The distinctive customs and costumes of the area have attracted artists and ethnologists since the late eighteenth century, leading to some idiosyncratic theories such as the claim that the locals descended from pre-Celtic aboriginal inhabitants of Brittany or that "physiognomic similarities" to Mongolians indicate descent from an ancient Asian race. During the nineteenth century local costumes became increasingly elaborate and colourful. Especially famous was the tall lace bonnet worn by the women, which covered only the top of the skull and extended to a triangle of fabric mounted on a base. These were embroidered with patterns of flowers. Mrs Bury Pallister, writing in 1869, described it as follows, By around 1900 this had evolved into a tall
sugarloaf shape. In the early twentieth century the cap became even taller, reaching fifteen to twenty centimeters in the late 1920s and even taller just after the Second World War. Until 2000, the cap has hovered between 30 and 35 centimeters in height by 12-14 centimeters wide at the base.
René Quillivic's statue
La Bigoudène at Pors-Poulhan depicts a woman wearing the headdress. It marks the border between Pays Bigouden and
Cap Sizun.
Pêr-Jakez Helias, a major Breton writer of the 20th century, was from the Bigouden. The traditional language of the Bigouden region is
Breton, specifically the
Cornouaille dialect, although usage has declined in recent decades due to language shift and urbanization. Revitalization efforts are ongoing through local schools and cultural associations. ==Flag==