The Minoan Man: Fashion in Ancient Crete
Thousands of years ago, in the bustling streets of the Minoan palaces, clothing was not merely a necessity; it was not just a way to protect against the cold but was likely viewed as a form of art itself. Although Linear A and the complex language behind it remain unknown to us, the famous frescoes speak, revealing a vibrant world. Even though the fabrics themselves have decomposed due to time and humidity, archaeological research has brought to light findings such as loom weights in quantities that indicate and increased demand for clothing and, consequently, the need of large-scale production. Meanwhile, substances found in jars allow us today to know with certainty which raw materials those people used to compose their pigments, such as Tyrian purple, which they obtained from murex sea snails. In this article, therefore, we will delve into this art, the art of fashion, and reconstruct in our mind the appearance of the Minoan man.
Zoma
It was the basic garment of men, which today we would liken to a short skirt or an apron that covered the area of pelvis and hips, leaving the rest of the body exposed. It was a piece of fabric wrapped around the waist and secured by a tight belt. In depictions, we encounter it in various lengths and sizes. Occasionally it ended in a pointed edge at the front or back, while in other cases, it resembled short trousers. In the famous fresco known as ''Prince of the Lilies,'' we see a zoma with elaborate designs, vivid colours, and fringes that denote the social status of the wearer.
From what we know, it does not seem to have been merely a practical garment that facilitated tasks-such as for athletes during games-but also an element of identity. The zomata of the nobles appear to have been more luxurious, with various colours and patterns, while in other cases, such as with simple labourers, they might have reached only a few centimetres in length. Women are usually presented in long dresses, but in some instances, they appear in depictions-such as in the bull-leaping scenes (taurokathapsia)-wearing the zoma as well.
In addition to the Frescoes, small vessels and figurines that have survived offer us a view of how a zoma looked in three dimensions on the body.
Footwear
In most frescoes depicting palace interiors or rituals, men appear barefoot. This occurred because the palace floors were paved with smooth limestone tiles or plaster, making walking with bare feet comfortable and clean. Furthermore, being barefoot in sacred carries a deep religious character, as we still see today. Another reason may have been the fact that, at that time, the Minoans had found ways to keep the floors warm even during winter. In Malia and Phaistos, archaeologists have identified traces of conduits beneath the floors or near the walls, where it is believed they channelled hot air from central hearth to adjacent rooms.
For daily movements outside the palaces, sandals were the most practical solution. Likely made of leather, they featured a sole tied to the foot with straps; these straps were often crossed and reached up to the ankle. It is also believed that the Minoans used something resembling a closed shoe or boot, which was used on uneven terrain or during hunting. These covered the entire sole and the ankle. They were often made of white or light-coloured leather and were fastened tightly with laces. In the famous ''Procession Fresco'' and on figurines, we see men wearing them.
In bull-leaping, the athletes appear to have worn special leather reinforcements on their legs. These were something like high boots, used to protect themselves from injuries.
Chest
In most cases, it appears that the upper part of the body remained uncovered, which seems to have been a way for men to display their courage; it is characteristic, moreover that in many instances even women wore a type of dress that left the breasts exposed, leading us to conclude that for the ancient Minoans, the bare chest was something commonplace. Nevertheless, in cases where they needed protection during the winter period, men wore a short tunic. This was a simple garment that reached the thighs, with short sleeves or completely sleeveless. We see it more frequently in depictions of hunters, warriors, or labourers, where the body required protection from the sun and friction.
Priests and officials often wore a longer tunic that fully covered the chest and back. It frequently featured vertical decorative bands and was made of heavy fabric. For the deep cold, they possessed cloaks which they draped over their shoulders. For war, there are indications of the use of leather linings or reinforced fabric tunics that functioned as light armour; they also wore wide leather wristbands that offered protection from injuries, such as from bowstring.
Hair
It appears that men kept their hair long in Minoan Crete, while in some cases, they allowed it to fall in braids. Young children in certain areas had their heads shaved; interpreting this today, it suggests that hair was allowed to grow denser according to age. They often used diadems and ribbons to keep it away from the face. Regarding the matter of beards, here we see a contrast with other people such as Sumerians and the Mycenaeans, as we rarely see beards in the frescoes. The smooth face, combined with long hair and a slender waist, creates an image of elegance and a refined appearance that distinguishes them from neighbouring peoples.
Famous Frescoes
The Tomb of Rekhmire: One of the most famous frescoes from which we can draw information about the Minoan appearance is found in an Egyptian tomb, where we see people of various nations bringing their gifts to a high official or the pharaoh himself. Among them are people who closely resemble the people of Aegean: they wear the zoma, have long hair, and hold the famous rhyta (ceremonial vessels). The Egyptians called them ''Keftiou'', a term attributed to the Minoans.
The Rhyton-Bearer: After the ''Prince of the Lilies'', this is perhaps the most iconic fresco at our disposal. It is part of a procession and is particularly significant for understanding daily attire. It depicts a young man with long black hair carrying a rhyton. The zoma is short with geometric patterns and a belt that holds it in place. He wears bracelets on his wrists and upper arms, showing that the men of that era loved jewellery.
The Boxers: This fresco was found on the island of Santorini, but the art possesses clear elements of Minoan influence. It depicts two young men wearing boxing gloves and competing. They are almost naked, wearing only a simple Zoma belt at the waist for freedom of movements. It reveals the hairstyle of the youth: the head is shaved in parts, leaving only specific ling braids, which indicates their age stage.
Author: Theocharis George Paterakis
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Sources:
Paters, M. (2021, March 3). Fashion in Minoan Crete | By Elissos Travelling Philosophy. Elissos. https://www.elissos.com/fashion-in-minoan-crete/
Perry, L. (2024, April 19). Ancient Minoan clothing and nudity. Threads of Magic from Laura Perry. https://lauraidaeja.substack.com/p/ancient-minoan-clothing-and-nudity
Wilkinson, G., & Raddato, C. (2026). Beauty in the Bronze Age - Minoan & Mycenaean Fashion. World History Encyclopedia. https://www.worldhistory.org/article/1723/beauty-in-the-bronze-age---minoan--mycenaean-fashi/
Minoan Dress | Encyclopedia.com. (n.d.). https://www.encyclopedia.com/fashion/encyclopedias-almanacs-transcripts-and-maps/minoan-dress
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