Read My Clothes: Fashion as a Semiotic Strategy in Diplomacy

In today’s chaotically fast-paced world, we often overlook the power of fashion as the strategic language of political messaging. However, in antiquity, long before politicians and diplomats could signal their positions with a single post or a header update on X, garments and colors served as deliberate tools of political expression. From courtly ceremonies to public appearances, fashion functioned as a visual language.

Throughout the history, the glamours effect of fashion as an unspoken yet loud communication style has been evident in crucial events. One of the first traces I have encountered of proto-fashion diplomacy mostly covers the use of colors. In 546 BCE, the Ionians and Aeolians resisted submitting to Cyrus, the King of Persia. Seeking support, they sent a delegation—including a representative from Phocaea—to the Spartans (Herodotos, 2002).

"When the envoys from the Ionian and Aeolian cities hastily arrived in Sparta, they chose the Phocaean envoy, Pythermos, to speak on their behalf. He had dressed in garments of deep purple, so that the Spartans would take notice and gather in large numbers. Standing among them, he delivered a lengthy speech, pleading for their support…(Herodotos, 2002)“

The choice of dressing Pythermos in a deep purple garment was far from a coincidence—it was a calculated effort to command public attention and underscore the seriousness of his appeal. As Vitruvius (2005) noted, purple stood out from all other colors not only due to its high cost but also because of its exceptional aesthetic charm—making it a clear marker of privilege in antiquity (Adıgüzel & Konancı, 2017).

The production of color purple was indeed a challenging one. Shell species belonging to the Muricidae family were the main substance from which purple color dye. Studies reveal that producing just 1.5 grams of purple dye required nearly 12,000 shells—a striking indicator of its rarity and value (Adıgüzel & Konancı, 2017).

Hence, the textiles dyed in purple not only represented great wealth and social status but also served as social indicators (Adıgüzel & Konancı, 2017).

According to Ferrara (2017), the use of the color purple in antiquity can be semantically categorized under three main themes:

• As a divine attribute in offerings and a sign of priestly authority;

• As a visual emblem of political power and royal status;

• As a marker of aristocratic wealth, often exchanged as prestigious gifts to signify hospitality and respect.

In the Roman Empire, the use of purple became so politically and socially charged that imperial decrees were enacted to restrict who was permitted to wear it (Adıgüzel & Konancı, 2017). For example, The Roman Vestal Virgins were typically dressed in snow-white robes that reflected their ritual purity. However, during religious ceremonies involving offerings to the gods, this symbolic whiteness was partially replaced by a distinctive purple-bordered veil known as the suffibulum (Jensen, 1963), indicating a shift from purity to divine connection and sacred authority.

Similarly, as recorded by Herodotus (2002), purple-dyed textiles featured prominently among the precious offerings presented by King Croesus to God Apollo at Delphi where the divination used to be made by the Pythia of Delphi.

In order to receive one, whether it was political advice requested by a Lydian King or about the upcoming year’s trade-competition by a Sicilian merchant, offerings were prerequisite for all. Thus, the purple’s association with sanctity, power favors both in the eyes of public and the Apollo of Delphi.

Photo by Susan Wilkinson on Unsplash

This enduring symbolism is no relic of the past—purple remains deeply embedded in our visual vocabulary of power and prestige, still widely recognized as the color of royalty. Yet the language of fashion diplomacy has evolved far beyond sacred offerings and priestly robes. One striking example of this evolution is the phenomenon of Turquerie—or Alla Turca—which emerged in Europe as a cultural and stylistic fascination with the Ottoman Empire.

Following the Battle of Vienna in 1683, European interest in the Ottoman Empire intensified. Ottoman culture began to captivate the European bourgeoisie and aristocracy alike. This fascination gave rise to Turquerie, a cultural and aesthetic trend that permeated painting, music, interior design, and most notably, fashion. Even Mozart’s famous Turkish March stands as a musical reflection of this broader Orientalist allure.

Within this context, Turquerie can be viewed as a manifestation of fashion diplomacy—albeit from a Eurocentric and exoticizing perspective. Clothing thus became a diplomatic medium through which fascination, rivalry, and cultural curiosity were expressed without the need for formal political dialogue.

Another captivating example comes from 18th-century Istanbul. Charles Gravier, Comte de Vergennes—the French ambassador to the Ottoman Empire—commissioned the French artist Antoine de Favray to paint his portrait, followed by a portrait of his wife, Anne Testa. In both works, Gravier and his wife are portrayed in vibrant, luxurious Ottoman attire, seated on rich furs and embroidered cushions. These depictions sharply contrast with the strict formalities of court life at Versailles, where nobles were expected to stand for long hours in tightly structured clothing. Notably, Anne is not shown confined in the traditional corset of the time—a uncomfortable yet essential element of European court fashion—but instead appears relaxed in a flowing, comfortable dress.

Anne Testa’s Portrait - Antoine de Favray | Photo by Basak Gizem Yasadur @ Pera Museum Istanbul

This visual choice reflects more than personal taste; it represents an early form of visual diplomacy that favored cultural blending. The decision of both the ambassador and his wife to be portrayed in traditional Ottoman garments during Gravier’s Istanbul posting demonstrates a clear respect for the local culture. Such intentional acts convey powerful messages of cultural sensitivity and openness. Even today, these visual clues continue to function as symbolic gestures of goodwill, respect, and friendship toward host nations. Their choice of attire was widely seen as a sign of how deeply the ambassador had immersed himself in Ottoman life.

While earlier examples reveal how clothing functioned as a form of diplomacy in historical contexts, modern-day figures have continued—and refined—this tradition in more intentional and symbolic ways.

One of the most compelling figures to bridge fashion and diplomacy in contemporary history is former U.S. Secretary of State Madeleine Albright. Through her carefully chosen brooches, she created a unique visual language of diplomacy, using accessories not merely for aesthetics, but as subtle, sharp, and often witty political commentary.

Her approach marked a new era in fashion diplomacy—one where every detail of appearance could become part of the message itself.

In her interview with Smithsonian Magazine (2010), she explained when she first started wearing brooches:

‘’It all began when I was at the United Nations. It was right after the Gulf War and the United States was pressing for resolutions sanctioning Iraq. During that time, I had something dreadful to say about Saddam Hussein on a daily basis, which he deserved because he had invaded Kuwait. The government-controlled Iraqi media then compared me to an “unparalleled serpent.” I happened to have a snake pin, and wore it to my next meeting on Iraq. When the press asked me about it, I thought, “Well, this is fun.” I was the only woman on the Security Council, and I decided to get some more costume jewelry. On good days, I wore flowers and butterflies and balloons, and on bad days, all kinds of bugs and carnivorous animals. I saw it as an additional way of expressing what I was saying, a visual way to deliver a message.’’

Madeleine Albright’s use of accessories as diplomatic signals reached its sharpest expression during high-stakes international encounters. Before a summit in Moscow in 2000, she deliberately chose to wear her “hear no evil, speak no evil, see no evil” brooch.

Upon arrival, President Putin remarked to President Clinton, “We always notice what pins Secretary Albright wears,” and then turned to her, asking, “So why are you wearing the monkeys?” Albright replied directly: “Because I think your policy in Chechnya is evil.”

Unsurprisingly, Putin was furious. President Clinton, taken aback, reportedly whispered to her, “Are you out of your mind? You’re America’s chief diplomat, and you just screwed up the whole summit.” (Town & Country, 2022).

Albright’s symbolic use of jewelry wasn’t limited to confrontation. When she met with Syrian President Hafez al-Assad in 1999, she chose to wear a lion-shaped pin—an intentional gesture of respect, acknowledging the fact that Assad’s name means "lion" in Arabic. (Town & Country, 2022)

However, not every attempt to use fashion diplomacy lands successfully. Take former Canadian Prime Minister Justin Trudeau, for instance. During his 2018 official visit to India, Trudeau and his family initially received praise for embracing traditional Indian attire (India Today, 2018). However, the situation quickly shifted when images surfaced of Trudeau dressed in an ornate sherwani—an outfit typically reserved for weddings—at multiple public appearances. Many Indians, including public figures and media, criticized the look as exaggerated and performative (BBC, 2018). This incident highlights the importance of cultural literacy and nuance when engaging with another country’s fashion traditions.

Just as we observed in the portraits of Charles Gravier and his wife Anne Testa adopting Ottoman attire during their diplomatic tenure in Istanbul, Trudeau’s wife, Sophie Grégoire Trudeau, also mirrored his fashion choices during the India visit. Her participation wasn’t merely symbolic; it reflected alignment with her husband’s diplomatic posture and an effort to present a united cultural front. This highlights a broader point: in high-profile diplomatic visits, the tradition of the clothing choices of political spouses and family members carry significant weight, contributing to the overall message of respect, integration, or—when misjudged—alienation.

These examples demonstrate that fashion diplomacy demands not only intention but also precision. While some leaders lean into cultural symbolism, others use clothing to project continuity and resolve.

Volodymyr Zelenskyy, for instance, adopted a consistent wartime wardrobe—olive green t-shirts and military-inspired attire—as a deliberate visual marker of solidarity with his nation. This choice was widely interpreted as his image as a leader “in the trenches.

However, it isn’t always well received. During his March 2025 visit to the White House to meet with Donald Trump, Zelenskyy's refusal to wear formal attire was criticized by some observers and media outlets as inappropriate for the setting (Sky News, 2025).

A recent example that reignited debates on fashion and diplomacy came when Queen Letizia of Spain attended the inauguration of Pope Francis in a white dress, while most other female dignitaries wore black. As reported, the choice was not arbitrary: Letizia is among a very limited number of Catholic queens who hold the privilège du blanc—a papal protocol allowing them to wear white in the presence of the Pope. Yet commentators, including protocol expert María José Gómez Verdú, publicly questioned whether Letizia was sufficiently respecting the symbolic expectations of the occasion, suggesting she must “closely follow” liturgical codes to properly represent the Spanish monarchy (EDA TV, 2025). Given that Letizia was precisely following those codes, such criticism appears not only disproportionate but also oddly misplaced.

It raises a broader question: why are women—especially those in positions of visibility—so frequently policed for adhering too much or too little to tradition?

This incident reminds us that fashion in diplomacy is rarely neutral. Even when it follows protocol, it can become a battleground for interpretation, expectation, and projection. And yet, despite the risks of misreading or backlash, fashion remains an enduring and irreducible form of expression. From purple robes in antiquity to state attire in modernity, clothing continues to carry meanings. In an age of constant visibility, fashion is not merely appearance—it is message, identity, and sometimes, resistance.

Whatever its interpretation, one thing is certain: fashion, especially in diplomacy, can no longer be dismissed. It speaks—and it is heard.

Ancient Literature

1. Herodotos. (2002). The Histories (M. Ökmen, Trans.). Istanbul: Türkiye Is Bankası Yayınları. (Original work published circa 5th century BCE)

2. Vitruvius. (2005). De Architectura, (S. Güven, Trans.). Istanbul: Yapı Kredi Yayınları. (Original work published circa 1st century BCE)

3. Plato. (1969). Republic (P. Shorey, Trans., Book 4, 427b–427c). Cambridge, MA: Harvard University Press; London: William Heinemann Ltd. (Original work published circa 375 BCE)

Modern Bibliography

1. Arıcı, S. (2022). The economy of Phokaia in antiquity. OANNES – Journal of Ancient History Research, 4(1), 77–98. https://dergipark.org.tr/tr/download/article-file/2080670

2. Adıgüzel, G., & Yılmaz-Kolancı, B. (2017). The color of status in antiquity: Purple. Cedrus, 5, 261–285.

3. Ferrara, B. (2017). "A Lydian chiton with a purple fringe…": The gift of the garment to the Hera of Samos and Hera of Sele. In H. L. Enegren & F. Meo (Eds.), Treasures from the Sea: Sea Silk and Shellfish Purple Dye in Antiquity. International Workshop in Lecce, Italy, May 26–28, 2013 (pp. 171–187). Oxford: Archaeopress.

4. Jensen, L. B. (1963). Royal purple of Tyre. Journal of Near Eastern Studies, 22(2), 104–118.

5. Pera Museum. (17.09.2019). Turquerie. Pera Museum Blog. Retrieved June 24, 2025, from https://www.peramuseum.org/blog/turquerie/1560

6. Town & Country. (24.03.2022). Madeleine Albright brooch tribute. Retrieved June 24, 2025, from https://www.townandcountrymag.com/style/jewelry-and-watches/g39526103/madeleine-albright-brooch-tribute/

7. Tüfekçi, A. (19.05.2020) Turquerie: The Ottomans’ powerful influence over European culture. Daily Sabah Retrieved June 24, 2025, from https://www.dailysabah.com/arts/reviews/turquerie-the-ottomans-powerful-influence-over-european-culture

8. U.S. Department of State. Read My Pins. Retrieved June 24, 2025, from https://readmypins.state.gov/

9. India Today. (20.02.2018). Justin Trudeau and family wear colour‑coordinated Desi attires for Ahmedabad visit. India Today. Retrieved June 24, 2025, from https://www.indiatoday.in/lifestyle/fashion/story/justin-trudeau-and-family-wear-colour-coordinated-desi-attires-for-ahmedabad-visit-1172635-2018-02-19

10. BBC News. (22.02.2018). Why India’s colour‑coordinated political events stand out. BBC News. Retrieved June 24, 2025, from https://www.bbc.com/news/world-asia-india-43151115

11. Sky News. (01.03.2025). Trump offended by Zelenskyy not wearing a suit in White House. Sky News. Retrieved June 24, 2025, from https://news.sky.com/story/trump-offended-by-zelenskyy-not-wearing-a-suit-in-white-house-13319114

12. Universiteit Leiden. (09.10.2020). Colouring diplomacy through feminist and pro-gender bodies and foreign policies. Universiteit Leiden Blogs. Retrieved June 24, 2025, from https://www.universiteitleiden.nl/hjd/news/2020/blog-post---colouring-diplomacy-through-feminist-and-pro-gender-bodies-and-foreign-policies

13. The Economic Times. (19.05.2025). Why did Queen Letizia of Spain wear a white dress at Pope Leo XIV’s inauguration while others wore black? The Economic Times. Retrieved June 24, 2025, from https://economictimes.indiatimes.com/news/international/us/why-did-queen-letizia-of-spain-wear-a-white-dress-at-pope-leo-xivs-inauguration-while-others-wore-black-heres-the-reason/articleshow/121270024.cms

14. EdaTV News. (21.04.2025). Queen Letizia: Urgent notice Pope Francis. EdaTV News. Retrieved June 24, 2025, from https://edatv.news/en/lifestyle/queen-letizia-urgent-notice-pope-francis

15. Gambino, M. (06.2010). Madeleine Albright on her life in pins. Smithsonian Magazine. Retrieved June 24, 2025, from https://www.smithsonianmag.com/arts-culture/madeleine-albright-on-her-life-in-pins-149191/

    
    

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