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This photograph depicts sisters Clementine & Gloria Carletti c. 1950. Clementine, on the left, is wearing a dress made of a dark-coloured fabric, covered in small white floral patterns. It is decorated with a ruffled collar, which has been tied up with a thin ribbon in the front. Her sister, Gloria, on the right, is wearing a top made of the same material as her sister’s dress, however she is also wearing a white shirt with a high collar and two bows. Her hair is also decorated with a dark-coloured ribbon.

The photo shows two young sisters, Anahid and Asdghig Oundjian in 1942. It appears that Anahid is the one standing and Asdghig is sitting. They are both wearing floor-length western-style dresses with puffed, short, sheer sleeves, a sheer over-skirt and a high rounded off neckline. Furthermore, Anahid has what appears to be two butterfly appliqués, one on her waist and one on her shoulder. She is also wearing a pearl bracelet and a traditional headpiece that is also covered in pearls. Asdghig is wearing jewellery in the form of a medium-length necklace with a cross and the same traditional headpiece. Both of them are also wearing make-up, a dark lipstick and eye shadow, and have their hair pinned back. Based on their clothes, we can assume that they intended on going to an event of some importance, probably religious, since dressing up was usually connected to church events, weddings or holy communion.

The photograph depicts a bride with her groom on their wedding day. She is wearing a long white, western-style wedding dress with white shoes and elbow-length gloves. The dress is ruffled on the sides and at the bottom. She is further accessorised with a long-hooded veil, which is embroidered all over the sides and also has pearls hanging from the front. The groom, standing by her side, is wearing a dark western-style suit with a white shirt and bow tie. He also has a small brooch pinned to his lapel, and a white kerchief in the left pocket of the suit. In his left hand he is holding a pair of white gloves.

This photograph depicts an unknown couple in their evening wear. The lady is wearing a long dress made of a dark fabric, decorated with light reflective patterns, which shine in the camera light. Furthermore, the dress is sleeveless, with a deep décolleté, and it is decorated at the waist with ostrich feathers and a short, transparent tail, which is hanging at the back. The lady is also wearing black heeled shoes. She is further accessorised with a watch and a medallion hanging from a necklace. The gentleman is wearing a dark western-style suit, a white shirt with collar and a tie. A white kerchief is protruding from the left pocket of his suit.

This photograph shows two young girls in a garden, dressed in light-coloured clothes. The photograph was taken on the 25th of February 1925. The girl on the left is wearing a long-sleeved blouse decorated with a broad collar tied with a dark ribbon, and a knee-length skirt with a dark-coloured belt around the waist, from which a handheld fan is hanging. She is also wearing stockings and white shoes with a strap. She is holding what one may assume to be musical notes. Her musical companion with the guitar on the right is also wearing a long-sleeved blouse and a skirt that is almost floor length. The lower part of the skirt is embellished with an attached broad band of darker fabric; from her belt, which is covered by the guitar in the photograph, a handheld fan is also hanging.

Wedding of Armenag and Nevart Assadourian (née Hovsepian) on the 25th of February 1925. The wedding party are wearing a formal western-style clothing, dresses with drop waists and cloche hats with short hairstyle, typical of the 1920s. The bride is wearing a calf-length white wedding dress with a hooded veil. The groom is wearing a western-style two-piece suit with a white high-collared shirt and white gloves.

Wedding of Aram & Araxi Kevorkian (née Guvezian) on the 26th of May 1914. The photograph was taken in front of the Nicosia Armenian church. The members of the wedding party depicted in the photograph are wearing the modern clothes of the 1910s. These clothes in particular would usually entail a departure from the daily wear, to a more elegant and festive clothing. The bride, who is in the centre of the photograph, is wearing a modern ankle-length, white wedding dress with a thin veil attached to the crown of her head. The groom is wearing a western-style dark suit with a white bow tie and a flower attached to his lapel. It was tradition to take a photograph on the wedding day, as having one’s photo taken was a special and also a relatively expensive event, thus reserved only for special occasions.

The tall house with the tiled roof and the flag belonged to Richard Mattei, who owned a prosperous farm in Dali village and had invented a system for extermonating locust. he was a Cypriot - Italian landowner and member of Garnet Wolseley's first Legislative Counsil. The lonf row of buildings includes a number of arches, kiosks and balconies under flat and sloping tiled roofs. Figures working on the pier and men struggling in a boat add life to the picture. Ellis's own attitudes are reflected in his interior of a traditional Cypriot's Home. The servants, Greek figures, subservient and awkward, attend to the animals. The artist, dressed in white and wearing a pith helmet (an insignia of the ruling class), ascends the stairs to the upper quarters. (page 178 fig 208)

Watercolour painting At the Marina, Larnaca, 1878, (that part around the port was better known as Scala, and the rest of the town was about half to one mile away) gives the impression of a Near Eastern port. This could be any small harbour in Asia Minor, Egypt or Syria. What is interesting, and what renders it an oriental picture, is the carefully chosen detailing, that has been included and what omitted. the costumes are Ottoman and exotic, which presented only half the truth. There is no doubt that such costumes were seen all over Cyprus and in countryside for many years to come, but by the end of the nineteenth century Larnaca was Europeanised to the degree that at least part of its population appeared in European clothes. There are no women on the seafront, even if it appears to be busy market day. The only woman to be seen is seated at her window high above the road, at safe distance for men. she is wearing the white robes of the Moslem tradition, even though her face uncovered and she is seated by wide open window - pointing it the relaxation of the Islamic rules even on women attire. (severis 2000 page 176 fig 206)

The character on the right named by the painter Donisthorpe Donne as Ibrahim Mustafa is in the company of a black man with the same rank (denoted by the insignia on their sleeves)