Handwoven Cotton/silk Ikat Chapan ONE SIZE (M/L) ONE SIZE (L/XL) ONE SIZE (XL/XXL) Length 135 cm With  pockets Limited production                                                                                                                                      Chapan 30% silk,70%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day.

Traditional Uzbek qulited Chapan ,Robe, Gown, Coat.Unisex.Size free for S/XXL Qulited with natural cotton. Hand stitched, qulited with natural cotton. Dry cleaning recommended . Actual colors may vary from those shown due to the nature of photographing and monitor color settings.

1970s Suzani handmade 150*230 cm -cotton foundation -cotton embroideries Condition:excellent. Suzani is a type of embroidered and decorative tribal textile.The birthplace of suzani is in what is now Uzbekistan, the area along the Silk Road . The suzani was an integral part of a woman's artistic expression in Uzbekistan for hundreds of years. Traditionally, as soon as a girl was born her mother would start embroidering the suzani for her. As the daughter grew older, she would join in the process. The suzani would eventually become a part of her dowry and be used to decorate her home. These intricate and lovingly-made textiles can be used in so many ways to add texture, romance, and delight to any room.

Handwoven Cotton/silk Ikat Chapan ONE SIZE (S/L) ONE SIZE (L/XL) Length 135 cm With pockets Limited production Chapan 30% silk,70%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day.

Handwoven Cotton/silk Ikat Chapan ONE SIZE (S/M) ONE SIZE (L/XL) ONE SIZE (XL/XXL) Length 90 cm With pockets Limited production Chapan 30% silk,70%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day.

Handwoven Cotton/silk Ikat Chapan ONE SIZE (S/L) ONE SIZE (L/XL) Length 135 cm With pockets Limited production Chapan 30% silk,70%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day.

Please, provide your phone number for shipping purposes. Please specify the size in the comments or messages. Measurements: length-90 cm, chest-108 cm,length sleeve-52 cm,hips-110 cm.(S/L) Measurements: length-90 cm, chest-112 cm,length sleeve-52 cm,hips-114 cm.(L/XL) Chapan 20% silk,80%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . The technology of ikat manufacturing is quite complicated and includes 37 steps.Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day. Dry cleaning recommended.

Handwoven Cotton/silk Ikat Chapan ONE SIZE (M/L) Length 135 cm With pockets Limited production Chapan 30% silk,70%cotton made from handwoven ikat which are unique (the technology of ikat manufacturing is quite complicated and includes 37 steps) . Ikat is a method of fabric making where the pattern is created prior to weaving through the process of resist-dye of the yarns. Central Asian ikats are warp dyed which means the warp – the lengthwise yarn – is manipulated to create the pattern. The workshop cultivates their own silk – a technique also originated in East Asia and brought to Central Asia through the Silk Road. Silk processing is tedious but the silk yarns give ikat its highly-valued sheen. Before any weaving takes place, a master weaver decides on a pattern from hundreds he has committed to memory while his helpers bundle the yarns and lay them out on a 2×2 meter frame. He then draws the pattern on the outstretched bundles using a sharpened stick dipped in oil and charcoal, marking where the threads are to be bound. His assistant will wrap the bundles at these specific spots using dye-resistant threads of cotton soaked in wax. The yarn bundles are then transferred to the dye bath in the exact order they are on the frame otherwise the pattern would be broken. In the case of multiple color ikat – after each dye-bath, the bundles are left to dry then re-stretched on the frame for the second round of binding and dyeing. The genius of the master craftsman is in strategizing the steps so that the next dye bath adds onto the previous to either forms a pattern in its own shade or combine with the previously dyed parts to make a new color. With natural dyeing, each color may require a different temperature and condition so this is also something to take into account. From the basis of less than five natural colors, the artisans can create a variety of colors and an unlimited possibility of pattern combination. The points where the yarn bundles are tied to the 2×2 meter frame result in a line repeating every two meters or so in the final woven fabric. This line distinguishes handmade from machine-made ikats and is an inevitable feature of traditional ikat weaving. This process produces no more than 40 inches of fabric a day.

Actual colors may vary from those shown due to the nature of photographing and monitor color settings. Unisex.Size free for M/XXL Traditional Uzbek Silk Velvet Chapan . Qulited with natural cotton. Stitched,qulited with natural cotton. Measurements: length-122 cm, chest-126 cm,length sleeve-70 cm,hips-130 cm. The chapan, a type of overcoat also known as khalat or don, was worn throughout the whole of Central Asia by men and women alike. Few divergent stylistic elements indicated whether the garment was intended to be worn by a man or a woman: frequently, the women’s coats had tucks gathered along the armpit, had no collar and were not belted, as is usual for the men’s chapans. Today, sadly, chapans are only worn by elderly gentlefolk. Chapans are the ideal outerwear for this region, which can be brutally hot in winter and glacial in winter, with hardly any rainfall. In winter it was customary to wear quilted coats filled with cotton, whereas summer chapans were only lightly padded – if at all. All chapans are edged with a woven trim known as sheroza, zeh or jiyak: not only does it beautify the garment, but it is also highly useful as it protects the wearer from evil spirits. There may be no scientific proof of this, but let anybody try to prove it isn’t so. The many textiles used to line chapans are also there to ward off ghosts, the idea being that the multitude of patterns and fabrics will befuddle any evil spirits and make it harder for them to ferret out the wearer. Well, at least, that’s the textile credo behind it. What’s more, in Central Asia it is commonly held that all textiles and patterns can be matched with each other; an intriguing aesthetical approach that never ceases to amaze the European-trained eye. There are two reasons for the over-long sleeves. First, they were an excellent protection against the cold, serving as integrated gloves. Second, they respected the Central Asian custom to keep one’s arms covered as a matter of politeness. Moreover, the custom of giving chapans to special guests, as wedding gifts and on other special occasions, will not only have delighted the tradesmen at Central Asian bazaars. The more expensive and elaborately embroidered the coat, the greater the honour shown to the recipient. Dry cleaning recommended .

Actual colors may vary from those shown due to the nature of photographing and monitor color settings. Unisex.Size free for M/XXL Traditional Uzbek Silk Velvet Chapan . Qulited with natural cotton. Stitched,qulited with natural cotton. Measurements: length-122 cm, chest-126 cm,length sleeve-70 cm,hips-130 cm. The chapan, a type of overcoat also known as khalat or don, was worn throughout the whole of Central Asia by men and women alike. Few divergent stylistic elements indicated whether the garment was intended to be worn by a man or a woman: frequently, the women’s coats had tucks gathered along the armpit, had no collar and were not belted, as is usual for the men’s chapans. Today, sadly, chapans are only worn by elderly gentlefolk. Chapans are the ideal outerwear for this region, which can be brutally hot in winter and glacial in winter, with hardly any rainfall. In winter it was customary to wear quilted coats filled with cotton, whereas summer chapans were only lightly padded – if at all. All chapans are edged with a woven trim known as sheroza, zeh or jiyak: not only does it beautify the garment, but it is also highly useful as it protects the wearer from evil spirits. There may be no scientific proof of this, but let anybody try to prove it isn’t so. The many textiles used to line chapans are also there to ward off ghosts, the idea being that the multitude of patterns and fabrics will befuddle any evil spirits and make it harder for them to ferret out the wearer. Well, at least, that’s the textile credo behind it. What’s more, in Central Asia it is commonly held that all textiles and patterns can be matched with each other; an intriguing aesthetical approach that never ceases to amaze the European-trained eye. There are two reasons for the over-long sleeves. First, they were an excellent protection against the cold, serving as integrated gloves. Second, they respected the Central Asian custom to keep one’s arms covered as a matter of politeness. Moreover, the custom of giving chapans to special guests, as wedding gifts and on other special occasions, will not only have delighted the tradesmen at Central Asian bazaars. The more expensive and elaborately embroidered the coat, the greater the honour shown to the recipient. Dry cleaning recommended .

Actual colors may vary from those shown due to the nature of photographing and monitor color settings. Unisex.Size free for M/XXL Traditional Uzbek Silk Velvet Chapan . Qulited with natural cotton. Stitched,qulited with natural cotton. Measurements: length-122 cm, chest-126 cm,length sleeve-70 cm,hips-130 cm. The chapan, a type of overcoat also known as khalat or don, was worn throughout the whole of Central Asia by men and women alike. Few divergent stylistic elements indicated whether the garment was intended to be worn by a man or a woman: frequently, the women’s coats had tucks gathered along the armpit, had no collar and were not belted, as is usual for the men’s chapans. Today, sadly, chapans are only worn by elderly gentlefolk. Chapans are the ideal outerwear for this region, which can be brutally hot in winter and glacial in winter, with hardly any rainfall. In winter it was customary to wear quilted coats filled with cotton, whereas summer chapans were only lightly padded – if at all. All chapans are edged with a woven trim known as sheroza, zeh or jiyak: not only does it beautify the garment, but it is also highly useful as it protects the wearer from evil spirits. There may be no scientific proof of this, but let anybody try to prove it isn’t so. The many textiles used to line chapans are also there to ward off ghosts, the idea being that the multitude of patterns and fabrics will befuddle any evil spirits and make it harder for them to ferret out the wearer. Well, at least, that’s the textile credo behind it. What’s more, in Central Asia it is commonly held that all textiles and patterns can be matched with each other; an intriguing aesthetical approach that never ceases to amaze the European-trained eye. There are two reasons for the over-long sleeves. First, they were an excellent protection against the cold, serving as integrated gloves. Second, they respected the Central Asian custom to keep one’s arms covered as a matter of politeness. Moreover, the custom of giving chapans to special guests, as wedding gifts and on other special occasions, will not only have delighted the tradesmen at Central Asian bazaars. The more expensive and elaborately embroidered the coat, the greater the honour shown to the recipient. Dry cleaning recommended .