Georgian traditional clothing serves as a vivid reflection of the cultural heritage of the country’s native peoples. The distinctive attire embodies the adaptability, reverence for tradition, and appreciation for aesthetic beauty that defines the Georgian spirit.
The evolution of traditional clothing was closely tied to the local climate and terrain, leading to the creation of garments that were both functional and expressive. While each region of Georgia boasts its own unique styles, a common thread can be found in the chokha (known as cherkeska in Russian), a woolen coat typically worn by men, characterized by cartridge holders sewn onto the chest. Women’s clothing, in contrast, varied significantly across regions, especially in the more remote mountain communities.
The study of traditional Georgian clothing was significantly advanced by Prince Vakhushti Batonishvili (1696–1757), who focused on the attire of medieval times as well as that of his own era. Foreign travelers such as Arcangelo Lamberti and Jean Chardin also contributed valuable insights. Chardin, who visited Georgia in the 1670s, provided remarkably detailed observations that shed light on the clothing of that period, highlighting both the similarities and differences between Persian, Georgian, and European garments.
Thanks to these historical records and others, we can now piece together a vivid picture of traditional Georgian clothing from each region of the country.
According to Vakhushti Batonishvili, the people of Kakheti and Kartli shared similar clothing styles. For men in Kartli-Kakheti, the chokha was the primary garment. The chokha from this region was notably longer than that of neighboring Khevsureti and featured a triangular opening at the neck, allowing an inner cloth to be visible. Typically worn without a belt, the Kartli-Kakheti chokha included a slitted skirt and small pockets on either side of the chest, traditionally filled with ammunition. The colors of the chokha often ranged from tan and blue to black and red.
In line with the conservative cultural norms of the time, women in Kartli-Kakheti donned long dresses adorned with intricately designed bodices. The dresses were cinched at the waist with beautifully embellished belts that cascaded almost to the hem. The most striking feature of the women’s outfit was the headdress, which consisted of a triangular white veil made from tulle, a velvet rim, and a dark headscarf.
In the mountainous regions of Georgia, clothing was crafted from durable wool fabric to provide protection against the harsh alpine climate. Despite its practicality, the apparel was always beautifully embellished, as women in Pshav-Khevsureti learned the arts of wool processing and dyeing from an early age.
The chokha in Khevsureti, known as talavari, was shorter, featuring slits that extended to the waist and a beautifully decorated front panel. Men’s outfits typically included knitted pants called pachichebi, woven fiber shoes known as tatebi, and a chokha adorned with vibrant religious symbols.
Women’s traditional dresses in Khevsureti were called sadiatso, knee-length garments embellished with decorative baubles and intricate geometric patchwork. Similar to their Kartli-Kakhetian counterparts, Khevsureti women wore distinctive headdresses, which were highly regarded and featured cross-shaped ornamental designs. Additionally, Pshav and Khevsur women often adorned themselves with silver coins and cross necklaces.
The highland inhabitants of Tusheti were renowned for their use of wool in crafting clothing, shoes, and rugs, often incorporating solar symbols and crosses into their remarkable designs.
Both men and women in Tusheti wore vibrantly knitted shoes known as chitebi. Men’s chitebi tended to be simpler, often featuring polka dots, while women’s versions were multicolored and striped. The weaving process for chitebi began at the tip of the shoe and continued backward toward the heel. These shoes also held superstitious significance; on Wednesdays during Lent, mothers would place male chitebi under their daughters’ pillows as a charm, hoping for dreams of their future husbands.
Traditionally, Tushetian women wore a black headscarf that reached down to their knees, coupled with a loose-fitting dress beneath their robe and an outer garment embellished with jewelry across the chest. Men’s attire typically included a chokha and a warm black hat.
No discussion of Georgian traditional clothing would be complete without mentioning the iconic hats of Svaneti. Svan hats, usually gray with black seams, were crafted from 200 grams of sheep’s wool and required approximately 30 hours to complete. The black seams were cross-shaped, symbolizing the popular Svan greeting, “May the cross protect you.” These hats were highly valued for their ability to provide warmth during the bitter cold of winter while also offering respite from the sweltering summer heat.
Traditional Svan attire typically consisted of a shirt, a chokha, trousers, and, of course, the distinctive Svan hat. Women adorned themselves in woolen dresses paired with elaborate headdresses embellished with earrings and jewelry. Wealthier women often wore silk shirts and velvet cloaks, showcasing their status and taste.
Iakob Gogebashvili, a prominent Georgian educator of the 19th century, provided insights into the female outfits from Racha, noting that women commonly wore both the chokha and an akhalukhi undershirt. The clothing from Racha captured the fascination of many foreign travelers. In 1874, German scientist Dr. W. B. Pfaff expressed his astonishment at the variety of women’s clothing, declaring, “I was amazed by the diversity of women’s attire, which in many ways resembles that of Anatolia.” Similarly, English explorer Philip Grove remarked upon encountering three local women, noting, “They wore short dresses and trousers with such grace.”
In contrast, men’s clothing in Racha seems to have garnered less attention, as scant records remain detailing their traditional styles.
In the western provinces of Adjara and Guria, traditional men’s clothing exhibited a marked divergence from that of eastern Georgia. The typical outfit in Guria-Adjara, Samegrelo, and the broader southwestern region featured the chakura, characterized by a short, waist-length chokha, wide-brimmed trousers, and a colorful silk belt.
Throughout history, women in Adjara have worn three distinct types of dresses. The zubun-faraga, the oldest of the three, derives its name from the Turkish word zubuni, meaning “coat.” This long dress, fitted at the waist, was elaborately embellished on the bodice and can be seen today at the Simon Janashia Museum in Tbilisi.
Over time, the zubun-faraga was gradually replaced by the datexili dress, known for its long, wrinkled appearance and multicolored threads woven into the fabric. This tightly fitted dress featured hidden pockets sewn into the wrinkles. Eventually, the datexili evolved into a new variation known as the forka dress, which continued the tradition of creativity and craftsmanship.
Traditional Georgian footwear typically showcased muted colors such as black, red, green, and light brown. The 17th-18th century Georgian diplomat Sulkhan-Saba Orbeliani referenced various types of local shoes in his writings:
Today, the best places to explore Georgian traditional clothing are the Art Palace of Georgia (formerly known as the Museum of Cultural History) and the Simon Janashia Museum, both located in Tbilisi. Traditional attire has been experiencing a revival in the 21st century, often donned at Georgian weddings and cultural events, as people reconnect with their heritage.
The Day of National Dress in Georgia, celebrated on the 18th of May, is a newly established holiday that honors this rich cultural heritage. On this day, Georgian dancers and citizens alike don national costumes and parade through the city, showcasing the beauty and diversity of traditional Georgian attire. If you find yourself in Georgia during this vibrant celebration, be sure to join in the festivities and immerse yourself in the colorful tapestry of costumes from every corner of the country!