HISTORY OF COSTUME REFERENCE BOOK

PAGE OF CONTENTS

Mesopotamia 1
Egypt 11
Crete, Mycenae & Greece 21
Etruria & Rome 31
Byzantine Empire 41
Barbaric, Carolingian & Romanesque 51
Early and High Gothic 61
Middle Gothic 71
Late Gothic & Early Italian Renaissance 81
High Renaissance 91
Early Mannerist Renaissance 101
Elizabethan-Jacobean 111
Early Baroque 121

Bibliography 131

1
Mesopotamia - Cradle of Civilisation
The earliest records of human civilizations were found in Mesopotamia, a large
region centered between the Tigris and Euphrates Rivers, located in modern-day
Iraq. There were a few civilizations which developed during that time, mainly the
biblical civilizations such as Sumerians (3000–2000 BC), the Akkadians (2350–
2218 BC), the Babylonians (1894–1595 BC), the Assyrians (1380–612 BC), and
the Persians (550–330 BC).
Sumerians created the earliest civilization in Mesopotamia
around. They created large city-states developed near the
Euphrates River and were agriculture-based. Akkadians
were a different ethnic group staying in the same area as
the Sumerians. By 1849 BC, the Babylonians rose to power.
Under the rule of the king Hammurabi of Babylon (1792–
1750 BC.), a code of laws (known as the Code of

Sumerian Statue Hammurabi) was developed and written down.

The warring Assyrians started their dominance in
Mesopotamia, conquering many regions. It was a male-dominated culture and
women had little say in the society. However, their harsh rule over the regions
were not welcomed by many cultures, they were eventually overthrown.
After the Assyrians were conquered, the Persians
(present day Iranians) became the dominant
culture in the region. The Persian Empire also
conquered a vast area of land; however, they
were just and benevolent in treating their new subjects, hence the Akkadian Seal
empire was relatively stable during their reign. The empire
eventually went to war with the Greek states, and was defeated by Alexander the
Great in 333BC.

Relief, Persian Empire

(358–338 B.C.)

Assyrians
2
Silhouette
The people living in Mesopotamia prefer simple silhouettes, as shaped by their
garment cloth material.

Types of Costumes & Accessories

Sumerians
• Interest in rounded, cylindrical lines
• Fringed edges & Embroidery
• Kaunakes (tiered skirts)
• Ornamental rolled collars and Gold jewellery for the rich
Babylonians
• Fringed edges
• Tunic and skirts
• Left arm covered
Assyrians
• Similar to Sumerians and Babylonians
• Female have shawl over tunic.
• Prefer geometric patterns
• Jewellery such as bracelets, armlets, rings
• Opened toe shoes
Persian
• Candys: low flowing gown with wide sleeves
• Domed hat

Fabric
Wool (especially in fringe), linen, leather

3
Mesopotamia: Comparison 1 – Historical

Mesopotamian layered clothing with fringed details. Figures on the wall carvings
feature tiered beards and wore flat open toed shoes.

4
Mesopotamia: Comparison 1 – Modern

Fringed, layered skirt

Balenciaga, Fall 2007, Vogue US September 2007.
Model is seen with a layered dress with fringe details.

5
Similarities
• Both outfits made use of fringe materials to decorate the plain fabrics of
the dress tunic/skirt
• Silhouette: Both fringed garments give a tiered, layered look on the
wearer’s lower torso.

Differences

• Uses: Fringe garment was a mainstay in Mesopotamian fashion. It was

often used as ornamentation of garments. The fringe details may also be
spiral shaped, much like the modern example, resembling that of the
Tower of Babel. In this historical example, the protruding fringe details
(leaf-shaped) were seen on the external wrapped garment worn above the
tunic, next to the bordered patterns found on the fabric. In the modern
example, the fringe details were attached to the ends of the spiral-layered
skirt. Such layering can be found quite commonly in modern times to give
a more layered effect on plain fabrics.
• Making of Garment: Fringe is probably sewn onto the garment in the
Mesopotamian picture.
• Colour & Material: The Mesopotamian fringe is probably made of fleece,
while the modern white fringe is made from fine threads, either sewn on,
or the threads were protruding wefts from the fabric.

6
Mesopotamia: Comparison 2 – Historical

Kaunake
Sumerian statue of a woman in plain tiered and tufted wrap skirt.

7
Mesopotamia: Comparison 1 – Modern

Tiered Dress
Dior Fall 2007, W Magazine September 2007
Orange dress with tiered, conical details on the lower (skirt) portion.

8
Similarities
• Both types of garment are worn by women
• Tiered skirts with a cone shaped silhouette with a bodice that shows the
neckline

Differences
• Uses: Tiered skirts are worn by both men and women in Sumerian times,
whereas in modern time, skirts are mostly worn by women.
• In the historical costume, the layered look achieved by tying the tufts
around during weaving or by rows of fringe fabric to the skirt cloth. In
comparison, the tiered portion was achieved by overlapping layers of cloth.
• It is hard to tell which colour or fabric is used in the old picture, but it could
be either fleece or linen. In the Dior dress, a stiff form of satin is used, with
a bright orange hue.
• The Mesopotamian cultures preferred a more cylindrical shape for their
garments, probably because they were restricted in the type of materials
they could use. In modern cultures, clothes are more tight-fitting, and in
this case, it accentuates the difference in waist to hip proportion

9
Ancient Egypt

The history of ancient Egypt is broken into several periods or eras: the Old
Kingdom, the Middle Kingdom, and the New Kingdom. The Old Kingdom saw the
construction of the majestic stone pyramids at Giza on the west bank of the Nile
near the current Egyptian capital of Cairo. During the Old Kingdom
Egyptians developed an accurate solar calendar and made huge achievements
in art and culture. The Middle Kingdom period lasted from about 2000 BC till
1500 BC, and is known for its literature and the expansion of trade routes to
other cultures such as Middle East. The New Kingdom period lasted from about
1500 to 750 BC During this time Egypt conquered its neighbors to the south and
expanded its control into parts of Africa. The Empire displayed its wealth in lavish
temples and more highly decorated clothes. Egyptian society began to break
down after reaching its peak in prosperity and was eventually conquered by
Macedonian leader Alexander the Great in 332 BC. From that point on the stable
and distinctive culture of ancient Egypt slowly disappeared.

The Egyptians were known for their majestic pyramids and tomb chambers,
which were supposed to prepare their Pharaohs and the royalty for the afterlife, a
concept they started believing in the Middle Kingdom. Much of their normal day
activities are entwined with religion and superstition.

10
Costume Style and Influence
The Egyptians were influence by their religion and hieroglyphic language. Due to
their extensive trade routes they were able to get many materials and inspirations
for their clothing.

Silhouette
Egyptians emphasize a lot on their lower torso. They also appear to wear a lot of
sheer garment. Early Egyptian men often go topless. Later periods saw a rise in
the popularity of

Types of Costumes & Accessories

• Headdresses for royalty
Men
• Loin cloth → Schenti
• Shendot
• Gala Skirt

Women
• Kalasirisis (tight gown worn under shawl)
• Sheer garment
• Pleated garments

Fabric
White is the preferred colour. Although red, blue, yellow and blue green dyes
were available. Linen was used for most garments, while leather was used as a
supplement.

11
Egypt: Comparison 1 – Historical

Gala Skirt
Egyptian man with a gala skirt, gathers convene on the right.

12
Egypt: Comparison 1 – Modern

Dress with folds

Dior Fall 2007, Vogue US September 2007
Mustard dress with belt. Folds on skirt gathered towards the left, with stone
ornamentation.

13
Similarities
• Both garments make use of pleats/gathers to form an asymmetrical fold
pattern of the skirt, with the folds convening on one side of the hip

Differences
• Uses: the gala skirt (wrap skirt) was worn by high-ranking men mainly in
the Old Kingdom, usually worn alone with no tops. These skirts are often
seen on high ranking workmen of granaries. The Dior dress is considered
common amongst modern women, and is usually worn for night or formal
occasions. The folds on garment is not commonly found on men
• Making of Garment: Gala skirt is achieved by wrapping the cloth at least
one and half times round the lower body, with the pleated section with the
rounded hemline ending on the right. In the modern picture, the dress
folds are made by sewing the top parts of the fold to the skirt with a
brooch-like cover sewn over the convening point.
• Colour & Material: In drawings and statues, the gala skirt Is shown to have
a gold sheen, probably caused by adding gold threads woven into the
white linen skirt cloth. In the modern comparison, the colour of the
seamless dress is in mustard yellow, probably consists of manufactured
fibre textiles to give a smooth surface texture.
• Silhouette: The fabric of the gala skirt flows and clings on to the outline of
the body, whereas the Dior dress skirt is slightly stiffer and does not cling
as much.

14
Egypt: Comparison 2 – Historical

Beaded Collar
Sheer pleated garment with beaded collar. Egyptian lady in the picture also
wearing wrist bracelet bands and a vulture headdress

15
Egypt: Comparison 2 – Modern

Beaded/Sequin Collar
Temperly London, Fall/Winter 2007 from style.com
Long orange dress with prominent beaded collar.

16
Similarities
• A banded collar was worn by both females, over a long body clinging
garment dress.
• Semi-circular lines
• Both are gold and brown in colour, and made of beads.
• Both are used as ornamental pieces for the rich, or for special occasions.

Differences
• Uses: This type of Egyptian collar is worn by rich women during the New
Empire. In modern times, such jewellery pieces are used mainly for
special events and parties.
• Egyptian collar is made of semiprecious stones, faience or glass beads
and usually extended from shoulder to shoulder, and is balanced at the
back with a weight. In the modern example, the collar appears to be
double sided, and is made of sequins, beads, and gold plated strips. The
modern beaded collar also has more allowance at the neck (wider scope).

17
Crete, Mycenae & Greece
The Minoan civilization was at its height between 1750
and 1580 B.C. (middle period). During this time, the
palace at Knossos was built and the most exciting
development at Minoan costume was seen. Women
wore tiered skirts that fell straight from the hips and then
filled out to a wide hem. Above the skirt, they wore a
tight-fitting short sleeved bodice. In most cases (as
shown in frescoes), the breasts were entirely exposed
with the bodice laced up below
the bust.
The civilization was overtaken by
the Mycenaean civilization
eventually. The Mycenaean culture began to flourish on
mainland Greece and invaded Crete. Natural
catastrophes caused the Mycenaean culture to flounder,
and Mycenaeans dispersed to other areas. As the Mycenaeans left Greece, the
Dorians, ancient Greeks, conquered the land. This period was also known as the
Dark Ages. By about 800 BC, Greek culture began to flourish again with
increasing population, the development of trade colonies, and the rediscovery of
the skill of writing.
The period from 500 to 336 B.C.E. is considered the Classical Period of Greek
history. During this time Athens dominated Greek culture and politics. The ideas
about art, architecture, philosophy, business, culture, and politics and literature
that developed during this period
laid the foundation of modern
Western civilization.

18
Costume Style and Influence

Silhouette
Minoans, early inhabitants of present day Greece
preferred artificial silhouettes and snake-like hair, while
Mycenaeans preferred a rougher, present-day ‘biker
look’ with leather and metallic accessories. Classical
Greeks love soft draping to create natural folds over
the human body.
Types of Costumes & Accessories
Minoan/Mycenaean Ionic capital, Temple of
Artemis at Sardis, 4th century B.C.
• Tight sleeved cylindrical skirts
• Perizoma

Archaic Greece
• Petasos (hat)
• Chiton, kolobus
• Exomis
• Chlamys
• Greaves (shin guard)
• Fibula (Brooch)

Classical Greece
• Chiton (Ionic & Doric)
• Peplos
• Himation, diplax
• Cuirass
• Sakko, Stephane, Phrygian, Sphendore
Fabric
Linen and Wool

19
Greece: Comparison 1 – Historical

Doric Chiton
Greek woman wearing a white Doric chiton attached on both shoulders.
Embroidery or print by the edges.

20
Greece: Comparison 1 – Modern

Greek-inspired Sleeveless Satin Dress

Chanel perfume ad, FashionSpot.com
Satin dress inspired by the Doric chiton.

21
Similarities
• The silhouettes of both garments are very similar, with soft fabrics draping
over the body, forming natural folds. The fabrics are attached on both
shoulders, and there are huge allowances for the arms (huge arm holes)

Differences
• Uses: The Doric chiton in classical Greece was worn by most females in
everyday lives, be it for outdoor or indoor usage. The style has remained
popular in modern times, but probably is used more often for gowns and
formal blouses.
• Making of Garment: The Classical Greek Doric chiton is worn by attaching
folding the upper edge of the fabric down to reach just below the chest,
and the garment is secured by attaching the fabric on both shoulders with
brooches or fibulas. For the modern variation of this style, the dress is
sewn on the sides, with holes cut at the arms and neck to achieve this
look.
• Colour & Material: In the Greek picture the woman is seen to be wearing a
white chiton made of lightweight material, with an apolytgma (over fold)
that has a border print. In the modern version, the velvet red dress is
made of soft satin.
• Silhouette: Slight variation in the silhouette due to the presence of over
fold in the classical Doric chiton, which drapes down by the side. The
Chanel dress has a simpler clean cut.

22
Greece: Comparison 2 – Historical

Man wears a chlamys pinned with a fibula on the right shoulder with clavi (purple
stripes), underneath which is a chiton or kolobus.

23
Greece: Comparison 2 – Modern

Cape
Giambattista Valli Fall 2007, style.com

24
Similarities
• Both are over garments that are essentially a piece of cloth draped over
the shoulder, and secured by pinning/knotting at the neck

Differences
• Uses: Chlamys was one of the few items of ancient Greek clothing worn
exclusively by men. It was a multipurpose cape that active people wore or
carried around for the outdoors. The modern cape is not often used,
particularly in urbanized cities. In this case, the cape is purely decorative.
• Making of Garment: Chlamys is essentially a piece of cloth tied or pinned
at the right shoulder (with a fibula), or tied at the chest. In the modern
picture, the cape is tied in a huge knot at the front.
• Colour & Material: The modern cape is brightly coloured in striking yellow,
and made of stiff synthetic fabric, whereas the chlamys is made of a fabric
with high drape. The chlamys is also decorated with clavi, purple border
designs.
• Silhouette: The modern cape-like over garment tied at the front, with the
ends of the cape tucked to the bottom of the dress, giving a rounded
overall appearance at the ends of the cape. On the other hand, the
chlamys drapes naturally over the man in the figure.

25
Etruria & Rome

In the ancient times many city-states developed in the Italian peninsula. The
most powerful of these city-states was inhabited by the Etruscans, who
dominated most of Italy from about 800 BC until they were defeated by the
Romans in 250 BC. At the height of its power, the Roman Empire stretched from
Spain in the west to present-day Syria in the east, and from Egypt in the south to
Britain in the north.

The Romans borrowed many costume trends from the Etruscans. During the
years of the Roman Republic (509–27 B.C.E.), they built a vast system of
roadways and waterways that connected Europe and parts of the Middle East.
They created a system of republican government, and established trade routes
that stretched throughout the world, including a thriving trade with China and the
Far East. Yet with great wealth came the slow
corruption of the empire. The once sparing
and simple Romans became lovers of luxury.
Roman senators made sumptuary laws to
limit the ways people could dress and entertain
themselves. The first Roman sumptuary law was
called the Lex Appia. It declared that no woman could possess more than a half
ounce of gold, wear a stola, or dress, of different colors, or ride in a carriage in
any city unless for a public ceremony. Many people resented these sumptuary
laws. The rulers abused their power and indulged in luxuries and slowly lost the
support of the civilians.

Conflict between the rulers of different cities, each with their own armies, soon
began to tear the empire apart in a long civil war. The emperor Diocletian (c.
245–c. 316) reorganized the empire in 293 AD., creating a Western Roman
Empire centered in Rome and an Eastern Roman Empire centered in modern-
day Turkey.

26
Costume Style and Influence
Greeks inherited a lot of fashion styles from the Greeks
and other Mediterranean cultures

Silhouette
Well draped lines, with more decoration and
ornamentation

Types of Costumes & Accessories

• Toga: Romans were often called gens togata, or people of the toga.
• Palla
• Stola (Slip Dress)
• Tunica
• Paenula (rain coat)
• Colubium
• Solea (sandals)
• Crepida (covered shoes)
• Callgula (boots)
• Dalmaticas
• Flammeum (veil)
• Lorica (brass protection)
• Strophinum (bikini-like)

The Roman emperor Nero

wearing feminalia

27
Rome: Comparison 1 – Historical

Solea
Roman man wearing solea (sandals)

28
Rome : Comparison 1 – Modern

Cork Sandals
Phillip Lim Spring Summer 2008, style.com

29
Similarities
• Both pictures show the people wearing red, flat, open sandals that are
strapped/with strap patterns.
• Both sandals are secured by knots at the ankle
• The general shape of the sandal is similar, with cross strap patterns.

Differences

• Uses: Roman men wore the solea both indoors and outdoors. Sandals in the
modern days are mostly worn on casual occasions, and for outdoors usage.
• Making of Garment: The solea has a characteristic long strap in the middle,
with straps ‘branching out’ to hold the sole and feet together. The middle strap
divides the big toe from the rest of the toes. In the modern comparison, the
sandal laces are laced through hoops secured onto the sole; laced straps
crisscross above the feet.
• Colour & Material: Both sandals are laced but probably made of different
materials. Sole of the solea may be made of wood, while that of the modern
sandal is made of cork/compressed wood. The laces used on the modern
sandal looked similar to shoe laces (cotton)

30
Rome: Comparison 2 – Historical

Strophinum
Women wearing strophinum playing some ball game.

31
Rome : Comparison 2 – Modern

Sports Bras
Brazilian beach volley-ballers wearing sports bras, bikinis and shorts.

32
Similarities
• Both pictures show women wearing 2-piece garments that resembles the
present day lingerie/bikini
• Both garments seemed to be worn during sports to enable greater
flexibility, and are worn by women for modesty reasons.

Differences
• Making of Garment: The fabric that makes up upper torso garment of the
strophinum is probably stitched or pinned together. While the lower torso is
made by wrapping. The modern version is made by using stretchable
materials and sewn on the sides.
• Colour & Material: Present day bikinis/sports bra uses lycra and other elastic
materials and are usually tightly fitted to the body. The strophinum appears to
be made of linen or some natural fibre that has little elastic stretch. Colour of
the strophinum looks one toned (brownish, as depicted by fresco), while that
of the sports bra is brightly coloured
• Silhouette: The silhouette of the modern sports bikini is well fitting, whereas
the strophinum looks rather skimpy and likely to fall apart when one engages
in vigorous sports.

33
Byzantine Empire

Following the death of the Roman emperor Theodosius (347–395 AD.), the great
Roman Empire was divided into two, with the Eastern Roman Empire having the
city of Constantinople, once known as Byzantium, as its capital. The Western
Roman Empire came under attacks from barbarian (people from foreign lands)
tribes, leading to the downfall of eventual fall of Rome in 476, when Emperor
Romulus was killed. Only the Eastern Roman Empire, known today as the
Byzantine Empire, survived.

The center of Byzantine culture was the Christian church, and it was headed by
the emperor. But Byzantines and later Italians, who were Roman Catholic, fought
over who held the highest authority: with Italians favoring the pope in Rome and
the Byzantines preferring the bishop of Constantinople. In 1054 the two parts of
the church would split, into the Eastern Orthodox Church and the Roman
Catholic Church, in what is known as the Great Schism.

Beginning in the eleventh century C.E.

Christian armies from western Europe began to
travel through the Byzantine Empire to reclaim
“holy lands” from Turks and Arabs in the
Middle East. These armies, known as
crusaders, sparked a series of wars with Turks
The Church of Hagia Sophia and Arabs that brought great conflict to the
still stands in Istanbul, Turkey empire. Byzantines argued with the crusaders,
and both sides fought against their non-Christian enemies. These conflicts,
extended over a period of hundreds of years, exhausted the size and strength of
the empire. In 1453 a Turkish army led by Mehmed II (1432–1481) captured the
city of Constantinople and ended the Byzantine Empire.

34
Costume Style and Influence
Influenced by Rome, Christianity and
other cultures from the East

Silhouette
Long sleeves and full garment length
(modesty), semi-fitted garments.

Types of Costumes & Accessories

• Chasuble
• Pallium/ lorum

• Dalmatic
• Palla & Stola
• Superhumeral
• Segmentae (shoulder) & tablions (cape)
• Paludamentum
• Pointed shoes
• Lorica
• Hosa

Fabric
• Cotton. linen, wool and silk
• Brocade, embroidery

35
Byzantine: Comparison 1 – Historical

Royal Crown & Accessories

Restored mosaic showing Byzantine emperor Justinian wearing ornate imperial
crown with pearls as well as a collared band (superhumeral?). He is also seen to
be wearing paludamentum, with a tunica beneath that sports a segmentae

36
Byzantine: Comparison 1 – Modern

Chunky Accessories
Versace Atelier Haute Couture Spring/Summer 1992, Vogue Italia March 1992
Naomi Campbell shown here sporting garment with ornate and oriental designs
with hanging fringe details. She also sports chunky jewellery on her neck and
hairline.

37
Similarities
• Both outfits include chunky and intricate accessories.
• Usage of protruding precious or semi-precious stones in accessories
• Cape-like over garment
• Both worn by the rich (royal crown, haute couture) and powerful.

Differences

• Making of Accessories& Materia Used: The crown worn by Emperor Justinian

is made by attaching precious stones and pearls to the crown base.
Cloisonné enameling could be done to place the small panels of stones with
raised gold borders. Pearl drops dangling down from the crown. The chunky
accessories worn by the model is made of metallic chunks and probably
some semi-precious stones as well. Fringe dangling from the collar piece of
accessory.
• Colour: Gold is used on both accessories, but the Justinian accessories
consist of plenty of white pearls and multi-coloured (blue, red) stones. The
accessories worn by Naomi Campbell are mostly gold in colour with traces of
red, green and black outlines interspersed.

38
Byzantine: Comparison 2 – Historical

Byzantine Mosaic Art, showing a Christian man in tunic robes with intricate,
repetitive, dots and geometric designs.

39
Byzantine: Comparison 2 – Modern

Oscar de la Renta Spring Summer 2008, Yahoo News

Garment and accessories sport geometric designs with shapes
and dots

40
Similarities
• Geometrical and repetitive shapes and patterns on the garments, using
contrasting colours.

Differences

• History & Uses: The Byzantine Empire was in part, influenced by many
cultures as it controls the major trade routes linking Europe to the Persian
Empire, Arab States and the East. The geometrical patterns are used on their
fabrics, along with much ornamentation. Such garments are worn by both
men and women. In the modern context, geometrical shapes are still very
favoured on clothing, as shown in the picture. Such shapes and patterns are
able to draw attention to certain parts of the torso, and create visual texture
for the garment
• Making of Garment: Old Byzantine garment is probably dyed with natural
dyes to make the prints, or the prints may be embroidered (not clear from
mosaic). In the modern picture, the fabrics were probably printed on by hot
presses.
• Colour & Material: Colours used in the Byzantine robes were mainly brown,
white and yellow, while that used in the modern comparison used off white,
black and brown.
• Silhouette: The geometric patterns on Byzantine mosaic are used uniformly
on all parts of the robe while that of the Modern comparison applied different
patterns on different parts of the outfit. The modern garment consists of a
halter top and a skirt, with the skirt having a band of different colour at the hip
area, hence giving a ‘belted’ look for the entire outfit.

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Western Europe: The Dark Ages (AD 500 to approx AD 1000)
Barbaric, Carolingian & Romanesque

After Roman Empire collapsed in 476, much of the civilization that the Romans
had developed collapsed. Well-built cities were destroyed, centers of learning
were ruined, and trade routes were disrupted. The Power and army were split,
and the remnants of the Roman Empire had to compete with nomadic ‘barbaric’
tribes for land and resources. Tribes who took power kept their control local and
were constantly at war with each other. There was a breakdown in social and
economic linkages between each area. The disorder they brought ushered in an
era in European history that some renaissance era historians call the Dark Ages,
which lasted from the reign of Byzantine Emperor Justinian (527) till
Charlemagne became emperor of the Holy Roman Empire in 800.

Charlemagne’s rule was characterized by some renewed trade among the

emerging states of France, Italy, and Spain. Renewed interest in Classical
Antiquity, education, style and art (inclusive of costume styles) caused a mini
Carolingian Renaissance during his reign. However, upon Charlemagne’s death
the empire fell apart again leading to a new Dark Ages. Societies began to
develop under a feudal system.

The Roman Catholic Church was the most powerful institution in all of Europe
during this period. It was the maintainer of historical and literary records. The
church was also a powerful economic entity, collecting taxes from all citizens.
Cathedrals and monasteries were built by the church, from which many of the
records surviving from them allowed historians and researchers to understand
the culture and background of the Dark Ages.

After the turn of the millennia, there was an increased interest in arts and culture,
leading to new art sculptures, clothing and architectural monuments done in a
Romanesque style. There was also a rise in the number of medieval communes

42
(fortified towns), rediscovery of Roman law, and the beginnings of vernacular
literature.

The First Crusades began in 1095. These crusades consisted of several wars
forged in the name of religion to reclaim the Holy Lands in Middle East from
Muslim nations. The campaigns lasted from about 1090 to 1300. Trade routes
opened up again to the Mediterranean and Asia Minor. These crusaders crossed
vast distances and learned a great deal about foreign lands, including the
Byzantine Empire (476–1453) nearer to the Far East. They brought back with
them new ideas, access to new trading partners, and hence adopted new styles
in clothing.

Costume Style and Influence

Silhouette
Long garments covered the body. Limited by materials available. Generally more
fitted towards the Romanesque times.

Types of Costumes & Accessories

• Under tunic and over Tunic (long rectangle of wool with a hole in the
center for the head)
• Hose and Breeches→ bracchae (trousers)
• Women tunics fall to the ground → Bilaut
• Paludmenadium → Mantle (Cape-like all purpose wrap, fastened at the right
shoulder with a small metal clasp or brooch)
• Baldric

Fabric
Wool as their primary fabric

43
Carolingian: Comparison 1 – Historical

Embroidered Borders
Carolingian (Frankish) people wearing embroidered bands on tunic garments and
over garments. Female tunic with wide open sleeves.

44
Carolingian: Comparison 1 – Modern

Embroidered borders
Andrew Gn, Fall 2007, Female Magazine September 2007
Black coat with embroidered borders over a short black dress.

45
Similarities
• Both examples made use of embroidered borders on the edges of the
garment

Differences

• Uses: In the first picture, the Frankish people were wearing tunics underneath
their mantles, which had embroidered borders. In the modern example, the
model was wearing a outer coat over a dress. The embroidery patterns were
on the front edges of the coat, as well as on the sleeves of the coat.
• Making of Garment: The embroidery was achieved by weaving thread onto
the mantle, while the modern coat embroidery could be done by machines.
• Colour & Pattern: The colour of the borders on the mantle were yellow or gold,
a contrasting colour to the base colour of the mantle, while the colour of the
modern piece is the same as the base colour of the coat (black). The modern
design is less ‘loud’ than the Carolingian one. Patterns used for the Andrew
Gn coat are simple rectangular designs, while those used by the Carolingians
appear to be more intricate, with motifs and swirls.

46
Carolingian: Comparison 2 – Historical

Bliaut
The Accolade, Edmund Blair Leighton. A lady in bliaut blesses a knight (?).

47
Carolingian: Comparison 1 – Modern

Flare Sleeves
Balenciaga Fall 2007, Vogue US September 2007
Ethnic inspired garment with flared sleeves which is more tight-fitted at the upper
arms.

48
Similarities
• Both garments use wide sleeves which are more tight-fitted at the upper
arms, and flares out at the end.
• Both outfits are worn by women.

Differences
• The bliaut is a tight-fitting full-length tunic belted at the waist. In the picture,
armlets are placed on the upper arms, above the flare sleeves. In
comparison, the sleeves of the ethnic dress are not as dramatically long
as that of the bliaut. From the pictures it appeared that the bliaut was a
common form of garment for females in the middle ages, however, flare
sleeves are not as popular in the present times.
• Making of Garment & Materials: The bliaut it a long tunic that is tailored to
cling tightly to the upper body. Semi-circular skirts are cut and sewn
separately. The sleeves and the dress falls naturally. (Girl wears a cote
underneath) In the Balenciaga outfit, the bell-sleeves are made of satin-
edged chiffon, attached to the rest of the fringed outfit.
• Colour: The modern bell sleeves are beige while those of the bliaut are
white.

49
12th & 13th Centuries – Early & High Gothic/ High Middle Ages

Gothic art was a Medieval art movement that lasted about 200 years, coinciding
with the early beginnings and height of the bubonic plague. It began in France
out of the Romanesque period in the mid-12th century.
Under the feudal system a local king sat at the top of the social order. He was
supported by nobles, who swore their loyalty to the king and provided him with
soldiers, called knights, for protection. The nobles controlled the land, which was
worked by peasants and other members of the lower classes. During this period,
the system began to lose some of its authority as the Church grows more
powerful and centralized. Cathedrals were named after the Virgin Mary, and
religious art flourished.

Notre Dame

Figures from Cathedral of Chartres

50
Costume Style and Influence
Influenced by the Church and the Crusaders, less ornamentation.

Silhouette
Structure, simplicity, proportion and graceful draping is valued

Types of Costumes & Accessories

• Cote & Surcote
• Pourpoint
o Short, sleeveless or sleeved jacket tailored close to torso
o Comfortable undergarment to provide padding undergarment, but
slowly became outerwear.
o Hose that knights wore on their legs tied to anchors on the pourpoint,
called points
• Mantle
o People start to drape it over both shoulders and fasten it at the center of the
chest
o Elaborate mantles made of rich silk, trimmed with soft fur, and fastened with
an expensive jewelled brooch
• Wimple (seen in picture)
• Bliaut
• Ganache and Gardcorps
• Hose and Breeches
• Hoods (Liripipes)

Fabric
• Linen
• Finer woolens and silks
• More sophisticated weaving methods

51
Early/High Gothic: Comparison 1 – Historical

Lady in the early Gothic era, wearing a sleeveless surcote/sideless gown over a
cote.

52
Early/High Gothic: Comparison 1 – Modern

Topshop Unique Spring Summer 2007, style.com.

Wide scope overalls garment over tube dress/top.

53
Similarities

• Both are sideless and worn as an over-garment above other clothing.

• Both garments allows wearers to rest their hands in the opening.
• Arm holes stretch down to the waist

Differences

• Uses: In the early gothic period, these sideless surcotes are worn over cotes.
They are influenced by the cyclas worn by soldiers. The colours of the
surcotes and cotes are often contrasting. In the modern example, the pink
overalls resemble the denim overalls we often see, and are rather popular
with younger girls.
• Colour & Material: The sideless surcote is probably made from linen, while
the pink overalls maybe made with cotton or cotton blend materials. Synthetic
colouring is used for the modern fabric, whereas the blue in the surcote is
from naturally derived dyes.
• Silhouette: A T-shaped silhouette is seen for both garments, although in the
present day, the garment beneath the overalls is likely to be sleeveless (As
seen in the picture), unlike the mediaeval version, whereby the surcote is
worn above a long sleeve cote.
• Hemline of the modern overalls is also shorter than the sideless surcote.
• Modern overalls are cut in a more angular fashion.

54
Early/High Gothic: Comparison 2 – Historical

Chain Mail
Mediaeval soldiers wearing chain mails and armored metal helmets

55
Early/High Gothic: Comparison 2 – Modern

Mesh Headdress
Unknown designer (caption was unclear), Vogue US, April 1998
Model wearing chain mail-inspired ornamental headdress.

56
Similarities
• Small metal parts are linked together in a pattern to form a mesh.
• Shiny surface

Differences

• Uses: The chain mail is made up of small metal rings, whereas the modern
headdress is made up of metal plates connected together. The chainmail was
used in medieval times as an armour to prevent weapon penetration, whereas
the chainmail headdress (resembling a mail coif) is used today solely for
decorative purposes. It is not used for common occasions.
• Making of Garment: The medieval chain mail is made by connecting one ring
to 4/6 others, so on and so forth. In the modern headdress, one metallic disc
is connected to 6 others.

• Colour & Material: The material used

in the chain mail was probably iron,
while that of the headdress may be
metal or plastic discs coated with
metallic sheen.
• Silhouette: Both garments cling on to
the body due to the small
interlocking rings/discs.

57
14th Century – Middle Gothic/ High to Late Middle Ages

The Great Plague wiped out nearly one-third of Western

Europe’s population between 1348 and 1350. It had
serious consequences to Europe’s societal structure,
economy, arts and culture. Many people started to
question the authority of the Catholic Church. It also
brought some dramatic styles to the garment fashion
during that period. During and after the plague people
sought out fancier, more controversial and more highly
ornamented clothing. Historians believe it had to do with

Poulaines, a type of seeing a large number of their relatives and friends

shoe with long pointed
passing away; with life seeming transient and
toe allowance
unpredictable, they sought to seize the day and enjoy
while they can.

Towards the last half of 14th century, many extreme fashions came about as
Europe, with a much reduced population consisting of many young people, tried
to recover from the devastation caused by the Black Death.

58
Costume Style And Influence
• By 1300 there were seven hundred tailors working in Paris, France.
Tailors across Europe developed new methods of cutting and sewing that
allowed for closer fitting, more intricately tailored clothing.
• The Great Plague brought about extremities and many fashion fads for the
people

Silhouette
Slim fitting cuts, elegant S-curve lines and the ‘pregnant’ look was fashionable for
women.
Types of Costumes & Accessories
• Cote → Cotehardie
• Bliaut → Houppelande (Hemline and its wide sleeves could reach to or
trail on the ground
o Hemline and sleeve cuffs often trimmed or scalloped into
decorative patterns. Sometimes even with fur as trimmings
o Made with Silk, velvet or brocade fabric.
o Sideless gown
• Tippets and pointy shoes
• Steeple Headdress, Chaperon
• Heraldry (Coat of Arms), castlellated details

Fabric
o Silk, linen, woolens
o Silk velvets, brocade,
taffetas, samite

1340–1350
French

59
Middle Gothic: Comparison 1 – Historical

Parti-coloured tunic
A servant wearing parti-coloured garment over hose in Supper in the House of
the Pharisee by Giotto, early 14th century

60
Early/High Gothic: Comparison 1 – Modern

Split-coloured dress
Marc by Marc Jacobs Spring/Summer 2008 from style.com
A sleeved dress with contrasting colours on the left and right.

61
Similarities
• Multi-coloured, contrasting colours on tunic dress
• It is likely that 2 sides of the fabric is sewn together at the centre for the
both garments.

Differences

• Uses: Garments in middle gothic era are often divided into halves or quarters,
with each colour representing their families or allegiance. In the Marc Jacobs
dress, the colours are also divided in 2 halves with mirror images of motifs
and patterns on both sides.
• Colour & Material: White and blue dyes for the old garment, whereas the
modern garment using a variety of colours for the fabric, such as different
shades of brown and blue. White is used on both garments, as it is an
obvious choice to show contrast between two colours.
• Silhouette: Both garments have similar silhouettes, although the modern
garment is fitting and definitely better tailored to fit the body and arms. The
dress also made use of asymmetrical length sleeves to heighten the contrast
between left and right sides of the body.

62
Early/High Gothic: Comparison 2 – Historical

Cotehardie
Margaret Ferrers, wife of Thomas de Beauchamp, 4th Earl of Warwick (and dog)
She is wearing a cotehardie under a mantle, and probably a half crescent
headdress.

63
Early/High Gothic: Comparison2 – Modern

Long Sleeved Dress

Chado Ralph Rucci, unknown year. FashionSpot.com
Long, sleeved dress that is closely fitted

64
Similarities
• Both garments are long-sleeved and well tailored to suit the upper body
contours. Bottom portion flares out.
• Silhouette: Both garments gives a similar body contour, which highlights
the waist

Differences

• Uses: The cotehardie was a common unisex garment that resembles the cote
but is more closely fitted. In this example, the cotehardie is worn beneath the
mantle. The sleeves reach to cover half of the palms. In the modern version,
the sleeves reach to the wrists, and hemline of the skirt is just slightly below
the knees
• Colour & Material: the historical example is made of wool or linen fabric, and
consists of bright and geometrical patterns. The modern example is made of
acrylic or cotton/woolen blends. The blueish grey colour slowly mixes to grey.

65
Early to Middle 15th Century – Late Gothic & Early Italian Renaissance

At the start of the 15th century, most parts of Europe were characterized by
distinct and often warring kingdoms. In England and France however, lords
began to ally themselves behind the power of one king. (Henry VII united
England during his reign, from 1485 to 1509, and Francis I later did the same for
France during his reign from 1515 to 1547) These alliances of nobles were
preferred by the people as they now only had to pay tribute to one king. This
process eventually organized Europe into the nations we know today.
This Renaissance began in Italy, especially around
the city of Florence, and in a region known as
Burgundy, which included parts of modern-day
France and Holland. The Italian states developed
banking and trading systems that helped stabilize
the economy throughout Europe. The Renaissance
is known for its abundance of fine art and
architecture, and for its renewed emphasis on
literature and learning. But it also encouraged

Sienese, The Presentation of the

merchants and traders to expand their businesses.
Virgin, c. 1400
Soon these businesspeople extended their trade further and further. One of the
most thriving industries in early Europe was the textile industry, which made rich
fabrics available to more people than ever before. Soon the Renaissance spread
to the rest of Europe. As the economy grew it gave rise to a middle class that
could afford more luxuries in life. More people began to acquire the wealth that
allowed them to dress more extravagantly and keep up with the newly popular
styles.

66
Costume Style and Influence
The fashion style of this period was influenced by the Florence Renaissance
Silhouette
Focus is on the abdomen. Simplicity, balance and natural form of the body is
preferred
Types of Costumes & Accessories
• Houppelande
o Tailored so that the gown fit closely across the upper body, while
the skirt billowed outward. Tighter sleeves
• Tall, Cone-shaped Headdress & Escoffins (high rounded headdress)
• Pourpoint → Doublet with Hose/Breeches
• Padding of shoulders, Bell sleeves, Organ pleating
• Slashings
o Introduced by the Swiss Soldiers
Fabric
• Silk, taffeta, and velvet, along with the traditional cotton, wool, and linen
• Chiffon and crepe fabrics were available
• Fur

67
Late Gothic/Early Italian Renaissance: Comparison 1 – Historical

Squareish V-neckline
The Goldsmith's Shop, Petrus Christus, 1449
Lady wearing a houppelande with a low v neck line and an empire waistline, with
a triangular modesty panel. Wearing a sheer veiled headdress

68
Late Gothic/Early Italian Renaissance: Comparison 1 – Modern

V-neckline
Alberta Feretti summer 2006, TheFashionSpot
Dress with a low V neckline and an empire waistline.

69
Similarities
• Both garments feature a dress with a deep V-neckline with an empire
waistline
• Shows the collarbone, and is considered sexy in both periods.

Differences

• Uses: Houppelande shown here is worn by a well to do lady with a high

waistline. A modesty piece is worn to cover the chest. In the modern version
of the V-neck dress however, no such piece is required as V-neckline are
common in today’s context.
• Making of Garment: the V neckline is achieved by pulling the fabric together
and securing the houppelande with a belt waisted high. The modesty piece
converts the actual neckline to a squarish one. The modern dress was sewn
together with a blue border made of sheer materials, whereas the
houppelande V neckline was sewn with a dark red satin/taffeta material
(same material as the under sleeve)

70
Late Gothic/Early Italian Renaissance: Comparison 2 – Historical

Houppelande
The Descent from the Cross, Rogier van der Weyden, 1430-35

71
Late Gothic / Early Italian Renaissance: Comparison 2 – Modern

Gold Shimmering V-neck robe dress

Hermes Fall Winter 07/08, Style.com

Gold shimmering robe dress with deep v neckline, secured by belt beneath the
chest.

72
Similarities

• Dress is secured by a belt just below the chest.

• Robe-like cut, and drapes naturally waist-down.

Differences

• Uses: Houppelande is worn by both men and women, although the style here
is worn solely by women. The modern dress is only found on women.
• In the picture, the green houppelande is lined with grey fur, secured with a
string bound just below the chest. The lady also has an under gown worn
beneath. In comparison, the gold- tone modern piece consists just of the
outer dress robe, belted at the same spot, and has a circular hemline.
• The houppelande also consists of sleeves (lined with grey fur as well) while
the modern dress is sleeveless, but matched with a rich gold jacket and hat.
• Making of Garment: the houppelande is probably made of wool, while the
sleeveless dress is made of textured fabric.

73
Later 15th Century – High Renaissance: Rise of Classical Arts

By the middle of the fifteenth century, the

Renaissance movement had spread to the
rest of Europe. The end of the Hundred
Years’ War (1337–1453) between France
and England allowed those two emerging
nations to concentrate their energies on
internal issues rather than war. Spain,
Portugal and Germany grew more stable.
The increased stability in these nations
allowed people to concentrate on
developing trade and commerce, which in
turn created wealth for a larger number of
people. This growing interest in trade also fed directly into the rise of exploration
that saw European explorers, especially from Spain, Portugal, and England,
discovering new territories and trade routes around the world.

Christopher Columbus

74
Costume Style and Influence
Embrace of the physical sensuality of the body during the Renaissance

Silhouette
Fabrics were thicker

Types of Costumes & Accessories

• Pourpoint → Doublet
• Initially buttoned to the neck, but
evolved to V neck, with long
laces crossing the V and
revealing a shirt or ruffles
beneath, usually made of white
linen
• Shoes
o Less pointy in late 15th century
o Blunt, squared-off toes
• Vertugados
o Small hoop just below the waist, with ever larger hoops further
down the skirt. These hoops gave the skirt a perfect cone shape
and allowed the outer skirt to drape in a smooth manner
• Dagging and slashing were decorative techniques that were used to
distinguish and beautify garments.
• Points to attach garments together
• Upper, lower hose

Fabric
• Woolens were still the staple
• Metallic cloths, satins, gauzes, taffeta were more sophisticated

75
High Renaissance: Comparison 1 – Historical

Renaissance Painting
Puffs and slashings on the gown worn by the lady, late 15th century

76
High Renaissance: Comparison 1 – Modern

Slashings
Tian, Bella Citta February 2007

77
Similarities
• Slashings are used over the underlying layer of fabric to create a
contrasting pattern.

Differences

• Uses: Slashings were a fashion trend during the renaissance period as the
mass public start to adopt this Swiss trend. It was found on men on their
doublets and jerkins, as well as on women, as shown in the historical
example. In this case, the lady is wearing a gown with slashed parts, with the
edges of the cut secured by stitches. Fabric from the underlying layer is
pulled through the gaps to create a puffed look. In the modern example, the
model is wearing a tube top which has slits across the front portion of the
garment. This look is not adopted commonly by the masses, although it could
be found sporadically across different seasons. The white underlayer could
be seen clearly between the slit gaps.
• Making of Garment: During the Renaissance, garments were cut to create
slits, dagging may also be done. In the modern example, the strips were
either cut, or created by attaching strips of cloth onto the base fabric

78
High Renaissance: Comparison 2 – Historical

Lashing
Guard with particoloured, slashed and lashed garment.

79
High Renaissance: Comparison 2 – Modern

Lashing
Fendi Fall 2006, modaonline
Long black dress with lashings and sheer flared sleeves.

80
Similarities
• Both garments are lashed, segmenting the garment.
• In both cases, the strings/thread used to segment the portions are not
visible to outsiders.

Differences
• Uses: Lashings, like slashings, were a fashion trend during that period.
Lashing was done on the sleeves (doublets and houppelande), on breeches
as well as on the torso. In the contemporary fashion example, the horizontal
‘lashings’ were sewn into the dress, creating a segmented look. In contrast,
lashings on the male in the historical example were created by using strings
or band to tie the garment in a spiral fashion.
• Silhouette: The lashings on the man resembles that of the Tower of Babel.

81
Early to Middle 16th Century – Early Mannerist Renaissance

The rise of universities and the creation of the first printing press in 1455, allowed
greater literacy amongst the population, as book publications flourish, and
support for the arts by wealthy patrons increase. Expanding trade created wealth
and new industries, and the middle class grew in wealth. The invention of new
technologies revolutionized agriculture and industry, allowing greater population
growth.
Portrait of a
Man
The Protestant Reformation began Francesco
during this period. The Protestants Salviati 1541

created distinct religions of their own.

Henry VIII of England (1491–1547)
subsequently declared himself the
head of the Church of England. The
overall decline in authority of the
Catholic Church led to the
consolidated authority of the ruling
monarchies.

Mannerism, a style in art and

architecture (c.1520–1600),
originating in Italy as a reaction against the equilibrium of form and proportions
characteristic of the High Renaissance. Mannerism art is characterised by with
elongated proportions, affected poses, and unclear perspective.

82
Costume Style and Influence
• Fashion historian of Ruth M. Green commented that, “fashion was initiated
in courts and spread from them like ripples in a pond.”
• Fashion in that time is characterised by voluminous clothing worn in an
abundance of layers (which historians attribute to the drop in temperatures
due to the Little Ice Age)
Silhouette
Puffed body outline with slits in the garments, Broad horizontal shape for men
and conical shape for women

Types of Costumes & Accessories

• Lace, ruffs (wheel-like collar), wide pleated collars

Menswear
• Doublet with hosing/breeches and attached sleeves (Show off legs)
• Trunk Hose → Pumpkin breeches
• Madillion: hanging sleeves
• Codpiece
• Bombast (puffed look)
Women
• Gown
o Includes bodice, sleeves, skirts, and underskirts
o The front of the bodice was a V-shaped panel that came to a
defined point at or below the waist. Partlet. Neckline was
sometimes filled with a chemise stomacher
o Sleeves were attached
• Vertugados → Farthingale
Fabric
• Roughly the same fibre fabrics
• Thicker fabrics, more sophistication in weaving and construction

83
Early Mannerist: Comparison 1 – Historical

Stiff Upturned Collar

Mary I
Gown with frontlet and stiff, with turned up collar and undersleeves.

84
Early Mannerist: Comparison 1 – Modern

Stiff Upturned Collar

Diesel Spring Summer 2008, Yahoo News
Stiff asymmetrical collar on shirt with attached cape-like cloth.

85
Similarities
• Upturned collar that stays stationary.

Differences

• Uses: Mary was one of the first monarchs to adopt upturned collars, probably
as a gesture to indicate her power to the people. In present world context, the
upturned collar look indicates defiance and ‘attitude’. In the historical example,
the collar was on a gown and is two sided (external and internal fabric
different. The contemporary example uses the stiff collar on a white shirt top,
and is made of just one type of material.
• The historical collar is a triangular shaped collar (much like what people know
at the Dracula collar), which opens from the front. The contemporary garment
has an asymmetrical cut that opens from the right.
• Making of Garment: Mary’s collar was probably made by using tough and
starched materials. The modern stiff collar is made possible by using a tough
fabric.

86
Early Mannerist: Comparison 2 – Historical

Puffed Sleeve Gown

Henry VIII (1491-1547), Wikipedia
Gown with bombasted sleeves over doublet and jerkin. Slasings on the garment.
He is seen with lower and upper hose and duck-billed shoes, as well as a halo
bonnet.

87
Early Mannerist: Comparison 2 – Modern

Puffed Sleeves
Fendi Fall 2006, style.com
Model wearing top exaggerated puffed sleeves

88
Similarities
• Both garment outfits use puffed or padded sleeves on the upper torso.
• Sleeves of the historical gown and the contemporary shirt both end at mid
arms.
• V-shaped upper torso

Differences
• Uses: The powerful and the rich of this period enjoy puffing their gowns will
bombast or paddings to create a V-shaped torso, probably to increase the
individual’s power presence. On the other hand, the trend for puffed sleeves
is periodic in modern times.
• The modern puff sleeve is less exaggerated than that in mannerist era. The
puff effect is achieved by the design of the sleeve, the padding and the use of
stiff fabric on the sleeves.
• This trend could be found on both sexes during the Renaissance period, but
nowadays it is only used by females, in general.

89
Later 16th Century – Elizabathan – Jacobean

Elizabeth I of England, who ruled from 1558 to

1603 was not only a capable female ruler, she
was also a fashion trend-setter and made luxury
gowns and ornamentation a preferred style in
Europe. She was said to have collected 3000
gowns, 80 wigs, and an abundance of jewelry in
her lifetime.

Upon crowned the Queen of England, she

restored the Protestant faith. It was period
whereby literary works flourished, and this period
saw the rise of the Bard, William Shakespeare.
Spain on the other hand, was exhausted from the
effects of the Spanish Inquisition, although great
riches came from the New World (Americas). It was during this period that the
East India Company was set up.

James I of England came to power in 1603, and a great period of exploration and
colonization began as the European nations compete to mark their spot on the
world map. The Americas start to attract traders/immigrants from Europe.

90
Costume Style and Influence
Silhouette
Stiff, rigid and deformed silhouettes were preferred, a reflection of the

Types of Costumes & Accessories

• Ruffs (open, cartwheel)
• Jerkin & Doublet
• Gowns (puffed)
• Linen skirts
• Mandillion
• Breeches (canions, melon
hose,Venetians, pluder, galligskin)
• Status Symbols: fans, gloves and
handkerchiefs

Fabric Spanish Jerkin

Stiffer fabric Brown silk voided velvet trimmed with
metallic bobbin 1580

91
Elizabethan / Jacobean : Comparison 1 – Historical

Young Elizabeth wearing gown with front and undersleeves with a square
neckline. Women of this time wear stomachers to give the flat look in front.

92
Elizabethan / Jacobean : Comparison 1 – Modern

Vivienne Westwood Fall 2007, Female Singapore September 2007

Draped dress with a matching corset, puffed and half sewn puff sleeves

93
Similarities
• A constricting panel made of stiff materials to flatten the lower portion of
the stomach/waist; both are supposed to give the wearer a better, more
upright posture.
• Both worn on the outside, ending at the stomach with a triangular edge
• The stomacher in the picture is embroidered, as is the modern corset.

Differences
• Uses: The stomacher was used to constrict the chest and stomach to create a
flat look in front, while the corset, in this case, constricts the waist to bring out
the body contours of the wearer. In modern times, the modified corset is
commonly used by females as an outerwear, usually used for evening wear
or casual wear (for parties).
• The stomacher was encrusted with jeweled borders
• Making of Garment: The stomacher may be boned, or may cover the
triangular front of a corset. If simply decorative, the stomacher lay over the
triangular front panel of the stays, and was either stitched or pinned into place,
or was held in place by the lacings of the bodice of the gown. The modern
corset as shown probably made use of boning as well
• Colour & Material: Brocade material may be used
• Silhouette: The stomacher in Elizabethan times makes the torso appear flat at
the front, and the cut of the piece creates an inverted triangular shape for the
stomach. In contrast, the modern piece enhances the figure, accentuating the
female curves.

94
Elizabethan / Jacobean : Comparison 2 – Historical

Drum Farthingale
Late 16th Century, unknown woman
Gown with a drum farthingale beneath as support, large puffs (bombast) on the
sleeves and open ruff.

95
Elizabethan / Jacobean : Comparison 2 – Modern

Puffed Mini-gown
Betsey Johnsons Spring Summer 2008
Puffed mini-gown with support under the skirt. Has a small front and underlayer
cloth beneath skirt.

96
Similarities
• Both dress and gown feature a puffed lower torso.
• Both outfits make use of padding or bombast to create the puffed-out look.
The hip area is exceptionally huge, while the waists are constrained to
create an hourglass figure.

Differences

• Uses: Farthingale was worn by females in this period. The French and
English prefer drum-shaped farthingales while the Spaniards prefer cone-
shaped ones. In modern times, the mini-gown is not commonly worn, and
may be used for special sessions only (costume parties).
• Making of Garment: The Elizabethan lady in the portrait is wearing a drum-
shaped farthingale, which is worn underneath the gown to create a cylindrical
shape for the lower part of the outfit. The farthingale is probably made of
cylindrical whalebone, stiff lining and support structures, to hold the gown up.
In comparison, the modern gown is made using padding, multiple layers of
fabric, and stiff fabric were used to make the gown in order for the gown to
stay in the cup-cake shape.
• Silhouette: The farthingale creates a long lower body silhouette for the lady in
the picture, whereas the short puffed gown creates an exaggerated hip to
waist ratio. The farthingale increases the presence of the lady, and makes the
wearer’s body contour appear more unnatural as in comparison with the mini
gown.

97
Early to Middle 17th Century – Early Baroque

France became a great power, expanding its

territory on all sides French king Louis XIV
(1638–1715), established himself as the most
powerful monarch in the region. He formed a
huge army, crushed internal resistance, and
expanded his territories through conquests.
France was transformed into an economic power
as it refused to import goods from other countries
and the king actively encouraged French
industries to become Europe’s biggest producers
of luxury goods.

England, however, was caught in internal strife.

The great conflict was over whether the monarch
or people’s Parliament would have the greater
power.

This period also saw the rise of the Baroque style. The term Baroque usually
refers to the style of architecture and decoration in that period. It is characterised
by interpenetration of oval spaces, curved surfaces, and elaborate, conspicuous
use of decoration, sculpture, and colour.

98
Costume Style and Influence
Silhouette
The overall trend was toward softness and comfort. Due to the Monarch-Parliament
conflict, people started to wear less lavish clothing styles. Such groups were known as
Roundheads, who favoured Protestant religions and wanted to give more political power
to the people. On the other hand, the Cavaliers were a group that dressed in excess,
and was associated with a political position that favored the Catholic religion and a
strong king. Puritans, a strict religious sect that held strong ideas about avoiding excess,
favored black clothes, simple fasteners, and clean lines.

Types of Costumes & Accessories

• Cassock & Plume hats
• Baldric
o To hold sword
• Breeches
o More fitting
• Peascock belly
• Ruffs → Bands → Falling Bands
o The starched ruffs and whisks that once encircled the neck were
replaced with the softer, more comfortable falling and standing bands.
• Gown
o Women’s sleeves began to rise, showing first the wrist and then the
entire forearm
• Bustles
o Padding to all fullness to the back
• Farthingales & stomachers
• Boned Jacket
• Boots with spurs

Fabric
Satin, soft velvets, woolens and linens were popular

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Early Baroque: Comparison 1 – Historical

Laced-edged Falling Band

Thomas Howard, 1st Earl of Suffolk, 1605
The earl sports a falling band over doublet

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Early Baroque: Comparison 1 – Modern

Huge Collars
Large collars over outer jacket.

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Similarities
• Both aspects of the outfit appear to be what we know as collars today.
• Piece of fabric that surrounds the neck and opens in front.
• Both white collars are worn over some other garment of contrasting colour.

Differences
• Uses: The laced-edged falling band was a transition from ruffs, and was used
on menswear in this period, whereas the contemporary collar is used on
shirts on both men and women.
• Making of Garment: Falling band was made by using a silk-like fabric (or lawn)
edged with lace and embroidered with gold or other threads. The modern
collar is not separated from the main shirt garment, and in sewn together
• Colour & Material: the falling band probably was made of silk or cotton
material and starched a little, while the modern collar looks to be made of
high count stiff cotton fabric.
• The falling band opens wider in front than the modern collar, and protrudes
more as well.

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Early Baroque: Comparison 2 – Historical

Trunk hose
James I of England with cape, doublet, trunk hose and falling band.

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Early Baroque: Comparison 2 – Modern

Bubble skirt
Rronza Schoulder
Mini bubble skirt worn with garment, vest and a coat secured by a belt.

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Similarities
• Both outfits consist of several layers, with a puffy skirt/hose on the lower
torso.
• Layered garments include an inner garment, a jacket-like garment, a
cape/overcoat and a belt, giving the wearers a layered, textured silhouette.
• ‘Tucked in’ lower edges

Differences
• Uses: The trunk hose was worn by men during that era, although it was no
longer as bombasted
• Making of Garment: Trunk hose comes with intricate panes, or strips of fabric
applied over the soft areas. Resembles the slashings from early periods. The
modern mini bubble skirt appears to be made from folding a piece of fabric
and sewn at the waist. Irregular folds are made on the skirt
• Colour & Material: The panes of the trunk hose come with white patterns on a
black background and rests over a white underlayer. The skirt is a dull green
colour, probably made of cotton blend or manufactured fibre fabric.
• Silhouette: Outfit gives body shape, as outlined above, although the old
version’s cap is sleeveless, and the modern coat has sleeves. The King also
wears hosing, but the modern model is bare legged.

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References

Pendergast, S & Pendergast, Fashion, Costume, and Culture through the Ages
Archimbaud, Nicholas, Lourve
http://www.metmuseum.org/

Images
Chapter 1
Fashion, Costume, and Culture through the Ages
Vogue US September 2007
http://www.costumes.org/history/100pages/costhistpage.htm
W Magazine September 2007

Chapter 2
Fashion, Costume, and Culture through the Ages
Vogue US September 2007
http://www.metmuseum.org/toah/hi/te_index.asp?i=14
http://www.style.com

Chapter 3
http://www.costumes.org/history/100pages/costhistpage.htm
http://www.thefashionspot.com
http://www.costumes.org/history/100pages/costhistpage.htm
http://www.style.com

Chapter 4
Fashion, Costume, and Culture through the Ages
http://www.style.com
http://employees.oneonta.edu/angellkg/ROMAN.HTML
http://www.brasilhandebol.com.br/galeria/imagens/2006/mundial-
beach/1811/fNA1H2316.jpg

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Chapter 5
http://employees.oneonta.edu/angellkg/BYZANTIN.HTML
Vogue Italia March 1992
http://www.costumes.org/history/100pages/barbeurolinks.htm
http://news.yahoo.com

Chapter 6
http://www.siue.edu/COSTUMES/COSTUME1_INDEX.HTML
Female Magazine September 2007
Wikipedia
Vogue US September 2007

Chapter 7
http://www.costumes.org/history/100pages/timelinepages/carolingian1.htm
http://www.style.com
http://www.costumes.org/history/100pages/medievalinks.htm
Vogue US, April 1998

Chapter 8
http://www.uvm.edu/~hag/sca/
http://www.style.com
http://www.costumes.org/history/100pages/medievalinks.htm
http://www.thefashionspot.com

Chapter 9
http://www.uvm.edu/~hag/sca/15th/index.html
http://www.thefashionspot.com
http://www.uvm.edu/~hag/sca/15th/index.html
http://www.style.com

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Chapter 10
http://www.uvm.edu/~hag/sca/
Bella Citta February 2007
http://www.larsdatter.com/foolwear.htm
http://www.modaonline.com

Chapter 11
http://www.uvm.edu/%7Ehag/sca/tudor/index.html
http://news.yahoo.com
Wikipedia
http://www.style.com

Chapter 12
http://www.uvm.edu/%7Ehag/sca/tudor/index.html
Female Singapore September 2007
http://www.metmuseum.org/toah/hi/te_index.asp
http://www.thefashionspot.com

Chapter 13
http://www.npg.org.uk/live/index.asp
http://www.thefashionspot.com
Wikipedia
http://www.style.com

Others
http://www.siue.edu/COSTUMES/COSTUME1_INDEX.HTML
http://www.german-hosiery-museum.de/geschichte/geschichte_02.htm
http://www.uvm.edu/%7Ehag/rhuddlan/images/
http://courses.washington.edu/drama416/
http://www.theweebsite.com/garb/index.html

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