The Peplos Is Distinctively Greek Garment

The peplos (06.311; C.I.43.85.2a,b) is perhaps a more distinctively Greek garment than the chiton, insofar as the chiton's reductive construction has similarities to apparel types in a number of other cultures and times. However, the peplos has several characteristics that distinguish it from other clothing traditions. Made of one large rectangular piece of cloth, it was formed into a cylinder and then folded along the topline into a deep cuff, creating an apoptygma, or capelet-like overfold. Although there are rare instances of chitons represented with overfolds, a garment is not a peplos unless it has been draped with an apoptygma. The neckline and armholes of the peplos were formed by fibulae, broochlike pins that attached the back to the front of the garment at either shoulder. Of all the identifying characteristics of a peplos, the fastening of its shoulders with fibulae is its single defining detail.

The clothing of the women of Ancient Greece from the fifth century B.C.E., to the fourth century B.C.E., changed as the time periods changed. Changes in fashion are important, because these changes reflect some of the changes in society. As with all societies throughout history, as years go by, different fashions come and they go. This was exactly the same with the ancient Greek women in the fifth century. The different clothing styles of this century changed with events and with innovations.

In the absence of any surviving clothing, art and literature provide the only evidence of classical dress, opening a Pandora's box of confusion and contradiction. Even in its own day, the apparel of ancient Greece was subject to numerous modifications and transformations. In the huge variety of costumes delineated in artworks and categorized by scholars, exceptions are rife and consistency is elusive. Because specialists of the high classical period of ancient Greece have developed terminology based on a variety of methodologies—art historical, archaeological, and literary—certain discrepancies are perhaps inevitable. However, in every instance, the glossaries are also a simplified system, identifying numerous and specific forms of dress under quite general labels. Here the nomenclature is simplified even further, originating from the structure of the garment rather than from any other criteria.

Another garment worn by the Doric women was the peplos. It was also worn in the fifth century B.C.E. Kohler says, "[The peplos] has a piece of woolen material, about 3 meters wide and of a length equal to the height of the wearer, and was folded at the upper extremity to form first a narrow and then a wider shawl or plaid. The material was brought through beneath the left arm and fastened with tapes on the right shoulder to leave a board peak in front and behind." (100).

The peplos was tubular in shape, and the upper edge was turned down at the waist. The peplos was put over the head and was made to fit closely at the shoulder with fasteners. The arms were left bare. It was held at the waist with a girdle. The lower edge was finished with a braid. The peplos was open at the right side and hung in folds from the shoulder. In time, the shawl, or plaid, was so wide that it reached to the hip. It was tied with tapes on both shoulders.

The word kore means maiden in Greek, and it is used to refer to a statue of a female figure. A beautiful example of such a work is the Peplos Kore from the Athenian Acropolis. Scholars have suggested that the purpose of statues such as the Peplos Kore and other korai (the plural form of the word) was to serve as votive offerings, perhaps in this case to the goddess Athena. However it is also clear that the ancient Greeks delighted in creating and admiring these stylized images of beautiful maidens. So in essence, korai were meant to please both human and divine audiences.

This statue’s name was inspired by the garment she wears. The Greeks called such a dress or robe a peplos. And indeed, the Peplos Kore is draped in a lovely peplos that clings and reveals the shape of her body. Originally, this garment was painted in bright colors, which no doubt complemented the equally bold colors of the Kore’s hair, face, and other details. While it may be difficult now to imagine how she would have appeared in polychrome it is important to remember that this was the way the ancient Greeks decorated their works of art. In fact, if one looks closely one may see that traces of these colors remain.

The Peplos Kore was made during the Archaic period of Greek art history. Some features that are indicative of this period are revealed in the Kore’s rather stiff, formal pose, her stylized and patterned tresses, and the beautiful hint of what has been dubbed an “archaic smile”. Ultimately, the Peplos Kore is a brilliant example of the timeless enchantment of Greek art.