Sunday, December 1, 2019

North Korea 2019 - Folk Customs of the Korean Nation

Technical Details
Date of Issue: 01 December 2019
Size: 100 x 52mm, 50 x 30mm (stamp)
Denomination: 50 won x 4
Designer: Kim Hae Yong, Ri Jin Hyok
Quantity: 30,000 (Perforation) ; 1,000 (Imperforation) ; 500 (FDC)

The Korea Stamp Corporation has published a stamp series showing “Folk Customs of the Korean Nation”.

According to the KSC the “stamps were issued to reflect the unique food culture of the Korean nation. The stamps portray the peculiar dietary custom of the Korean people.”

The stamps in the series have the following value/ design:
50 Won - Pressing Noodles
50 Won - Making Bean Paste
50 Won - Making Kimchi
50 Won - Pounding Cereal Cakes

North Korea 2019 - Korean Folk Customs

Technical Details:
Date of Issue: 22 November 2019
Size of Stamp: 59.5 x 31.5 mm
Denomination: 50 won x 4
Price: $2.00 (4 stamps perf)
Designer: Kim Won Myong, Kang Chol U
Printing: Offset
Sheet Composition: 4 x 5
Quantity: 30.000 (Perforation) ; 2.000 (Imperforation)

The Korea Stamp Corporation has published a stamp series showing Korean folk customs from “the period of the feudal Joson dynasty” and Koguryo.

According to Korea Stamp Corporation, “Folk games Koreans have played traditionally include hunting contest, ssirum (Korean style of wrestling), tug of war, jumping seesaw, swinging, janggi (Korean chess), paduk (go), yut, konu, singing and dancing by peasants, top-spinning, rope skipping, kite flying and sleighing.” The Korean terms for these activities are 사냥경기, 씨름, 바줄당기기, 널뛰기, 그네뛰기, 장기, 바둑, 윷놀이, 고누, 농악놀이, 팽이치기, 줄넘기, 연띄우기 and 썰매타기.

The stamps in the series have the following value/ design:

50 Won - Hunting contest (In The Period of Koguryo)
50 Won - Ssirum (Korean Wrestling) (In The Period of The Feudal Joson Dynasty)
50 Won - Tug of War (In The Period of The Feudal Joson Dynasty)
50 Won - Jumping Seesaw (In The Period of The Feudal Joson Dynasty)

Mongolia 2019 - Intangible Cultural Heritage

Technical Details:
Date of Issue: 22 November 2019
Size of Stamp: 190 mm x 180 mm ; 78 mm x 108 mm (SS)
Printing: Offset Lithography

Intangible Cultural Heritage:
100 Mongolian Tögrög - Mongolian Calligraphy
200 Mongolian Tögrög - Falconry, A Living Human Heritage
300 Mongolian Tögrög - Mongolian Knuckle Bone Shooting
400 Mongolian Tögrög - Mongol Bilyegee, Mongolian Traditional Folk Dances
700 Mongolian Tögrög - Traditional Music of the Tsuur
2000 Mongolian Tögrög - 
2000 Mongolian Tögrög - 

Thursday, November 21, 2019

Argentina 2019 - Tango Dances

Date of Issue: 26 August 2019

Argentina 2005 - Joint Issue with Thailand, Dances

Technical Details:
Date of Issue: 05 February 2005
Width: 34.00 mm
Height: 44.00 mm
Denomination: 0.75 ARS
Number in set: 2 (Show Set)
Layout/ Format: Sheet of 20
Perforations: 14 by 14
Stamp Issuing Authority: Correo oficial de la Republica Argentina SA
Printer: Letra Viva SA, Buenos Aires

Subject: Argentina - Thailand - 50 Years of Bi-lateral Relations

Argentina 2001 - Tango & Kabuki Theater, Japan Philatelic Exhibition

Technical Details:
Date of Issue: 28 July 2001
Size: 40 x 30 mm
Colors: Multicolor
Format: Stamp
Emission: Commemorative
Perforation: comb14
Printing: Offset Lithography
Face value: 75 ¢ - Argentine Centavo
Print Run: 104,000

2001 Japan Philatelic Exhibition (Tango and Kabuki Theater)

Argentina 2003 - A Mask,World Philatelic Exhibition BANGKOK 2003

Technical Details:
Date of Issue: 04 October 2003
Width: 30.00 mm
Height: 40.00 mm
Denomination: 0.75 ARS
Number in Set: 2 (show set)
Layout/ Format: Miniature Sheet of 2 of 2 designs
Perforations: 14 by 14
Stamp Issuing Authority: Correo Argentino SA
Printer: Letra Viva SA, Buenos Aires

Subject: World Philatelic Exhibition BANGKOK 2003:

0.75 Argentine Pesos - A mask representing the black demon
0.75 Argentine Pesos - A mask representing a spirit that celebrates the return of Prince Vessandorn

Saturday, October 26, 2019

Austria 2019 - Traditional Costume of Flachgau

Technical Details:
Issue Date: 25 October 2019

About The Traditional Costume of Flachgau
The focus of the “Classic traditional costumes” series on this occasion is the dirndl from Salzburg’s Flachgau region. This traditional costume for everyday wear impresses with its fresh colours and its typical cut.

The traditional everyday dirndl
The traditional costume of Flachgau is a new version of the costume, with considerable freedom in the design to encourage variety and to enable the traditional costume to be incorporated into everyday wear as easily as possible. Characteristic features are the square neckline at the front of the bodice and the narrow central flap fastened with buttons. The costume is made from linen, cotton or mixed-fibre fabrics, either in a single colour or with a floral or checked pattern, with the colour of the skirt coordinating with the bodice. Depending on the pattern of the fabric, either the flap or the edging on the hem is often decorated with monochrome piping. Alternatively, taking inspiration from the costume for special occasions, the bodice with the central flap is replaced with a linen laced corset with a wide front aperture, a seam dividing the back section and incorporated straps. The lacing eyelets of the corset are often elaborately designed in alloys of gold orsilver. For special occasions there is also the “Festtracht” made of silk or brocade, thebodice of which is embroidered with floral motifs and decorated with velvet.

The traditional costume of Flachgau shown on the special stamp comprises a red linen bodice with a herringbone weave and a coordinating printed skirt with an edging in the same colour as the bodice. It is worn with a light-green cotton apron decorated with a scattered flower motif and fastened with a wide bow. The plain white blouse with short sleeves and the red piping on the square neckline and sleeves complete the dirndl.

As varied as the region
Flachgau is the most northerly region of the province and surrounds the capital city Salzburg. With its lakes, basins and mountains, it offers considerable variety, and the regional variants of the traditional dress are just as varied as the landscape. One of the best-known versions of the dirndl from the Flachgau region is the Henndorf dirndl. It isoften made from blue checked material (“bedding” material) and the central flap isfastened with buttons. The apron is not tied in a bow, as is usual, but is instead attached to the dirndl with buttons.

Austria 2019 - Traditional Costume of Carinthia

Technical Details:
Issue Date: 27 June 2019

About The Traditional Costume of Carinthia

The Blue Spotted Dirndl
This time, the special stamp from the popular “Classic traditional costumes” series is dedicated tothe traditional costume of Carinthia, which is worn throughout the federal province.

A simple dress made of dark blue cotton with white spots is fastened with silver buttons. The hemline is trimmed with red. Above the rounded neckline a simple white blouse peeps out, the medium-length sleeves of which are decorated with a lace border. A monochrome black cotton apron rounds off the costume, although a white apron decorated with tendrils of red and blue flowers can be worn instead. Married women wear the bow on their apron tied on the right-hand side; unmarried ladies, on the left. On special occasions the traditional costume is also worn with a long skirt and a fancy blouse with longer, puffed sleeves, gathered below the elbow and with decorative stitching on the shoulders.

The pattern of the spotted material was created out of necessity: there was not enough money to allow for an elaborate design when dyeing the fabric blue, so wooden nails were hammered into a board. During the staining process pressing these into the fabric prevented the colour from being taken up, and in this way, the white spots were created.

The Designer behind the Costume
Prof. Leopold Resch, a well-known traditional artist, sculptor and researcher into traditional costumes was one of the co-founders of the provincial association of Carinthia and the Carinthian State Museum. In 1911 he was tasked with designing a traditional men’s costume for Carinthia by theprovincial association, to replace the grey Styrian suit, which, until then, was also worn in Carinthia. He subsequently designed the nut-brown Carinthian suit with its green collar and trim, worn with a black waistcoat decorated with small flowers, which is still the traditional costume for Carinthian men to this day. Resch then designed the blue spotted dirndl, referred to in honour of its designer as the Resch-dirndl, as the traditional costume for women.

Traditional costumes remain extremely popular to this day. In addition to the traditional costume for the entire province of Carinthia, there are around eighty other officially registered variants of traditional dress to be found in Austria’s most southerly province.

Thursday, October 24, 2019

Iceland 2010 - Norden by the Sea, Life at the Coast

Technical Details:
Issue Date: 18 March 2010
Designer: Elsa Nielsen, EnnEmm
Printer: Joh. Enschedé Security Print
Process: Offset Litho
Colours: 4-colour offset
Size: 105 x 70 mm
Values: 150.00 ISK

About Norden by the Sea. - Life at the Coast

A new series of Nordic stamps with the theme Norden by the Sea commences with the present souvenir sheet. The Nordic countries are separated, or united, by the water surrounding them. The coasts offer great variation, with long stretches of sandy beaches or smooth rocks. The people living along the coasts have always adapted to and drawn on their proximity to the sea. New enterprises are springing up alongside the traditional industries of shipping and fishing, for example. Energy production, fish farming and tourism are just some of the businesses that are growing ever more important in our coastal areas. Few nations depend more on ocean and coastal preservation than Iceland. Using strict measures Iceland managed to put an end to overfishing and reduce ocean pollution. Important fish stocks were strengthened. The first herring factories were erected in Siglufjörður and the herring boom bolstered the Icelandic economy. Close contact with harsh nature demands that Iceland makes sustainable use of living ocean resources.

Iceland 2019 - The Icelandic Postal Workers Union - 100th Anniversary

Technical Details:
Issue Date: 07 February 2019
Designer: Örn Smári Gíslason
Printer: Cartor Security Printing
Process: Offset Litho
Size: 30 x 40 mm
Values: 50g domestic

About The Icelandic Postal Workers Union - 100th Anniversary

The Icelandic Postal Workers Union was founded in Reykjavik on March 26, 1919. The history of Icelandic postmen can be traced back to 1776 when King Christian VII issued a directive establishing domestic postal services in Iceland. The first Icelandic mailman was Ari Guðmundsson, who travelled extensively with mail through the forbidding mountain regions of the Westfjords.

When the union was formed, the Icelandic labour movement was in its early stages. Iceland had recently gained sover­ eignty and there was a general sense of social recovery and revival. In 1932, its members were 73 in number, but today they number 900. The union ́s main task is to safeguard the interests of Icelandic postal workers and to ensure improve­ ments in their working conditions.

The Icelandic Postal Workers Union has grown a lot in stature with its growing membership numbers. It is now one of the strong pillars of the Federation of State and Municipal Employees (BSRB) and an important force in the labour movement. In 2001, only one quarter of the members were still employed by the official Post and Telephone, which on January 1, 1997, made way for Post and Telephone Ltd. and a year later Iceland Post. Despite these changes, the union continues to promote social justice and foster human values.

Iceland 2017 - SEPAC, Handcraft - The Icelandic Sweater

Technical Details: 
Issue Date: 27 April 2017
Designer: Elsa Nielsen
Printer: Joh. Enschedé Security Print
Process: Offset Litho (CMYK)
Size: 30 x 30 mm
Values: 50g

About SEPAC - Handcraft - The Icelandic Sweater

The joint SEPAC stamp motif is local or typical handcraft. The Icelandic stamp features an Icelandic sweater. The pattern shown, ”Álafoss pattern no. 51”, is a very characteristic one. It was probably affected by foreign knitting traditions introduced by magazines on embroidery and fashion. The Greenland national dress and Norwegian knitting patterns may also have influenced the pattern. When Icelandic women began to adopt foreign knitting patterns and work on them according to the properties of the local material, Icelandic sweaters started resembling their foreign models, but its patterns and colors were coarser. This was due to the yarn being more fragile than the spun band. Sweaters were therefore usually knitted from three threads simultaneously. This made the garment warmer and more durable. The sweater became standardized in its traditional form in the late sixties. In the seventies, it became a popular export. It became less popular in the eighties, but now it seems to have regained its former popularity, especially among foreign tourists. The sweater has its special woolen character and its roots in the culture of contemporary Icelanders are quite solid.

Sunday, September 22, 2019

Malaysia 2013 - The Baba & Nyonya Heritage

Technical Details:
Date of Issue: 29 November 2013
Stamp Value: 60 sen (setenant), 80 sen (setenant)
Miniature Sheet Value: RM5.00
Stamp Size: 30mm x 48mm
Perforation: 14
Miniature Sheet Size: 85mm x 100mm
Stamp Size In Miniature Sheet: 50mm x 60mm
Sheet Content: 20 Stamps
Paper: Yellow Green Phosphor 102gsm
Printing Process: Litography
Printer: Cartor Security Printing
Stamp Designer: Reign Associates Sdn Bhd

The Baba & Nyonya Heritage
The Babas & Nyonyas referred to the descendants of late 15th to 19th century Chinese immigrants to the Malay archipelago. Baba is the address for the men, and Nyonya for the women.

The Babas & Nyonyas are partially assimilated into the Malay culture, especially in food, dress and spoken language, while retaining some of the Chinese traditions and culture such as religion, name, folk medicine and festivals.

60sen - Nyonyaware
Nyonyaware is characterized by its decorative motives and the most vivid and colourful familiar rose enamels. The stamp features a covered jar called ‘kamcheng’ – variously used as a container for water, pickles and other types of food. Also featured are ceramic spoons, plate and cups with features of phoenix and peonies – symbols of prosperity and good fortune.

60sen - Nyonya Beaded Slippers
The beaded slippers is one of the most popular Nyonya object still found today. The technique of making such footwear is also one of the few crafts leftover from the golden age of the Baba & Nyonya. The beaded slippers were either opened face or covered. The popular motives used for the pattern were flowers, birds, butterflies and fruits.

80sen - Malacca Peranakan Townhouse
The typical Baba & Nyonya townhouse features neo-classical pediments, pillars and stucco decorations over windows, combined with the local tradition of timber craftsmanship. House fronts are usually heavily decorated with brightly colored hand-painted tiles and Chinese characters painted in gold on large black backgrounds. The Baba & Nyonya Heritage Museum on Jalan Tun Tan Cheng Lock in Malacca showchases on of the most well-preserved 19th century Baba & Nyonya residence.

80sen - Baba & Nyonya Wedding Attire
The wedding costume is colourful and elaborate. The headdress worn by the bride is made out of more than a hundred gold and silver hair pins that are put into the hair to form a crown. On her chest and wrists she wears numerous jewelry and accessories. The costumes are made from damask silk and either couched with gold thread or covered with coloured thread embroidery. The groom’s jacket and hat are that of the Manchu gentry of old China. he has a traditional Chinese fan on his hand and boots as footwear.

MS RM5 - Nyonya Kebaya Embroidery
The Nyonya kebaya first appeared only in the early 20th century. The early versions features rather simple embroidery work, but later, especially from the 1960s onwards, a more exquisite and intricate embroidery began to emerge. While the early kebayas are hand sewn, the Nyonya kebaya today is embroidered using the sewing machine with flower motives being the favourite theme. The miniature sheet feature a Nyonya kebaya, which won the UNESCO Award of Excellence for Handicraft 2012. The stamp within the miniature sheet feature a composition of Malaysian fruit, with holes cut on the paper resembling the embroidery.

Technical Details:
Date of Issue: 01 December 2014
Denomination: RM 50
Stamp Size: 25 mm x 35 mm x 0.1 mm
Weight: 1.46 +/-0.05g
Metal: Copper Plated with 22 K Gold
Technique: Stamping
Special Feature: Fine and Elegant Stamping
Printing: Cartor Security Printing
Designer: Pos Malaysia Berhad
Acknowledgements: Muzium Negara, Persatuan Baba & Nyonya Kuala Lumpur, Cedric Tan, Lim Swee Kim, Baba Nyonya Heritage Museum


Technical Details:
Date of Issue: 12 February 2015
Denomination: RM 35
Miniature Sheet Size: 85 mm x 100 mm
Stamp Size: 50 mm x 60 mm
Technique: Lithography & Embroidery
Paper: Yellow Green Phosphor 103gsm
Printing: Cartor Security Printing
Designer: Reign Associates Sdn Bhd
Acknowledgements: Persatuan Baba & Nyonya Kuala Lumpur, Cedric Tan, Lim Swee Kim

Wednesday, September 11, 2019

South Korea 2019 - The Style of Hanbok

Technical Details:
Date of Issue: 09 September 2019
Quantity: 672,000
Denomination: KRW 380
Printing Process: Offset 4 Colors
Size of Stamp: 30 mm x 40 mm
Image Area: 38.5 mm x 40 mm
Perforation: 13 1/4 x 13
Sheet Composition: 4 x 4 (165 mm x 185 mm)
Paper: White Unwatermarked
Designer: Shin Jaeyong
Printer: Southern Colour Print for POSA
380 Korean Won - The 1500s Hanbok
380 Korean Won - The 1600s - 1700s Hanbok
380 Korean Won - The 1800s Hanbok
380 Korean Won - The 1900s Hanbok

The Style of Hanbok

Korea Post is issuing commemorative postage stamps to promote the exquisite beauty of the hanbok which the world has great admiration for and also to nurture Korea's clothing culture.

While the hanbok has gone through a number of changes in keeping with the times, it is the only traditional attire in the world that has retained its fundamental structure. The men's hanbok isi comprised of Jeogori, Baji, Po, and Gwanmo for the head. The most basic components of the women's hanbook are Jeogori and Chima while the full attire can be completed with the addition of the beoseon, a tie belt, and shoes.

Referring to the traditional clothing artifacts from the 16th to 20th centuries, we have created commemorative stamps that feature the transformations of the hanbok over time. As the hanbok signified the wearer's social status in the 16th century, it was designed to impress, boasting both a great length and width, regardless of the wearer's physique. Thus, after the Japanese invasion, the 17th century saw distinctively practical changes to the design of the hanbok.. Jeogori was narrowed and shortened so that it hovered above the waist of the Chima, which made it possible to produce more clothes with a lesser amount of material. In the later period of Joseon in the 19th century, through the reign of Yeongjo and Jeongjo, the design of the hanbok became more diversified while the basic structure consisted of a close-fitting Jeogori and a wide bottom with the shape of a bell. A Jang-ot, an outerwear worn by upper class women, acquired another use as the women began to wear it as a veil to cover their faces. On the other hand, in the 20th century, the types of Jeogori were simplified, and the length of Jeogori in the history of the hanbok. In fact, it was shortened to such an extent that there appeared an article in the Jeguk Sinmun that said "(women's) Jeogori should be lengthened so as not to reveal any flesh."

As Korea's traditional attire, the hanbok has gone through a series of transformations that reflects the prevalent living culture and circumstances as well as aesthetics of the time while still maintaining its graceful beauty and unique value. We hope that the issuance of these commemorative stamps will provide an opportunity to appreciate the importance and meaning of the hanbok.

Tuesday, September 10, 2019

Pakistan 1993 - Dresses of Pakistan

Date of Issue: 10 March 1993

The stamp set features traditional costumes from:


Sunday, September 8, 2019

Tunisia 2019 - EUROMED, Costumes in the Mediterranean


Technical Details:
Date of Issue: 05 September 2019
Size: 41 x 28 mm
Number Issued: 500,000 each stamps
Printing Process: Offset
Drawing: Leila Allagui

Mediterranean Costumes : 
0.75 Dinar - Traditional Costume For Women From The South of Tunisia, The City of Douz
1.00 Dinar - Traditional Costume For Men, The City of Kairouan

Mediterranean Costumes
As apart of its contribution to make known the distinguished heritage of costumes and actively contribute to the activities of the Postal Union for the Mediterranean and considering its significant role in the development of cooperation and partnership with the Postal euro-Mediterranean Institutions, the Tunisian Post issues Septermber 05, 2019, two postage under the theme Mediterranean Costumes.

The first postage stamp represents a special women's costume for the women of southern Tunisia, in which the Amazing style was fused with the Arab style, giving this costume an esthetic and remarkable heritage richness.

The second postage stamp depicts a traditional Kairouan-style clothing for men, consisting of a Jebba in creamy wool and a woolly Bornos in brown, known in Tunisia with a kabbouss and a turban above the head called Kachta.

Traditional Costume for Women from The South of Tunisa, The City of Douz:
Millia or Hrem or Hauli is a cloth whose color and decoration vary by the regions.  It is the traditional dress of the South Tunisian women who are adorned in its decoration and its tightness is controlled by two attractive buckles and a waistband.

Douz women's uniform is characterized by the striped blue-gray color o the side, placed by the woman on the shoulders and then pulled from the sides at the chest level by two silver clips called Alkhalal then attached at the waist with a cotton or woolen belt and this quilt covers the woman's body from shoulder to wrist.  The woman wears under the Millia a transparent white shirt with wide sleeves fabric lace.

The woman puts on her head a pink scraft or other color according to her taste and pulls it on top of the head at the level of the forehead with an Agar hanging from it a silver clip consisting of five silver necklaces.

The women's clothing of this region is characterized by simple engravings and silver decorations, which is necessitated by the daily life of the women of the South.  Most of them are dressed in the garment of gold in official occasions.

Traditional Costume for Men from The City of Kairouan:
The costume is made up of a Jebba and a Bornos with a Kabbous and a turban widely used in the city of Kairouan.  It is also present in Tunis and many other Tunisian regions.

Jebba is a costume worn throughout Tunisia.  It is woven in wool or islk, sewn from the front and leaves an opening on the side of the chest.  It is adorned with a so-called Harj that is made of natural ar artificial silk.  Its traditional colors are green, blue, gray and creamy.  Also, the man wears on the Jebba a Bornos in wool or any other thick fabric,  the favourite dress of city dwellers, the Bornos can be in different colors going from white with a creamy yellow to a dark color, this tends to a large part of population.

The headscraft is made up of a red pinch and a turban.  Tunisians have historically paid special attention to the Chachia with the Kubita and to the manufacture of Kabbous or before called Taguia.  They excelled in its industry and they dedicated its especially a market.

It should be noted that the Tunisian country has a legacy of fashion that distinguishes it from its neighboring countries of the Maghreb and Mediterranean countries, although some of them are similar in designations and forms.  It is a rich blend of colors, shapes, variety of fabrics, embroidery and embelishment.  These costumes vary according to cities, climate, geography, customs, and traditions.  Some of them date back to the Punic, Amazigh, Carthaginian, Turkish, Andalusian, and Arab-Muslim periods, reflecting the diversity, originality and tradition of the civilizations that have succeeded our country.

Saturday, September 7, 2019

Hungary 2018 - History of Clothing #2

Technical Details:
Date of Issue: 03 April 2018
Face value: HUF 840 (4 x HUF 210)
On the date of issue, HUF 210 pays the postage of a Domestic priority letter up to 50 g.
Printing Technique: n4-colour offset
Number of copies: 60,000 Miniature Sheets
Perforated size of stamps: 30 × 50 mm
External Imperforated Size of Miniature Sheet:  80 mm × 140 mm
Paper Type: Gummed Postage Stamp Paper
Printed by: Pénzjegynyomda Zrt.
Photographs by: Attila Mudrák,MTI Fotó/Csaba Jászai,Gellért Áment, Cultiris/AKG
Designed by: István Weisenburger
Source: Museum of Applied Arts, Budapest


Magyar Posta is continuing the stamp series History of Clothing, which began in 2016, by presenting two 17th-century wedding outfits that are kept in the Esterházy treasury. Sixty thousand copies of the miniature sheet designed by the graphic artist István Weisenburger were produced by the banknote printing company Pénzjegynyomda. The new issue will go on sale from 3 April 2018 and from that date will be available at first day post offices and Filaposta in Hungary but may also be ordered from Magyar Posta.

Every age has had eye-catching and popular fashions that are nevertheless short-lived. What they all have in common is the endless ingenuity that inspires people to define themselves through their clothes. On the second miniature sheet of the stamp series, selected historic garments of the Hungarian nobility, who set fashions for many long centuries, are shown.

The first stamp shows a dolman, the undercoat of Hungarian male clothing, which could be worn over a shirt without a pelisse. The sumptuous baroque suit was made of red Italian satin in Hungary around 1680 and is adorned with pairs of fasteners each formed of two half hearts held in white hands with gold-winged white doves perched on the hearts and hands. It was once thought that the dolman was Palatine Miklós Esterházy’s nuptial suit but more recent research suggests that Palatine Pál Esterházy wore the outfit at his second wedding, when he married Éva Thököly in 1682.

The second stamp shows a woman’s wedding outfit comprised of a skirt and bodice, which according to the 19th-century tradition were part of the wardrobe of Pál Esterházy’s first wife Orsolya Esterházy. Later evidence indicates that these items were associated with Éva Thököly, but it is also possible that they were the bridal wear of both women. The matching skirt and bodice were made and embroidered in Hungary. The once dark blue Italian velvet has discoloured and turned green, yet the set remains an exceptional example of old Hungarian attire. All the extant garments housed in the Esterházy treasury originate from the 16th and 17th centuries. This is the only known collection of related clothing of this nature in Central and Eastern Europe, comprising 21 garments, which has been in the safekeeping of the Museum of Applied Arts since 1919.

In the background of the stamps, a 19th-century depiction of the Esterházy Palace in Kismarton (today Eisenstadt, Austria) and the Leopoldina temple in the grounds of the palace can be seen.

Source: Emese Pásztor (ed.): Textiles of the Esterházy Treasury in the Collection of the Museum of Applied Arts, Museum of Applied Art, Budapest, 2010; András Szilágyi: Esterházy Treasures. Five Centuries of Artworks from the Ducal Collection. Museum of Applied Art, Budapest, 2006.

Hungary 2016 - History of Clothing #1

Technical Details:
Date of issue: 8 November 2016
Face value: HUF 250 (Supplementary Denomination)
Printing Method: Offset
Number of Copies: 80.000 pcs.
Perforated Size of Stamp: 30 x 50 mm
External Size of Miniature: 80 x 140 mm
Paper Type: Gummed Stamp Paper
Produced by: Pénzjegynyomda Zrt.
Designed by: István Weisenburger
Source: CULTiRiS / INTERFOTO / Sammlung Rauch • Hungarian National Museum


With the aim of presenting garments of various epochs, the Magyar Posta is launching a new special series of miniature sheet of postage stamps entitled The History of Garments. The first miniature sheets of stamps will present King Louis II and Queen Mary's wedding garments from the collection of the Hungarian National Museum. 80,000 copies of the novelty have been printed by Pénzjegynyomda Zrt. based on the designs made by graphic artist István Weisenburger. The stamp is available at first-day post offices and Filaposta from 8 November, but can also be ordered from Magyar Posta.

King Louis and Queen Mary's wedding garments can be viewed as part of the National Museum's permanent exhibition. It was in 1928 that the museum acquired the two garments from the Mariazell pilgrimage church in connection with which the Mariazell tradition held that those were the wedding garments of Louis the Great and his wife Elizabeth. However, in 1929, based on the fabric of clothes and the pattern, József Höllrigl, a scientific associate of the museum, found that those clothes were in fact the garments of Hungarian King Louis II and his wife.

The queen's garments followed the German Renaissance fashion typical of the first half of the 16th century: it was tailored from a green rosette-pattern Italian damask, was decorated with gold brocade and embroidered with gold and silver thread. The waistline was lifted and the upper part was made narrow and wide open. The skirt with a pleated waist expands towards the bottom into a barge skirt. The ends of the narrow sleeves are decorated with funnel-shaped cuffs covering also the hands. In its appearance, the royal mantle reflects the contemporary Hungarian tastes. An interesting fact related to the garment is that its front part is shorter and the back part is longer, which adds to the majestic appearance of the young king both when seated on a horse and when kneeling before the altar during the ceremony. The overcoat was made from silk brocade woven on both sides. It was a special technical accomplishment that the outside was patterned with gold, while the inside with silver. The shirt was made of fine woven fabrics of flax.

Sources:; Katalin F. Dózsa: Queen Mary's wedding dress in the light of recent research; Mária V. Ember: Louis King II of Hungary and his wife's clothes;

Russia 2019 - Seventh Issue of Standard Stamps "Eagles" (Definitives)

not real pictures

Technical Details:
Date of Issue: 07 August 2019
Paper: Self adhesive
Colors: Multicolor
Perforation: 11½
Format: 20.0 x 27.5
Circulation: mass
Artist: Nikonov V
Design Artist (design): Moskovets A 
Printing Method:
  Offset + Protective Complex + Figured Carving (No. 2509–2519);
  Offset + Protective Complex + Figured Carving + Bronze Paste (No. 2520)

The Federal Communications Agency, Marka JSC and Goznak JSC prepared a new, Seventh issue of the Orly standard postage stamps of the Russian Federation. It will consist of 12 self-adhesive stamps with face values ​​from 50 kopecks to 100 rubles.

The postal miniatures depict the emblem of organizations of the federal postal service of the Russian Federation in an ornamental design.

Denominations of stamps: 50 kopecks, 1 ruble, 2 rubles, 2 rubles 50 kopecks, 3 rubles, 4 rubles, 5 rubles, 6 rubles, 10 rubles, 25 rubles, 50 rubles, 100 rubles.

The seventh issue of standard Russian stamps provides an unprecedented set of measures to protect against forgery of state signs of postage. In addition to microtext, unique figured die-cutting and the use of special inks, for the first time, postage stamps are made on self-adhesive paper with protective fibers and special anti-gluing notches. The protective complex of the new standard is not inferior in its characteristics to the measures used in the manufacture of banknotes.

Friday, September 6, 2019

Finland 2019 - Art Award, Fashion

Date of Issue: 11 September 2019

Posti Ltd has given the stamp art promotion award of 2019 to Mert Otsamo, a fashion designer who has designed clothes and jewelry for various celebrities for events such as galas, stages and the annual Independence Day Reception. AD Paula Salviander is responsible for the graphic design of the Posti art award 2019 stamps. The stamps will be issued as a 10-stamp sheet containing 2 different domestic no-value indicator stamp designs.

Posti’s art award given to fashion designer Mert Otsamo – Stamps featuring Otsamo’s statuesque evening gowns to be issued in September

Posti Ltd has given the stamp art promotion award of 2019 to Mert Otsamo, a fashion designer who has gained fame for the evening gowns he has designed for occasions such as the annual Independence Day Reception at the Presidential Palace. The award consists of a EUR 10,000 cash prize and a stamp publication of the artist’s work. Stamps featuring Otsamo’s statuesque evening gowns will be issued in September.

As a fashion designer, Mert Otsamo has become known for his original style and statuesque evening gowns. Otsamo has been interested in shapes all his life. “What interests me in design is the diversity that exists both in clothing and in jewelry. As a designer, I think it is important to be innovative and experiment with different materials and techniques. Through my work, I want to illustrate the changes taking place in our culture.”

Mert Otsamo was surprised to receive the art award. “I am very excited and grateful for the award. Stamps show the spirit of the time they were issued, and I am very happy that I can become a part of this distinguished tradition through my works. I can hardly wait for the stamps to be issued in September.”

The art award finds new designers for stamps

With the art award, Posti wants to raise the status of stamps and increase people’s appreciation for them. “The evening gowns designed by Mert Otsamo represent unique Finnish design and are visually interesting. We use the award to find new and surprising people to design stamps. Mert Otsamo is a young and talented artist who works skillfully in various fields of design,” says Design Manager Tommi Kantola, Chairman of Posti’s Art Committee.

This is the third time Posti’s art award is being handed out. In 2017, the art award was given to sculptor Jasmin Anoschkin, and in 2018, it was given to graffiti artist EGS.

Mert Otsamo, 28, is a fashion designer who dramatically draws attention to the contrasts of the human figure in his designs. He has designed clothes and jewelry for various celebrities, for example Finnish musicians. His designs have been worn by guests at galas and the annual Independence Day Reception over several years. Otsamo rose to fame through the 2009 Muodin huipulle (Finnish version of Project Runway) TV show, aired on MTV3. Otsamo reached the top 3 in the competition. In fall 2018, Otsamo and jeweler A. Tillander released a collaboration in the form of a ten-piece jewelry collection called My Childhood Dreams.

Thursday, September 5, 2019

Jordan 2018 - The 33rd Jerash Festival of Culture and Arts

Jerash Festival will be held during the period from July, 19 to July, 28 2018 at the Ancient city of Jerash (South, North, Main) theaters and from July, 29 to August, 3 2018 at Amman city.

Monday, September 2, 2019

Faroe Islands 2019 - Faroese Church Textiles on Stamps

Technical Details:
Date of Issue: 23 September 2019
Value: 11,00 and 19,00 DKK
Stamp size: 40,00 mm x 30,00 mm
Design: Karin Brattaberg and unknown artist
Printing Method: Offset
Printer: Cartor Security Printing, France
Postal Use: Small letters inland and to other countries 0-50 gr

Chasubles - Set of mint 
Posta has decided to issue three stamp series, extending over the next three years, dedicated to church textiles used in the Church of the Faroe Islands.

Faroese Church Textiles on Stamps
Posta has decided to issue three stamp series, extending over the next three years, dedicated to church textiles used in the Church of the Faroe Islands. These issues will be covering the liturgical colours as well as presenting the craftmanship of the textiles while observing a fairly even geographical distribution of churches in the Faroes.

The first two stamps will be issued on September 23, 2019, featuring respectively a red chasuble from the church in Sandvík in Suðuroy (consecrated in 1908) and a green chasuble from the church of Funning in Eysturoy (consecrated in 1847).

The red chasuble is made of velvet, decorated with vestment trims and a cross design on the back.

The green chasuble is made of Norwegian wool and cotton. It is hand-woven and inspired by the hymn ”Eg skar mítt navn í grein ta hvítu” (I inscribed my name on the white branch) by Jóannes Patursson in 1901. The chasuble is a gift from the family of Knút Højsted. It was presented to the church in 1990. Karin Brattaberg has designed and produced the chasuble and the associated stole.

After the Reformation, the Lutheran church continued using chasubles, which originally were an old Catholic custom. In the 18th and 19th centuries, the form and styles of the chasubles were greatly debated. There were substantial differences in designs and sizes, and the same is true today. When a church receives a new chasuble, a decision must be taken on whether it is intended to fit more than one of its ordained ministers or only the currently serving minister.

The chasubles are used for the Eucharist and if baptism is to be performed on the same day, many ministers also wear the chasuble during the baptism. Otherwise, the use of the chasuble differs somewhat, but in churches using chasubles in the four liturgical colours, many ministers wear the chasuble during the first part of the service before the sermon, and take it off when they enter the pulpit. Other ministers keep the chasuble on throughout the service.

The Colours of the Liturgic Year
Chasubles and stoles adhere to the colours associated with the holy days of the Church Year, the so-called liturgical colours. However, several churches do not have ecclesiastical vestments in all these colours.

The liturgical colours are white, red, violet, green and black. These are the specific hues used for vestments within the context of Christian liturgy and associated with the ecclesiastical festivals and holy days. The colours signify the following conditions:
  • The white colour signifies purity, joy, holiness and innocence. It is the church's celebratory colour. The white colour is used on Christmas Eve, Christmas Day, Sunday between Christmas and the New Year, New Year's Day, Sunday after the New Year, the Epiphany, the 6th Sunday after the Epiphany, the Annunciation, Maundy Thursday, Easter Day and the second in Easter, the 1st-6th Sundays after Easter, the Ascension of Christ, Trinity Sunday, All Saint’s Day and the 27th Sunday after Trinity Sunday.
  • The red colour signifies fire, blood and love and is the colour of the Holy Ghost. The red colour is used on the second day of Christmas, the Day of Pentecost and the second Day of Pentecost.
  • The violet colour signifies repentance and conversion, thoughtfulness and fasting. It is used during the 1st- 4th Sunday in Advent, Septuagesima, Sexagesima, during Lent, on Shrovetide Sunday, during 1st-3rd Sunday in Lent and Mid-Lent as well as on Palm Sunday and General Prayer Day.
  • The green colour signifies growth and vitality, maturity and hope. The green colour is used for the most of the liturgical year, during Epiphany, 1st-5th Sunday after Epiphany, Trinity Sunday and 1st-26th Sunday after Trinity.
  • The black colour signifies grief and death and is only used on Good Friday. 
Since 1982, Paulina M. K. Eliasen has been registering all liturgical vestments and textiles used in the Faroese churches, prayer houses and schools used for church attendance. Looking at the registration, we can readily see that well-nigh all churches in the Faroes, just as churches in Denmark, have used the red chasuble of velvet with a golden cross on the back and with one or two vestment trims around the edges. The oldest chasubles in these churches date back to the 1890s and from approx. 1900 and beyond. Some are still in use and in some churches the age of these vestments is unknown. The Danish Parament Trade, founded in 1895, has made chasubles for the Faroese churches.

These records do not indicate any changes until in the latter half of the 20th century. Christian’s Church in Klaksvík, which was consecrated in 1963, got a green chasuble of brocade fabric in the 1970s, made by the Danish Parament Trade. The West Church in Tórshavn, which was consecrated in 1975, received chasubles in all the liturgical colours of the Church Year. The green and the red chasubles are made in Denmark, and the white and violet in England.

In recent years, many chasubles have been designed and made in the Faroe Islands. They vary greatly in terms of design, fabric and sewing. However, many chasubles are still bought from abroad, especially from Belgium and Denmark. Judging by the material it appears that, in general, church textiles are undergoing changes, both in terms of colours and design. Many churches today have more than one chasuble, while most churches have several altar cloths. Several churches also have chasubles in all the liturgical colours for use during the Church Year. However, this varies greatly from one church to the next. Some churches have not received new church textiles during this period, while others have received several new textiles. One church has for instance got three new altar cloths. Some churches had only one altar cloth and still have only this one altar cloth. There are many different artistic viewpoints on how to prioritize church textiles – whether they should be purchased from abroad or from artists in the Faroe Islands. Vestments and chasubles that are mostly bought from abroad, while Faroese women have in most cases been making the altar cloths, and the same is true of the carpets, which in many cases are woven in the Faroe Islands.

Source: "Kirkjuklæði" (Church Vestments), a book by Paulina M. K. Eliasen, is expected to be published later this year.

Friday, August 30, 2019

Switzerland 2019 - Traditional Swiss Costumes

Technical Details:
Date of Issue: 05 September 2019
Designer: Müller Lütolf, Berne
Printer: Cartor Security Printing, La Loupe, France
Process: Offset
Colours: 4 Colours
Size Stamps: 34.7 mm × 36.5 mm

Miniature Sheet: 149 mm × 45 mm

Swiss costumes have a long tradition and are known for their extraordinary variety. They are a valuable part of our national cultural heritage. This is illustrated by historical examples depicted on four stamps, produced as a se-tenant on the miniature sheet. A remarkable collection of traditional costumes can be found at the Swiss National Museum. Much of it was gifted by the costume researcher Julie Heierli. The Atelier Müller Lütolf in Berne, which is experienced in philately, has selected four examples from this collection to feature on the stamps. Left to right:

Lötschental: a costume as it was worn until well into the 19th century in Lötschental in Valais. The sleeves that extend only to the elbow are a distinctive feature of the outfit. A shirt was worn underneath the costume, while a garland typically adorned the head. The apron is made of printed cotton.

Fribourg: a procession costume from the 19th century. The large amulet (the “Ginge”) and the puffy sleeves are typical features. The costume is still seen in Düdingen, Tafers and Heitenried at the “Kränzlitöchter” tradition, where it is worn by unmarried women along with the “Schapel”, an ornately decorated headdress.

Valle Verzasca: a Sunday costume as worn in the Valle Maggia at the beginning of the 19th century. Like all traditional costumes, it reflected the fashion of the day. As such, the high empire cut worn below the breast is a typical aspect of the design.

Engadin: this costume dates from the late 18th century. As it is also influenced by the fashion of the period, it is called a Graubünden “rococo costume”. It is accompanied by the “Capadüsli” hat and is still made today. Costumes from this region are documented and looked after by the Graubünden costume association.

Tuesday, August 27, 2019

ASEAN Joint Issue 2019 - National Costumes Stamp Pack

(Click to view larger image)

Stamps from ASEAN Countries - National Costumes:

Brunei Darussalam