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The typical dress of Hasselt, Belgium—particularly traditional Limburg regional clothing—reflects the rural and cultural heritage of the Flemish-speaking area of Limburg province, where Hasselt is the capital. While Hasselt itself developed as an important trading and jenever (gin) production center, the surrounding countryside maintained a distinct regional costume tradition, especially up to the late 19th and early 20th centuries.

Brief History of Typical Hasselt Dress:

18th–19th Century:
Traditional dress in the Hasselt region was influenced by rural Flemish fashion. Women typically wore long, dark skirts, starched white blouses, aprons, and lace caps or bonnets. The fabrics were usually wool or linen, suitable for both farm work and church attendance. Sunday or festive versions of the costume included more decorative embroidery, lace, or bright ribbons.

Male Costume:
Men wore wool trousers, vests (often in dark colors like navy or black), wide-brimmed hats, and wooden clogs ("klompen"). A short jacket or a longer coat was common for formal occasions.

Folk Festivals and Preservation:
By the early 20th century, traditional dress was mostly worn for cultural celebrations or religious processions. Today, these outfits are preserved and sometimes worn during folkloric events, like the Jenever Festival or local parades.

Modern Representation:
Hasselt's local museums, such as the Stedelijk Museum or Het Stadsmus, occasionally feature traditional clothing as part of their exhibits on regional life and heritage.

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Hasselt Fashion Museum Hasselt Fashion Museum is one of the few museums in the Low Countries that is dedicated exclusively to clothing and fashion. The collection boasts approximately 18,000 garments and accessories which together tell the story of Western fashion from 1750 to the present day.

The history of this collection begins in the late 1980s, when the museum began acquiring objects to mark its official opening on 6 May 1988. The first major acquisition was the private collection of the Romanian scenographer and costume designer Andrei Ivaneanu in 1989. This collection included a wealth of fascinating period costumes, clothing and accessories from the nineteenth and early twentieth centuries. With the help of valuable donations and interesting purchases, the collection continues to grow to this day.

The eighteenth-century collection boasts fascinating gowns, including several sack-back gowns (robes à la française) and close-bodied gowns (robes à l'anglaise), as well as men's garments, such as dress suits (habits à la française) and a range of beautiful accessories. The nineteenth-century collection is more extensive and is characterised by several notable gowns and children's ensembles, elegant fans and shoes, and creations by the first couturiers who settled in Paris in the last quarter of the nineteenth century, such as Emile Pingat, Maison Lipman and Jacques Doucet.

Several iconic early twentieth-century garments include a coat by Maison Worth and a Delphos gown by Mariano Fortuny. The collection also includes a range of accessories and silhouettes from the 1920s. Chanel dresses, a Jeanne Lanvin robe de style and a Zimmermann ensemble are displayed alongside handbags, hats and shoes. The collection of men’s fashion becomes more extensive from the interwar period, which also includes a golf ensemble. This is displayed in addition to elegant evening gowns and coats by such designers as Elsa Schiaparelli.

The fashions of the Second World War period are also represented and range from dresses made from parachute fabric to the unique platform shoes by Roger Vivier. Elegant post-war fashion is represented by a 1948 Pondichéry cape with Maison Rébé embroidery by Christian Dior. The 1950s are represented by the creations of fashion houses such as Carven, Fath, Madame Grès and Balenciaga.

The fashion of the 1960s forms an important pillar of the collection. In addition to representative streetwear from this period, the collection also includes creations by innovative fashion designers such as Pierre Cardin, André Courrèges, Paco Rabanne, Rudi Gernreich, Emanuel Ungaro, Yves Saint Laurent and Emilio Pucci. Also featured in the collection are several women’s suits made famous by Coco Chanel's fashion comeback in the 1950s.

Several 1970s clothing styles are represented in the collection, ranging from the elegant eveningwear of Louis Féraud to the punk-inspired fashions of Vivienne Westwood and Zandra Rhodes, and from the innovative printing techniques of Roberto Cavalli to distinctive hippie dresses and disco clothes. The 1980s are embodied by the power-look designs of Karl Lagerfeld, Emanuel Ungaro and Thierry Mugler, the innovative Japanese silhouettes of Yohji Yamamoto, Comme des Garçons, Hanaï Mori, Kansai Yamamoto and Kenzo, and the Italian look of Versace and Armani.

The 1990s are characterised by the eye-catching designs of Dolce & Gabbana, Christian Lacroix, John Galliano and Alexander McQueen. Naturally, the Hasselt Fashion Museum collection also includes creations by several twenty-first-century designers such as Viktor & Rolf.

Belgian and Limburg designers

The museum pays special attention to the history of Belgian fashion. Early Belgian fashion history is represented by pieces from Maison Hirsch and Vaxelaire-Claes, fashion houses such as Liétart, Valens and Nathan, and the work of stylists like Jules François Crahay for Nina Ricci and France Andrevie for Laurent Vicci.

The collection also includes designs by Belgian couturiers with international allure, such as Ann Demeulemeester, Dries Van Noten, Dirk Van Saene, Walter Van Beirendonck, Veronique Branquinho, A.F. Vandevorst and Tim Van Steenbergen.

A focal point in the collection are creations by established Limburg designers such as Martin Margiela, Raf Simons, Dirk Bikkembergs and Kyuso (Joke Houbrechts and Egidio Fauzia). The regional embeddedness is visible in the subcollection of couture clothing and accessories by Hasselt fashion boutiques from the past and present, such as Jeurissen, Moray and Huis Reekmans.

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History of the Traditional Flamenco Dress (Traje de Gitana)

The Flamenco dress, also known as the "Traje de Gitana" or "traje de flamenca", is one of Spain's most iconic cultural garments, especially in Andalusia.

Origins:

The roots of the dress go back to the 19th century, when women from the countryside (especially those who followed the livestock fairs) wore simple, ruffled dresses with aprons.

These were working clothes—practical and modest—but with bright colors and cheerful patterns.

Transformation into Fashion:

In the early 20th century, upper-class women began to imitate the style after seeing how beautiful and expressive it looked on working women.

Over time, it became the official outfit for women at fairs like the Feria de Abril in Seville.

It was also adopted by flamenco dancers, who adapted the style to allow for movement and drama on stage.

Design Features:

Fitted bodice and hips, with a flared skirt full of volantes (ruffles).

Often includes polka dots (lunares), lace, and bright fabrics.

Common accessories: shawls, large earrings, combs (peinetas), flowers in the hair, and fans.

Cultural Symbol:

Today, the traje de gitana is not just fashion—it's a symbol of Andalusian pride, flamenco identity, and Spanish cultural heritage.

It is worn at ferias, romerías, and by flamenco performers worldwide.

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DALL·E 2025-05-02 20.25.37 - A traditional Flamenco dress (Traje de Gitana) from Spain. The dress is vibrant red with white polka dots, featuring ruffled layers, a fitted bodice, 

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DALL·E 2025-05-02 20.25.45 - A traditional Belgian costume from the Flemish region. The outfit includes a detailed folk dress with embroidery, a white bonnet, and wooden clogs. Th

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DALL·E 2025-05-02 20.25.51 - A traditional Flamenco dress (Traje de Gitana) from Spain. This dress is deep blue with golden embroidery, featuring multiple ruffled layers, an elega

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Pero en realidad, ya 1850, la moda era protagonizada en Europa por los vestidos cuajados de volantes, bien representados por la andaluza emperatriz francesa Eugenia de Montijo.

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Y lo que se convirtió en traje regional pasó con los años a representar al mundo del flamenco y a convertirse en una moda con sus tendencias y estilos.


La familia del torero gitano, Ignacio de Zuloaga
 

La creación de ferias de ganado oficiales y la ocurrencia de la gran Iberoamericana de Sevilla en 1929 dieron un fuerte impulso a la consolidación del “traje de gitana” como atuendo femenino andaluz por antonomasia.

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Con largas batas cuajadas de volantes en telas de lunares acudían las gitanas a las ferias del ganado repartidas por toda Andalucía desde mediados del siglo XIX.  Se trataba de engalanarse pero ir cómodas en las citas comerciales más importantes del año, cuando gitanas y campesinas acompañaban a sus maridos a vender o comprar ganado.