Romanian Traditional Blouse Sparks Political Controversy

The Romanian blouse, known locally as the “ie” and distinguished by intricate embroidery, has long inspired artists and designers worldwide. Figures such as painter Henri Matisse and designer Yves Saint-Laurent drew from its patterns, while international celebrities and luxury brands have showcased it in various collections.

Recently, this traditional garment—primarily worn by rural women—has been embraced by nationalist politicians in Romania as a symbol of allegiance to national heritage and customs.

Diana Sosoaca, a far-right political figure, has made the blouse a hallmark of her public image, rarely appearing without it. Similarly, George Simion, a nationalist presidential candidate who was defeated in the most recent election, and many of his followers, have adopted the blouse as a political statement.

Another ultranationalist, Calin Georgescu, who led in an earlier presidential round before the vote was canceled, promoted his campaign through social media videos featuring himself wearing the blouse and riding a white horse.

This politicization of the blouse has alienated many liberals and progressives.

Alina Dumitriu, head of an HIV support organization in Bucharest, shared that she once enjoyed wearing the blouse but stopped after it became associated with extremist groups. She described how the blouse, once a shared cultural emblem, was co-opted as a nationalist symbol that excludes others.

Romanian nationalists often accuse liberals of abandoning traditional values and yielding to European Union influence. However, their efforts to leverage tradition did not secure electoral victory for Mr. Simion, who lost decisively to Nicusor Dan, the centrist mayor of Bucharest.

While some on the left have distanced themselves from the blouse, others fear that boycotting it would cede this important cultural artifact to nationalist politicians.

Daniel Stanciu, who operates a small business crafting embroidered blouses with rural seamstresses, emphasized that the blouse belongs to all Romanians, not just political factions. Despite assumptions linking his work to nationalist support, he clarified his neutrality.

Raluca Mihailescu, a 23-year-old psychology student and supporter of Mr. Dan, remarked that although the blouse is not her personal style, she resents the nationalist appropriation of a symbol that belongs to all Romanians.

Some admirers of the blouse who do not engage in politics express more concern over cultural appropriation by foreign fashion brands than nationalist claims.

Andreea Diana Tanasescu, who runs a Facebook page celebrating the Romanian blouse, praised artists like Yves Saint-Laurent for respectfully drawing inspiration and crediting Romania. However, she criticized companies such as Louis Vuitton and the fast-fashion retailer Shein for copying Romanian designs without acknowledgment, launching a campaign to require permission for such use.

Ms. Tanasescu described the blouse as a "birth certificate," identifying not only Romanian heritage but also specific regional origins through its embroidery patterns and colors.

Despite challenges like decades of political upheaval, the Romanian blouse has remained a steadfast symbol of national identity.

Claims of exclusive ownership of the blouse by Romania can create tension with neighboring countries such as Bulgaria and Ukraine, where similar embroidered garments are also part of folk traditions.

Ethnologists emphasize the unique characteristics of Romanian blouses. Doina Isfanoni, an expert at Romania's National Village Museum, has dedicated years to documenting the distinct styles of these traditional garments.

In 2022, UNESCO recognized the blouse as integral to the cultural identity of both Romania and Moldova, the latter formerly part of Romania.

Dr. Isfanoni criticized politicians who exploit the blouse for electoral gain, noting that many wear inexpensive, machine-made replicas rather than authentic hand-embroidered pieces.

She observed that nationalist leaders aim to present themselves as true representatives of Romanian tradition, but their displays often amount to superficial gestures that mislead the public.

In Romania, where urban elites have often been disconnected from rural populations, donning the traditional blouse offers an accessible way to signal affinity with common folk.

Historically, even members of the royal family, including Queen Marie—who was British-born—wore the blouse to demonstrate their Romanian identity.

Notably, Nicolae Ceausescu, Romania’s communist leader from 1965 to 1989, chose not to adopt the blouse, perhaps because his rural origins negated the need to assert peasant authenticity.

Despite being viewed as a symbol of grassroots connection, the blouse is often expensive, with authentic hand-embroidered versions costing hundreds or thousands of dollars depending on materials and craftsmanship.

The high cost has led to a proliferation of cheaper, machine-made blouses imported from China and elsewhere, undercutting traditional artisans—many of whom are elderly women in rural areas who spend months creating a single blouse.

Nicoleta Uta, an ambulance nurse in Domnesti village, is committed to preserving this heritage. Concerned that the craft was dying out, she enlisted an 87-year-old local expert to teach embroidery to young villagers.

Recently, a group of sixteen girls gathered to learn stitching skills, with Ms. Uta noting that a teenage boy was among her most talented students before his family relocated.

Beyond preserving tradition, Ms. Uta believes that teaching embroidery helps youth reduce screen time and develop focus and satisfaction through creative work.

She criticized politicians for wearing counterfeit blouses, saying this sets a poor example and emphasized the need to return to genuine traditions free from political distortion.