books written by visitors to our Islands from the 17th to the 19th centuries vividly depicted the garments worn by the Maltese during that era [1,2,3]. Furthermore, photographs, sketches, portraits, and ecclesiastical paintings offer insights into the intricate details of both male and female Maltese attire.

The Maltese traditional costume, particularly worn for special occasions or village festas, often features colorful and intricately designed garments for both men and women (Figure 1). These outfits were typically influenced by a fusion of Mediterranean and North African styles, showing a unique blend of cultural influences [4]. The diverse cultural elements in the history of the Maltese Islands have resulted in a rich and varied traditional costume, illustrating the islands’ unique heritage and connections with neighboring regions and historical influences.

The cloth mostly used for the Maltese costume was cotton and linen. The cotton industry dates back to the 9th century, when the Arabs introduced the cultivation of the cotton plant. The Maltese Islands were renowned for the cotton industry, a source of livelihood for many locals during and after the Napoleonic wars up to the late 1830s. The Maltese were dependent on the locally grown cotton for their garments. They used to spin and weave cotton from the native cotton to make lovely “cotton sail cloth” and “nankeen cotton” [5] (pp. 23–24). It was also exported to other European countries, such as Sicily, Italy, and Spain [2]. The Maltese cotton industry declined in popularity owing to the Egyptian economic boom and the new regulations introduced by the British administration at that time, which allowed the free importation of every kind of linen and cloth from other countries, such as Egypt, Britain, and America [6].

The Maltese costume was often embellished with locally made bobbin lace, which was distinctive and readily identifiable owing to its utilization of specific designs and motifs symbolic of the island’s heritage. One recurring emblem was the Maltese eight-pointed cross, closely affiliated with the Knights of the Order of St John of Jerusalem. The art of Maltese lace-making thrived as an industry until the 18th century, signifying a period of prosperity and cultural significance. However, its prominence gradually waned, coinciding with a decline in popularity, until experiencing a revival during the initial years of British governance in the early 1800s.

During the rule of the Hospitallers, travelers to Malta used to comment on the way women were dressed. Some felt they looked similar to ghosts as they were veiled in a faldetta [2]. The exact origins of the faldetta, or għonnella, are unknown. The assertion made by Bernardy [7] posits the għonnella as a garment traditionally worn by women in the Mediterranean region. The term għonnella is derived from the word gonnella in Italian, meaning ‘skirt’. Until the mid-19th century, the għonnella referred to a skirt; subsequently, its meaning evolved to denote a cape-like covering [8]. Historically, rural women wore a white or dark green għonnella, while those from wealthy families or cities preferred the more prevalent black.

According to historians [2,9], the faldetta is believed to have evolved from the ċulqana, a rectangular piece of cotton fabric worn over the head [10]. Initially, this was made from blue cotton fabric with white spots and served as a precursor to the faldetta, with the latter transforming in both volume and color over time. Historical records indicate that the dimensions and quality of the faldetta were subject to regulation by the Grandmaster, highlighting the socio-political influences on this attire [2].

The għonnella, worn by Maltese women of different social classes, resembled a cape, and it was reinforced with cardboard and whalebone, which provided flexibility and shape. It was made from other fabrics, cotton or Gozitan linen, primarily for everyday wear, while fine, corded silk was reserved for special occasions [8]. Among the various colors, black emerged as the most prevalent color for the għonnella. This attire was a daily staple for all Maltese women, commonly worn for activities ranging from attending church to shopping. However, managing the għonnella, particularly on windy days, posed a challenge. It was not uncommon for għennienel (singular: għonnella) to be made for young girls, resembling their mothers’ attire, allowing them to practice handling and wearing it correctly [3].

Several conflicting theories have been put forward regarding the origins of the għonnella, presenting diverse perspectives on its inception. Researchers and historians propose varying origins: the concept of a skirt worn over the head [9,11,12], the association with an oriental veil [13], and its stylistic similarity to the headdress part of the Portuguese cocas [3]. Cassar Pullicino, a prominent researcher in Maltese folklore, introduces an alternative theory suggesting that the għonnella originates from Sicilian heritage. This proposition offers an additional perspective attributing the garment’s origin to Malta and Sicily’s cultural influences and historical connections [1].

Over time, the style and use of the għonnella evolved, reflecting changes in fashion, societal norms, and cultural influences while retaining its significance as a symbol of Maltese heritage. After the Second World War, the għonnella continued to be worn by female members affiliated with the MUSEUM, a lay religious group. Still, its use gradually declined until it disappeared entirely.

2.2. Irish Lace in Costume

Everyday clothing in Ireland included homespun, woven, and dyed wool, linen fabrics, and conservative styles. The Irish Hood, which evolved from cloaks worn throughout Europe, was typically made from weatherproof wool and gracefully draped to envelope the whole person. The outer wrap garment worn by men and women in Ireland originally was a four-cornered rectangular-shaped “brat” [cloak or cloth], which evolved into a cape-like shape fitted at the shoulders and extended to below the knees. It is difficult to define a typical Irish costume owing to a history of colonialism (1204–1922), famine (1845–1847), and revolution (Young Irelander’s Risings 1848–1849 and the Fenians 1866–1867), and resulting harsh social and economic conditions. Irish lace, crochet, and embroidery trimmings are mainly featured in Irish costumes. Celtic embroidery was added to clothing owing to the great cultural revival of the late 19th and early 20th centuries and an attempt to develop a distinctive Irish dress style [14].

Changing social and political circumstances in the 19th century resulted in the emergence of an influential middle class. Dublin Castle, the center of devolved power after Home Rule was established in 1870, hosted “extravagant displays” that affirmed positions [14] (p. 145). The Lace Ball (early 1900s) was a big event in the Dublin social calendar. On such occasions, embroidery, lace, and embellishments were carefully used in court gowns. A Royal Irish School of Art Needlework performed the art of hand embroidery on gowns and vestments from 1872 [14,15]. Dresses were commonly embellished with hand embroidery and appliquéd designs and often included lace panels. Figure 2 illustrates a white linen gown with needlepoint lace insertions (Kenmare lace 1895).

Additionally, “gentlemen” wore shirts embellished with embroidery. Yoke pieces were introduced to create better-fitting linen shirts. Such structural works often include vertical pleats or tucks. Early 20th-century female clothing had a “slight softening of silhouette” [14] (p. 160), and garments included pleats, tucks, and insertions of lace.

Different Carrickmacross lace styles (see

Table 1. Irish Lacemakers.

Type of Lace	Location
Irish Flat Needlepoint	Inishmacsaint (County Fermanagh), Kenmare (County Kerry), New Ross (County Wexford), Youghal (County Cork)
Rosepoint	New Ross (County Wexford)
Tambour and Run	Limerick
Appliqué	Carrickmacross (County Monaghan)
Irish Crochet (Knitted)	Cork, Clones (County Monaghan)

) were adopted for various fashion occasions. For example, Carrickmacross guipure was worn at “smart race meetings”, and Carrickmacross appliqué lace was worn at the opera and on evening wear [14] (p. 161). Carrickmacross lace was sold to London traders, and orders were completed for Queen Victoria [16]. Fashion shops in London, Paris, Vienna, and Brussels embraced the sale of Irish lace, linen, and crochet. Linen was often successfully “encrusted, inserted and trimmed everywhere with Irish crochet lace” [14] (pp. 161–162). Irish laces were commonly used in wedding gowns, reflecting international fashion trends.

Many different types of lace were made in various centers in Ireland (Table 1) [14,16,17].

Irish lacemakers often imitated European techniques, and existing patterns were varied [16]. Teachers used deconstruction processes, including unraveling needlepoint pieces to see how it was made [17,18,19]. Italian lace makers inspired the designers of Carrickmacross lace [19]. The teaching of the craft flourished in the area, and the work provided many families with remunerative employment during famine times. The lace industry “brought material, moral and intellectual benefits to those engaged in it” [17] (p. 132). While the technical skill work was much admired in Irish lace, the designs were not highly regarded owing to the lack of design studios or “ateliers” [16] (p. 12) and good patterns [19]. However, due to patronage and investment in design education by the Irish nobility and landed gentry, Irish lace designs improved during the 19th century.

World War 1 ended the era of Irish lacemaking. However, renowned fashion designers such as Sybil Connolly, Irene Gilbert, Vonnie Reynolds, Mary O’Donnell, Pat Crowley, and Ib Jorgensen used Carrickmacross lace techniques in some of their 20th-century collections. Princess Grace of Monaco is reported to have worn Carrickmacross lace clothing, and Princess Diana’s wedding dress featured Carrickmacross lace [20].

2.3. Karelian Folk Costume

Women’s traditional handwork has been an important part of Karelian folk art until recently. Wool and linen have been treated for use in households: cloth has been woven, socks and mittens knitted, and various kinds of textile objects decorated with embroidery. In Karelia, women used homemade dresses richly embroidered with knowledge and patterns obtained from older women, mothers, and grandmothers. These folk costumes were collected by museums in the late 19th and early 20th centuries, at the time when the area of Finnish Karelia was part of Finland and was thought to actually be ‘The Old Finland’, the cradle of Finnish culture [19]. These dresses (Figure 3) represent the most primitive and unfashionable features in Finland at the time when comparing cuts, fabrics, and embroidery motifs. In Karelia, folk costumes were in use till the latest and with older women even at the beginning of the 20th century [21,22].

The Karelian folk costumes are well known, several researchers have studied them earlier [22,23,24,25,26,27]. However, these studies have focused mainly on the appearance, materials, and preparation techniques. Further, as most studies are old, we believe new information can be found using modern methodologies and research techniques.

This study looks at the shapes and patterns in garments and how the pieces have been compiled and put together. Also, we are particularly interested in dyes and dyeing techniques used in Karelia. In the study, we focus especially on Karelian Äyrämöinen women’s costumes, which consist of summer and winter kostuli capes, rekko blouses, hurstut skirts, aprons, and sorokka headdresses. All of these contain colorful embroidery. It can be expected that the woolen yarn in the embroidery was home-dyed using local dye plants and imported dyes.

Karelia was part of Finland until the Second World War, where it lies east of the current Finnish border with Russia. Although many nationalities are in the area today, the Karelians are of the same tribe as those on the Finnish border. Inhabitants of Karelia left their homes twice during the war in the 1940s and finally had to move as evacuees west across the new border of Finland in 1944 [28]. In Karelia, a mixed population of Finns (called Savakkos) and Karelians (called Äyrämöinens) confessing the Lutheran and Orthodox faiths, respectively, grew up, with the latter in the minority [21]. The adoption of Western influences impacted the differences between the two folk groups, as the costumes of Savakkos changed more rapidly and adopted features from Western Europe more than the costumes of Äyrämöinens. These two folk groups wanted to separate from each other, leading to the culmination of the specific features of the folk costumes [23].

In Karelia, it was a distinction for every woman to make and embroider all needed textiles [29]. Nothing was bought. The textile preparation process was made at home from the beginning to the end. The yarn was self-spun, and the fabric was woven from linen or wool; a lot of dyeing was done. All dyes were obtained from home surroundings; only blue was bought [27]. When getting married, a girl had 50 rekko shirts, 20 other shirts, 12 skirts, 2 jackets, 6 capes, and 3 furs for herself [26].

Embroidery has also been practiced as a profession in Karelia. As late as the 19th and beginning of the 20th centuries, it was an important way for the peasant population to earn extra income. The so-called “old women from Olonet [Karelia]” were well-known in Finland. They traveled from house to house selling handwork articles and embroidery [22].

Already quite early, it was noticed that sharing patterns and techniques was important. There were centers for handwork, which had an important role in transforming embroidery patterns and techniques. The home preparation of garments and domestic textiles has best maintained the traditional skills and motives of embroidery, the ornamentation of which portrays ancient religious/mythological themes [23].

3. Theoretical Approach and Methodology

The dress and costume history of the last few years has become a major academic and scientific field of research. It has created new methodologies of study that are overcoming the divisions between dress and costume through innovative cross-disciplinary research techniques [30]. As dress and costume are extensive and diverse topics of study, they can be “hybrid research subjects” [31] (p. 2) because they combine various theoretical frameworks and disciplinary methodologies, such as those from art, history, design, culture, anthropology, literature, semiotics, sociology, and economy [31].

During the research process, all researchers used the dualism of inductive/deductive analysis during the qualitative data analysis process. In the inductive approach, the objects (in this study, the traditional costumes) are the main subjects of the research process and data collection. Inductive content and data analysis, as the name indicates, is based on inductive reasoning, in which themes arise from raw material via repeated study and analysis [32]. In inductive analysis, the study examines artifacts often seen in museum and private collections. By focusing on a traditional costume, the researcher traces shapes and styles, color changes, and valuable indicators of such an artifact’s social and cultural significance. With inductive analysis, abstract interpretations are developed for a more general understanding of costumes’ meaning and history by meticulous observation, description, cataloging, and analysis [33]. Inductive analysis is also used when there are no or few primary hypotheses or research findings [34]. In the case of this research, the literature review for all the explored traditional costumes was limited, and the researchers struggled to find literature for their research and data collection.

Deductive content analysis is frequently used when a researcher wants to reexamine existing data and information in a new context [35]. In the deductive approach, researchers explore how fashion and costumes evolved and how they permeate the world and influence the social, cultural, traditional, and economic connections between individuals and society via analyzing the artifacts. In the deductive analysis, researchers used current fashion and costume methodologies as sources of ideas or as a starting point of their research and applied them to real case studies. The existing methodologies overlook the reality that clothing history has abstract, interpretative goals and that fashion studies have found particularly fertile ground in museum curators’ research on conserving and interpreting artifacts [33].

This mixed/hybrid analysis was chosen because the combination of inductive and deductive analysis can maximize the benefits of each. Using pre-ordinate categories necessitates using a primary theoretical framework formed via literary interaction. However, this methodology is also inductive because it involves developing the research from data. The deduction requires a predetermined conceptual structure, while induction starts with facts and tries to identify a pattern in them [36].

All researchers for this paper used extensive inductive analysis during their research and data collection process. The University of Malta research team visited Casa Rocca Piccola, a 16th-century mansion in Malta and the residence of the Maltese aristocratic family de Piro. Casa Rocca Piccola is home to Malta’s biggest private collection of traditional costumes from the 18th through the 20th centuries. Casa Rocca Piccola owns several għennienel in their costume collection. The research team traveled to Gozo (Malta’s sister Island) and met three individuals to collect information about the għonnella. These individuals were older adults (around 80 years old). Via the life stories of their everyday life in the past, they gave the researchers valuable information regarding the use and the construction of the għonnella, such as who used to wear it and how people stored it and took care of it. The narratives with older adults were analyzed using inductive content analysis. The University Research Ethics Committee at The University of Malta in Msida authorized this study.

The participants of the life stories research expressed themselves in Maltese, their native language, which allowed them to pass on the information as accurately as possible. This use of the Maltese language in our research not only ensured the authenticity of the data but also highlighted the cultural significance of the għonnella. The information collected from these three stories was carefully analyzed to find similarities and differences. All three of them offered the researchers common information about the daily use of the għonnella and shared some techniques they knew from their ancestors.

Due to the lack of information regarding the everyday use and construction of għonnella, the Maltese researchers used narrative analysis as part of the inductive (exploratory) approach. Narrative analysis is a qualitative analytic approach focusing on comprehending human experiences and motives by attentively examining individuals’ stories in a certain social context and period [37]. Narratives do not only express an autonomous, personal truth. Rather, they contribute to constructing reality inside the narrator’s connections with their external environment [38]. As literature resources about the everyday use of għonnella and construction are limited, these researchers decided to use the life history and collective memories (narratives) to collect the missing information regarding the għonnella. No recording medium was used for the life stories; the researchers just kept an anonymous journal for research purposes. The sample size of the life stories’ participants was small, so the researchers found it appropriate to analyze these narratives without using qualitative analysis software. Furthermore, the elderly participants preferred to narrate their life events in their native language (Maltese). Translating and transcribing the life stories and uploading them to qualitative analysis software such as NVivo 14 would have been extremely time-consuming, and a lot of valuable cultural significance would have been lost during the translation process.

The University of Helsinki research team visited the collections in the South Karelian Museum (Lappeenranta, Finland) to study the 19th-century traditional folk costumes from Eastern Finland, Karelia, which is currently located on the Russian side of the border. Altogether, five skirts, three shirts, one vest, and two kostuli summer capes were examined. Garments were photographed, and measures were taken to produce graphical illustrations and study the design and construction of the garments in more detail. Also, small samples (1–5 mm) of the costumes’ embroidery yarns were taken for the chemical dye analysis. Samples were taken so that they broadly presented the used color variety. Technical drawings were produced according to the measurements and pictures. Drawings included the structure of the pieces of the garments. The University of Helsinki team uses material analysis of ancient objects and a systematic literature survey.

The ATU St. Angela’s research team used visual methodology [39] and a systematic literature review to gather information about traditional costumes. The visual methodology was chosen because it provided scientific insight through observation, analysis, and theorizing of visual manifestations in portraiture and costume artifacts. The approach provided evidence of “material products of culture” [39] (p. 2). According to Banks (2011), reading images “requires more precise information … it is not merely a question of looking closely but a question of bringing knowledge to bear upon the image” [40] (pp. 3–4). Autophotography and portraiture methodologies were chosen as photographs of costumes and portraits provided rich data, ‘depth and detail’. The National Museum of Ireland costume gallery, displayed at the Collins Barracks, Dublin, and the Hunt Museum, Limerick, provided information about 20th-century costume designs and traditional lace embellishment techniques. The Sheelin Lace Collection, in Enniskillen, County Fermanagh, Northern Ireland, and private collections at Estate homes were also viewed. Private collections provided rich data and insights into the social, political, and economic milieu during the past century. In addition to field research and visual methodology, a comprehensive literature trawl enhanced the validity and triangulation of findings and subsequent integrated analyses of Irish traditional costumes and techniques.

4. Results and Discussion

Due to the lack of literature and historical and cultural information about the traditional costumes explored, all researchers used the mixed/hybrid (inductive/deductive) approach. For this reason, as mentioned above (methodology chapter), the researchers visited museums and private collections to examine and analyze their selected traditional costumes.

4.1. Used Materials for the Costumes’ Construction

Each researcher learned about the materials used to construct these specific traditional costumes by studying them in detail.

The researchers from the University of Malta concluded that the għonnella was made exclusively of cotton or silk. Cotton was used to make Maltese women’s ‘everyday’ għonnella, as it was imported, relatively cheap to buy, and easy to sew. Silk fabric was used for the ‘formal’ version of the għonnella, which Maltese women wore for weddings and festas. The main color of the għonnella was black. The Maltese researchers could not find għennienel in any museum or private collection in any color other than black.

The Irish researchers from ATU St Angelas found that cotton was the main material used to create wedding gowns in Ireland between the late 19th and early 20th centuries. Various types of laces and embroidery techniques decorated the simple wedding dresses. The most common lace used in Ireland between the late 19th and early 20th centuries was the Carrickmacross lace, which originated in County Monaghan. To create this particular complex lace design, needlepoint lace and applique were used to develop nature-inspired designs, such as leaves and flowers. The lace was made by hand by skilled women.

The Finnish researchers from the University of Helsinki studied the female Karelian Costume. According to the material analysis, plain woven linen was the main material used to construct the Rekko shirt, which was decorated with various folklore embroideries. For the embroideries, the main fibers used were wool, and the main colors used were red, blue, green, and yellow. The skirt was made of plain-woven wool, linen, or cotton. The apron above the skirt was also made of wool, and its decorative embellishments were made of woolen fibers in red, blue, green, and yellow. The winter coat was made of natural-colored wool, and its embroideries were also made of red, blue, green, and yellow woolen yarns.

4.2. Cultural and Symbolic Context

The Maltese researchers found out via the narratives that the għonnella was a required type of clothing for Maltese women, mostly at the beginning of the 20th century. The għonnella was primarily used for modesty, to cover and conceal women’s bodies, and as a customary practice. It offered privacy and protection to women from strangers’ gazes in public.

Regarding modesty, the għonnella reflects the Catholic values of Maltese society, covering the female head, shoulder, and most of the body in line with the Catholic Church’s guidelines about women’s appearances. It became a costume that presents the close relationship between Maltese cultural identity and Catholicism. The color black was also part of the għonnella’s modesty role.

Cotton għennienel were worn during everyday activities and silk during special ceremonies, such as weddings and the village festas. Also, using a particular fabric of the għonnella was connected with the wearer’s social status. Wealthy Maltese women tended to wear għennienel made of silk, and women who belonged to lower socioeconomic classes used to wear cotton. From their research in the National Archives of Malta and the various photographs and paintings they examined of women wearing the għonnella, the researchers found that the shapes varied on some occasions and from different localities. They discovered that women from rural villages dressed simpler, were mostly barefoot, and wore simpler versions of the għonnella (ċulqana) made of cotton, without the stiff part of the arch and the whalebones. The għonnella also became a part of the pride and identity of Maltese women, distinguishing them from those of other cultures, particularly during periods of foreign rule.

The Irish researchers discovered that Carrickmacross lace was handmade using a combination of two different techniques: applique and needlework. Only women made this type of lace, which became a source of income and empowerment for them during the Great Famine. The construction method of this type of lace was transmitted across generations.

Carrickmacross lace is one of the main symbols of Irish cultural heritage, representing the Irish people’s craftsmanship, artistry, and creativity. Each piece of this lace is unique and represents the skill of the person who constructed it. The designs of the Carrickmacross lace represented elegance and sophistication and were also part of the wedding dresses in royal weddings. Carrickmacross lace in traditional Irish costumes is also similar to the għonnella, as it is connected to Irish faith and culture because it was used for religious and ceremonial clothes and represented purity, tradition, and dedication.

The Finnish researchers discovered that the Karelian costume is connected with the Karelian people, who lived in the Karelian region between Finland and Russia. This area has cultural influences from Finland and Russia due to its geographical position. The Karelian costumes were constructed locally with cotton, wool, or linen. The Karelian women wore them daily and during special occasions and ceremonies. Karelian costumes were constructed based on weaving, embroidery, and textile craft in Karelian culture. The embroideries on the Karelian costumes present local flora and fauna, emphasizing the community’s connection to nature and the land they lived in.

5. Conclusions

All the explored costumes (the għonnella, Irish lace on wedding dresses, and female Karelian costumes) express the geographical, historical, and cultural values of Malta, Ireland, and Karelia. Also, these costumes are not just simple clothes, but symbolize the women’s cultural, religious, and social roles. The Maltese għonnella is related to Mediterranean culture, the Catholic church, and women’s national identity and role. The Irish lace represents the rich heritage, social status, and women’s economic empowerment in rural areas. The Finnish female Karelian costume combines Finland’s and Russia’s cultures and folklore. Furthermore, all these costumes are celebrated and worn during cultural, traditional, and religious ceremonies and have acted as showcases of national pride and resistance to the cultural changes of external influences and colonization.

Traditional costumes from Malta, Ireland, and Finland offered rich insights into their historical and cultural significance. In this study, the defining features of the research costumes include voluminously gathered fabric with whalebone and cardboard, exquisitely worked lace and embroidery, and the use of dye and dyeing techniques in researched costumes. This study combined theoretical frameworks and disciplinary methodologies. The project ascertained the specific characteristics of traditional costumes from each participating country and the structural techniques and embellishments used in the selected textiles.