Professional Documents
Culture Documents
ANCIENT
EGYPT
TO THE
PRESENT
DAY
Fashion
The
history of fashion
is
the history of
life.
For fashion
is
far
on Roman
statues, the
life
century
women,
are but a
products of fashion.
r, 3Jr.
and the
So
much
is
the character of
man
expressed in
Nearly 550
illustrations, all
but
few
in
dawn of
civilisation in
guesswork
the
is
no
from
art
Egypt. There
Baroque
periods, engravings, and clothes and accessories now preserved in museums, all can be
found
in this
absorbing book.
Fashion
FROM ANCIENT EGYPT TO THE PRESENT DAY
Roman
in a
bas-relief
Museum, Avezzano
ivic
Museum, Avezzano
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Fash ion
By
MILA CONTINI
Edited by
JAMES LAVER
Foreword by
COUNT
Introduction by
EMILIO PUCCI
JANEY IRONSIDE
LONDON
New
York
published in 196s by
The Odyssey
Press. Inc.
'|J
Mondadori
Verona
Museum
CONTENTS
Foreword
ii
Introduction
12
Egypt
13
27
43
59
The
85
Fifteenth Century
in
H3
177
217
261
Fashion Today
299
Index
3i8
Picture
Acknowledgements
321
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ir*
y-
FOREWORD
only
In the past,
a small
in
what we
fashion.
become
The
tor.
pervasive
influence
of
television,
window
easy air
maga-
seeing
field.
The
result has
democratisation of
is
is
produced
the
been
taste.
in
num-
making
independent value judgements based on the two
essential elements of fashion: form and colour.
Not only does fashion today reach more
bers of individuals are, for the first time,
it
is
one of the
among
who
living.
sirable
non of fashion.
It is
need.
It is
is
one
for
all
wonderful phenome-
It is
for
all
who
achievement.
It
young who,
eras,
who
look
and to the
by youth
many centuries ago, motivated by the same
new,
parallel
Left:
Borghese,
Rome
1
INTRODUCTION
A history of fashion is a history of life
of fashion
Cibber
is
to
be out of
many semi-ironical
way people dress is a
well as of their
statements,
'To be out
Colley
said
life,'
and
this, like
true.
is
The
of their times
reflection
Rome those
civilisation
study of
fashion
life
up
Today
countries
this
we
the 'cradle' of
call
book provides
fascinating
and
taste
is
it
is
it
will
become
Some
people
may
deplore
this
outgrow
do outdated
and
uncomfortable
museums
or
at
clothes
fancy-dress
for
rallies.
now
differences in
revolution in
pictures.
some
and
relationship to the
in history,
of mass
women
dresses
still
more formal
bear
periods
fashion
are cherished
the invention of
local weather.
Starting
cars
as
and of the
motor
veteran
now
belong
parties
just
in
as
belong to
people
a civilisation
run by machines
and
in a hurry.
Perusing
this
book,
two
quite
different
little
standards
how
Secondly,
how
way of
coiffure
spite
of minor
and corsetry.
This
is
fashion:
Janey Ironside
Professor oj Fashion Design,
Egyptian dancer.
Egypt
*\
*>
i*
the
women
names of three
as
Egypt. This
woman
so partly because
is
in ancient
womb
her
passed she gave birth to you. For three long years she
carried
to school
and
re-
came
Moses.
daily to
Egyptian
to
stemmed from
Egyptian society. In
fact the
home, and
master of the
woman was
his
the real
We
can
Nefertiti,
the
still
King Akhenaten's
of
woman.
I,
and
bride,
(1580-950
is
the
name
is
in Berlin
and
is
ot
portraits ot
B.C.).
an unfinished head
him
in crystal-
line,
up, giving
New Kingdom
all
features: she
in ink;
polychrome
bust.
God
who
Aten, and
had
six
balls
little
daughters
When
Thutmosis
Thutmosis
her half-brother
II,
with
well as husband
as
Left:
Egyptian
head
with
formal
hair
style. Beloir:
Thutmosis
III
by
concubine) she
demanded
that a
descent, so
Thutmosis
I)
change her
sex,
monuments and
had
herself
also
represented
without
decided to
false
beard
bas-reliefs
breasts,
like
a great
Two
Lands'.
queen,
tyrant,
sacrifices.
and peace
She encouraged
links
with other
what found
I
in ruins,
left
from
the
brightly-
\
I
on Akhenaten's
nestling
we
Cleopatra,
the
B.C.)
woven with
gold,
as
we
style
of
Egypt
is
an un-
down on
immutable
her
is
setting the
banks; the
fertilise its
Egyptian
spirit
developed.
dominated by
its
a static
costume
conception
religion.
was governed by
made Egyptians
as
the
in the world,
Next
antiquity.
to Pharaoh,
power
in the land.
accompanied by
Every
ritual
all
his
court held
was
its
crowd
life
pyramids were
We
can
Egyptian
palaces,
still
life
see
all
inscribed
It is
precisely
apparently unchanging or
at least
changing
a loin-
stiffened
cloth.
It
the Great
or
Priest,
woven
the animal
or for
for the
common
would be enriched
with golden threads; one or more very transparent
skirts might be worn over it, secured at the waist by a
belt. These skirts could be long, down below the
knee, or else short, in which case they would be tripeople. Often the royal loincloth
pyramids.
The Great
Priest
would throw
leopard
smooth
men wore no
beard;
of mourning, or during
Nefretere, wife of
bat-wing
Amosis I, wearing
Thebes
sleeves. Fresco.
in a
period
it
a linen tunic
per-
And
'like lapis-
lazuli'.
shaped
false
beards,
prettily
curled
and always
perfumed.
less like
dressed
or
undressed
more
the
what
sented in
long tight
Elegant Egyptian
is
dress,
almost
Queen
Nefertiti
a fashion plate,
and over
it
is
repre-
wearing
attire,
collar
is
composed
a particularly
with
Bas-relief.
Temple of Komb
Ombo
19
20
Left:
toilet.
finishing
Museum
over
belts,
wardrobe, both
men and
.for
much
fashion
women
dancers
would
made of
pearls
a belt
their
at all
completely unabashed,
their tunics
in
order to gain
in
order for
or wigs.
gowns,
demanded
was
that
it
for
women. To have
The
relatives
to
his
daily
all
his
wigs
in his
Whether
was parted in little plaits and
custom clearly African. In order
life
and adornment.
locks according to a
to
be elegant
it
was
essential to
hair.
hesitate to
remove her
tunic
when
she
it.
stones
was helping
want
line,
held
only to wigs.
as the
in
Egyp-
Red was
best red
meant 'dreadful
blue
air;
life
flesh
Though
21
V.
Wooden
Above:
chest.
Right:
Cairo
Museum
Below:
couple
Tomb
at table.
of Raurose. Thebes
7t
A woman
papyri
my
appearance
and be ready
we
'My
in love writes
at
But
will curl
my
white
hair,
perfumes and
gala wigs, to be
worn
as
fixatives.
There were
a hat,
also
over
The men's
hair style
could be hidden or
combed down on
22
else
more
or
(as
the Beatles
*tr**
do today) or
bas-reliefs
else
away from
sometimes
we
Women in general
a
new
down
to chest
preferred to
follow
H*
it
to shoulder length,
popular:
clasps,
was
the
true.
jewels,
New Kingdom
and
The
lotus flower,
symbol of Egypt
as the tulip
is
of
23
cate
on
deserts,
canals,
pillars
In
represented
a cluster
Around 1400
should have an
fashion
B.C.
elongated shape,
and princesses
six daughters,
of whom
it
was
their heads
during birth, so
as to
When
mother
grew up,
spare their
the girls
the
The
women
(and
men
too)
was
would slowly
warm atmos-
would slowly
perfumes, the skin growing
become bathed
oily
in rare
revealing
all its
shape.
As
to the
a reaction to these
body,
extrava-
Perfume container
in alabaster.
Cairo
Museum
why
in
'child'
An
Holland, was present everywhere in Egyptian
life.
great lotus
on
the reason
is
is
essential characteristic
of Egyptian elegance
wash
his hands,
after
meals
detergent
Below:
24
Wooden
composed of clay arid ashes. She also recommended daily massage to keep slim, the use of pumice
trees,
(still
myrrh with
paste
recommended by modern
frictions
with scented
burn and
insect bites.
extracted
from
oils to
different resins;
deli-
its
tracted
from
and teak
acacia
seeds,
goddess with
and rewarded
flies',
his
Women
mild aroma.
its
'support and
their
with
It
lead carbonate).
is
with an orangy
Women
lipstick,
modern jewels
delicately outlining
and
was
also placed on mummies, above the abdominal
incision which the embalmer had cut in the body to
Eye make-up was
The eye would be lengthened and enof coal-black kohl (the same
women
the
still
powder;
green malachite
down on
would be
lacquered. Per-
made
and
woman's
a bazaar, as
own
well-groomed
combs made of
nails.
was
Silver
the
Many
also used;
was
it
like Senebtisi.
it
was more
and
trinkets.
a line
worn on
be
their
would colour
used by Bedouin
circlets to
larged with
belts
as its
daily toilette.
worked crowns,
delicately
It
was valued
looked
like
collars,
statues representing
Of glass,
little
mummies, amulets
keep away evil spirits.
to
would make
blue,
to
Egyptian craftsmen
made
was utilised
making of many other objects, such as iridesSeveral
fragile, precious perfume bottles.
samples of such
life; a
still
the
and
love which
world.
in
frescoes
it
led to a life
beyond
this
of the living
and
brilliant
Is
26
and incorruptible
that
were
his
sons.
flesh
as
the
gesture
magic of rebirth
in spring.
the
'"-.;.-
K38
is
(which
a
nobody knows
She
real
is
the 'Parisian'
bosom and
her
little
girl),
narrow waist
covered by
the hips.
it
down
sleeves
who
the girl
Cretan
they had
in the frescoes
elbows
to the
is
the dress of
around 1700
lived in Crete
today admired
barely reaches
and
B.C.,
is
windows and
ventilate the
rooms.
flowed from
walls
were decorated
in bright colours
The
half-man, hidden
bull,
in
labyrinth at Cnossos.
of Cnossos Palace.
strong-willed creatures
in
perfect
bulls,
of the
bulls', a citadel
with arena,
stalls,
lawns, school
but they
flounces or
occasionally veiling
parent material,
Sometimes
little
stripes
dresses
fish, a
trans-
silver thread.
palm
cuttle-
was the
Cretan
and wore
art)
They had
small,
it
tall
in a
pony
tail
complicated
down
little
their lives.
reprimand was
(the
the neck.
hats
which
They
motif of
decorative
characteristic
initiates
leaf.
young
chignon.
From
pins.
exclusive models.
The
beautiful
frescoes
women who
still
very much.
They
are
Cretan
women. Their
different
from
loincloths
fell
down
weighted by
a net
of pearls.
as their
coquettish
belts
women
Men were
would pull in
to make their
decorative knee-
29
Women
on
dressing.
a plate.
Leningrad
Decoration
Hermitage Museum,
which disappeared
when the island was invaded by the Greeks, who
landed there about the year noo B.C., armed with
gave
the
to a splendid civilisation,
life
new
very
tall,
itself in
life
the child,
would
adolescent,
man
Greek
paidagogos.
He would
sandalwood
birch,
on by
The education of
the
number of
well
as
gym-
32
as
as
the
although
still
graceful. Their
women's
unfolded
life
quarters. Spartan
who would
spin,
ful
teach
them how
learn
how
To
acquire a grace-
to dance,
lived in complete
will
of
practice of
it
is
Women
own;
the
woman
too
his
contract
woman, on
whom
status
of the
dowry
toilet
Her chamber
And
Combed
of Greece, the
men
side.
bridegroom would
invite
women
There would be
in plenty.
the
con-
bride,
Then
veiled
the
and
would
and by
women
songs celebrating
the
with ambrosia
She
many
day
own
'ulcan built
first
Wreathed
hundred
in three bright
tassels
o'er her
beauteous
And
hung,
drops,
her ears
veil,
new-wrought,
as sunlight white;
down
a shrine.
Cnossus
in
Greek Fashion
Hairdressing was always of great importance.
first
in
the Iliad,
The
Greek
when Homer,
Cretan jewellery
National
fountain. Detail
Museum,
from
Naples. Right:
a vase. British
A woman
at a
Museum, London
women
Athenian
combed
into a knot
of her marriage,
as a sign
An
unfaithful wife
might
Votive
relief
dressing
became more
was gathered
subtle,
more of an
From
Locri. National
art in itself:
Museum, Taranto
Elegant
women
bronze bands
ceremony
hair
in a
small net
left
figurines hair
gathered into
as
ornaments
were
in their hair.
also
Wigs and
known, which
'false
Aristoheads',
had
religious significance.
virgins
goddesses. Berenice
offered
is
lock
oi
hair
to
the
as
Men
also
it
with
it
lair styles.
crown
all
Details
showing Greek
National
Museum,
Museum
Head of Kouros.
Head of a youth.
Athens. Right: Head of a
Athens. Centre:
of the Acropolis,
horseman, 'the Rampin head', found on the Athenian
Acropolis. Louvre. Below: Archaic Greek bas-relief
later
wore
like
'bed of curly
To
into a
a
rounded or
false
style,
a pointed shape, or
it
could also be
one.
historians
their beards
hair
was
and dried
To
oils,
it
much admired
rarity,
and both
in the sun, to
a
make
it
lighter in colour.
battle.
from the
36
it
of
and
oil
amaricium,
Details of chiton
frieze
Museum, Delphi
marjoram. These
oils
known
times
air
in the
worn:
also be
worn under
world.
which could
tailing
by
it
on one
ear,
flap
ribbon, hanging
37
Details
showing
Head in
Museum,
different styles
terracotta,
of headgear. Above
possibly of Persephone.
left:
National
Seated figure.
streamers.
Rhodes
The Greek
brim,
cone with
a small
(this last
Greeks, both
perfumes, so
the
paint.'
But
women
these reproaches
creams and
oils
on
their skin,
B.C. British
Museum, London
women would
On
sing at the
some-
To look
appear
Greek
they
dress,
would
both for
fix
cork
like a
To
Doric
based
capital,
and
later
shoulder,
leaving
the
right
shoulder
bare,
or
it
sometimes made
false sleeves
taste
and
out of
its
skill.
They
widths, or
two
39
Tanagra
40
statuettes
often draped to
form
false sleeves
Sometimes
a belt
was used
as a
hood. Louvre
41
shoulders.
garment, in
a later
period became
a separate little
pass.
with the
warriors pre-
inside the
New
dress.
considered 'barbaric'.
Solon's severe
fashion set
by
Alcibiades.
this
period.
a
so
that
shoulders,
the
gown
where two
clasps passing
through four
gown
together. In this
way
The
for the
arms and
two
Towards
4-
and
silk,
labrics
leather to
cam-
fibres, hitherto
During the
with
purple or violet,
their hips'.
on the
border, which they wore over a completely naked
body. More modest people would wear a brief,
ferred a short cloak, with geometric patterns
as usual,
show
Men
preferred
which they
would
economic
position.
ankles,
show
Men
newly acquired
silver heads.
and on
their thighs,
take
off their
more than
where
later garters
their
were
women were
forbidden to
fashions of
modern
times.
The
Etruscans and
Romans
i?
s
ambitious
and wanted
unbecoming
torians
their bodies
to appear
naked
Apamea, Diodorus
time, and
Siculus,
Other
in public.
his-
Posidonius of
like
who
it
lived in Caesar's
down to
who appre-
Tanaquilla, an aristocrat,
of
a rich
mesalliance,
would be
city,
which
replaced
it.
women,
quinius Priscus,
albeit
discreetly
name was
hand,
women, on the
It
hillsides,
intellectuals.
At the gates
Lucumon,
lute authority,
she thought he
at that
Etruscan
in
Rome, where
The women
she
Tarquinia and go to
of the
mark in society.
married Lucumon, the son
their
Roman
after
'great
changing
became
his
name
as
were
And
all
indeed
to Lucius
Tar-
kings.
a position
which
'put
her above the law'. She was the wife of Plautius, and
she succeeded in having her son
M.
Plautius Sylvanus
from
Cerveteri. Louvre
li.itiilkllri
other
(as
Livy
was the
women
were
and from
and boxing
would
their
often preside at
contests.
to
sarcophagus
husband.
The
chattels
found
silver
in
tableware
the
tomb
(great
Etruscans were
almost
name of
life)
the proprietress
Women's
We
number of
style.
San
o-
43
Procession of
4"
47
matched
his
own
character.
in these
woman who
partners
at the instigation
crown.
women paid
the
fashion,
worn with
bright
circles
heavy jacket
in brilliant colours
and
crosses
full,
little
hem
broidery and
kimono
sleeves that
made
the shoulders
Museum
of Fine Arts,
Boston
elected consul. She intrigued to obtain favours for her
numerous
relations,
Servius Tullius,
Gold
eum,
4*
They used
trinket
Rome
were two
sisters
and
fuller
women. When
they
vi\ id
it
with
with blue
lapels that
hung down
a pelerine.
As
far as hats
long ends ot
tutulus, in
to
ferred
a contrasting
colour
brown saw-teeth
The lacerna was
cloak,
almost
always
made of wool,
type
of
another
short and narrow, worn as an outer garment. The
yellow or blue, pale yellow with
motif,
On
slippers
in front,
straps
with crossed
If the
way
also
straps.
it
curls
which formed
a skull
wrapped
in a tutulus, that
is
pyramid shape
would touch
sheath that
the
locks.
style,
with
down
'wind-swept' hair
waved
Etruscan
Greek or
and
earrings.
Funerary statue of
clasps, rings
and
bracelets,
Museum,
Chieti
Roman
and Fashion
Life
was
richer and
more
elaborate.
was an
the
first
were imported
into
Rome
at
used
as
in use
also
embroidering
pearls,
used in earrings,
fabrics,
The largest pearls were used for neckand earrings, of which some were known as
leather sandals.
laces
a mosaic. Piazza
Armerina,
Sicilv
crotali:
each
superb, and certain of their techniques are
known
way
still
un-
of sprinkling the
powder (thousands
these
tip,
mounted
prettily at
way
a pearl at
The
was
known
discover. Jewels
in such a
some
power of prolonging life,
craft.
often
volutes,
arabesques.
as
Earrings
long
little
were always
as three inches),
heads,
human
head, they
preserving
Kunsthistorisches
Museum, Vienna
himself to
his sandals
her
in
and the
tail
brilliant
stones.
of
his
favourite horse
Antonia, the
plaited
widow
mane
with
of Drusus,
toes.
as
Many
of them must
settings,
Florence
50
ring,
of
The
dress
of
a simple toga,
Roman women
in early times
men
was
wore. This
own
taste.
zona, a
this
function
The
as a brassiere.
by one or two
pulled in
was very
by
belts.
The
fell
down
The
short-
breasts,
stola,
full,
a belt.
sleeves,
was
was
long
as a scarf,
or a
palla
on the shoulders by
seam or by a
fibula. This large number of garments was very
necessary, especially in winter, as the climate was
back, fastened
much
often
less
worn
together
when
it
was very
cold.
veils
Left: Detail
painting
National
52
transferred
to
Museum, Naples
panel
(from
actor. WallHerculaneum).
women
sump-
a transparent fabric,
palmata,
show
or scantily,
or creases;
stains
would not
physical
for
which
the
left
office,
embroidered
victorious dux.
And
uitrea,
made of
time
showing
to
life,
emancipate
woman. At
ally
as
necessary,
and
pate in public
life
them
distributing
provisions,
as
age,
was
a rich
from her
at
rich
is
more
insufferable than a
woman.' 'Why does Censennia's husband remain silent? Because she brought him a million
rich
sesterces.
He
is
Many
women
men
and poor
designed only
as
evasions of
Men were
they
were very
fastidious
wore only
new
lands,
about their
and
dress.
in their
At home
when they were conducting their business or attended any festivity, when they celebrated victory or
honoured the gods, they would wear a long tunic,
made of wool or cotton or silk, often interwoven
with gold and silver threads, and decorated with
The colour of
the toga
of age (that
is
taces
for the
when
first
time); picta,
all
their oils
a glass ball
and
with
officially in the
came of
panied by
this
until they
came
down on
their
Girl
dressed
Armerina,
for
Sicily
gymnastics.
Roman
mosaic.
Piazza
Roman matron
Previous pages:
Togas worn by
styles, in the
Museum
of Trevin
time of Imperial
Rome
fresco.
National
Museum, Naples
in four stages,
preceded by
mood
lifting
and physical
fitness
recommended. After
this
one sweated
in the
much
hotter
sudatorium,
calidarium.
that the
The very
silver for
tougher hides.
Empire were
quite different
women who
from
Roman
periods.
Tatius
ably on a high
sat
uncomfort-
many heavy
tasks;
while she
it
wood
and chopped
who
But your
styles,
Your neck
hung with
is
the orient, so
the
to scold
you
sidering that so
their
own
add to
we
you take
many men
take as
much trouble
Museum, Naples
over
of their wives,
to
pearls that
this
extravagance.'
Julia
daughter of Titus.
Capitoline
how
to spin
wool and
to sew.
Though
Museum,
Rome
the
please, she
left
to the
torso
sound of music.
that
boring than
women who,
as
soon
is
as
nothing more
they
sit
down
51
table,
at
praising
start
Dido's
justifying
Virgil,
young
girls
Novels sold
like
Miletus, a
honour
the
Women
were interested
phers,
had
their
own
Many
personal philoso-
about astrology
also
by
travels
was
so-called 'mathematicians'
whose function
she was left a
when
harm
size
The
scrolls
either
A woman
of
unless she
haps her
who
cicisbeo,
administered her
and
estate,
and per-
would
and
curtains,
that
all
to trail five
precious materials,
Poppea used
around after
donkeys
hundred female
Women
furniture,
was needed
'Poppean
and honey, to
shining whiteness';
'a
lupins,
and
sap,
gum
of ammonia and
petals, salts
After she had attended to the removal of superfluous hair and applied her cosmetics, the fashionable
sans.
red or
as these
The
'like the
always performed by
a skilled slave,
was
who might
be
with pins
if a
not perfect.
Hair
styles
According to Ovid
the acorns
'.
.
on an oak
number of hair
He
would be
it
styles
easier to
Hyblaean
tree, the
every day.'
move
crowd
Always present was
were attended by
not
their
(a
or blue,
number of
milk
in
recipe'),
affected manner.'
Aristocratic ladies
made of sheep
to their clients
their toilet,
Minor wrote
her memoirs, and Augustus Caesar warned her,
'Take care lest you should write and speak in an
Areus, her husband's friend. Agrippina
came
that
antler,
and
in philosophy,
in the Alps,
count
bees, or the
woman
advised every
'.
to choose her
round
Even
faces.'
if
much
so that sculptors
commissioned
hair,
which were
much
ances.
During
usually travelled in
halts
they would
litters,
'Good
hotels,
service, baths
Capital',
infested
.^
But
or
officials,
and comforts
fumes or poisons.
ornaments was
fashion,
until
it
became
diadem.
The
Middle Ages
Museum
am
'
palla (mantle),
On
and gems.
Theodora
travelled
through the
cities
and
of Asia Minor
became
fascinated
gold
collar,
down
emeralds reaching
a
to her breast.
She
also
wore
with rubies
set alternately
and emeralds.
She was dressed
like a goddess,
but she
knew
Greek and
all
would
Italian
from Lebanon, Falernian wine sweetened with Hymettus honey and Cos
wine mixed with sea water. One of the subtle dishes
which was served at her table was a roast peacock
which had been fed with opium, according to an
dessert she
interwoven with
would
serve wine
Very
Indian custom.
intelligent
woman
and ambitious,
'most beautiful
If the
won
of Byzantium'
this
Roman law
and
a patrician
a courtesan,
have
managed
law repealed. At
but Theodora
this
ion, she
was
and
in
humble
skill.
life,
Notwithstanding
silk
then
second
On
his
head he wore
a
a
splendid diadem, and his hair was cut short over the
forehead but
left
long
at the
her
pearls,
Emperor
the age of
luxuries, the
this,
to
have originated
at
framed by
sought
features
II,
a girl
girls
in
the
helmet of hair
in
which was
entwined
with
matched her
tight
always
sleeves
made of
broideries,
metrical
dresses, cut
and
silk,
patterns
of
Left:
em-
enriched by splendid
which repeated
stylised
stones.
flowers,
Over
stole,
Istanbul
and
were
the Byzantine
and over
it
the
Museum
61
side
Museum
of
63
amongst
other.
remarkable
girl
to a
Empress
Irene, too,
stantine.
crowd of beauties.
The prize of Constantine's hand went to Maria
Dilumnia. Unfortunately the union was not a happy
one, as after a few years the Emperor, to the great
of the Empire, and they collected
Byzantine
women took
to her
all
slim,
more than
that she
India
fifty, so
when
she
was already
secret
of eternal
Hunting
From
mosaic
the
Villa
from
Right:
scene.
in
century
"4
palace,
was harmful.
in
his reign
On ceremonial occa-
his
became
The
became popular, though they were already known to the Egyptians, who used them to cool the air, and to the
Chinese, who used them to drive away flics.
Thcodolinda, the Lombard queen, had a fan which
became famous; made with pleated parchment all
and
silver crosses.
round,
it
had
ivory. She
handle and
wore
it
belt, as
was
Men wore
either clean-shaven or
adorned with
as their
a short
long
beard.
plaits
were
would go about
in
raiment
On
with
differed
would
from the
dress
dress of the
common
his
womenfolk
His
The Empress
and
silk;
according
red
to
ammonia
and
in urine.
newest
The
techniques,
the
in
Middle
in their shirts
and
shifts,
shirt,
using
the
wealth to possess
number of
It
was
shifts. It is
five,
beheld them.
were not
furs
who
He
people.
which enchanted
woven of gold,
owned
as
a sign
of
recorded
many
as
with gold.
John
II
Comnenus.
St Sophia, Istanbul
65
Typical medieval
in the
dress.
From
an illuminated manuscript
Monza
The Northern
nations
with
their
passion
for
a cloth,
hang-
mouth on
half,
crosna,
fur
overcoat.
left
The
At
wedding ceremonies the bridegroom, after the celebration of the vow, w ould offer a crosna to the bride,
who promptly returned it to him as they crossed the
marital threshold, because the garment was used both
by men and women.
One of the main preoccupations for women of the
early Middle Ages was the kitchen, particularly as
meals were abundant. As luxurv increased the tables
T
courses
sweets and
folds.
its
hors
fruit.
Not more
salads, often
salt
was
so
tough
that
it
Much
as it
was thought
to
if
boiled
plovers and
doves, especially
Queen Theodolinda's
holder.
66
Museum
Sffifcv;* .?*
?.-' :
as
many
as
At
bachelor.
that age he
fell
as a
in love
were
which were considered indigestible and the
cause of nightmares. The condiments most in use
were garlic, onions, parsley, mint, fennel, aniseed and
coriander.
marry the
lentils
knew
all
and had
their veils.
make themselves
many
attractive,
had
ladies
to her
mood
veil in a
Naum-
or the occa-
dramatic fashion
I,
woman
He had
of his choice.
went through
Bertha
began to
suffer to
He was
in
the political
those of Robert
II,
such
marry Rosala,
he.
He
who
repudiated
ties
was
so busy
the
attachment which
still
whom
pany of troubadours,
her from the South:
trousers,
Castille.
She
between her
existed
who
originally
shoes.'
The
and from
castle to castle,
of member of the
Duomo, Ravello
right: Portrait
com-
and pointed
to court
in the
'Men with
chins,
hairless
troubadours,
From
to himself.
Below and
of
years
five
Rufoli family.
69
Library
life in
Heidelberg University
an illumination in the Manesse manuscript. Thirteenth century.
on
who accompanied
their
woman
of very individual
tastes.
a dress
with
first
to
a train
ground
(the use
of
many
Her dresses were made of the compliweave known as samite; her embroideries
the wearer).
cated silk
were concealed by
Codex, Padua
father,
Prince Louis
left
an orphan
who became
to
seriously
consider
71
their
sent.
Anjou, bringing
5 1
by mutual con-
time to Henry of
as a
from her
inherited
1 1
this
strife
London
the queen
was
sad, far
away from
the
met
with long
plaits
down
type of
(a
bold:
'Love never
marriage
lover
is
who
not
nothing to prevent
Left:
house of avarice;
men, or
in
lives
a legitimate
man
is
mourn
for
woman
is
two
Duomo, Modena
between
exist
two
at
was
that love
bound
persons
by
one another
do so by the
and never
The 'Court
Roman
like the
ot the valiant
dc la Rose,
was
accused
steward,
commented on
the exploits
committing adultery
years younger than
ot
man many
with
who
her
her.
because
it
of her territories,
which she
When
hatred.
took
their part.
where she
Salisbury,
Henry
death of
II.
importance. Eleanor,
who
Her story takes place at the time of the great reawakening of mankind which occurred after the year
1000.
Men
and
women
freed themselves
from the
nightmare of disastrous prophecies which had preceded the end of the millennium, and experienced
new hope
Castles
were
earth,
of
life
became
were
built
installed;
dead leaves
hanging
St Julia.
centurv.
tapestries.
the twelfth
Verona
woman,
a hare, a
snake, she
made
person
knot
even a
behind the backs of the newly wedded couple,
while reciting the miserere backwards, the marriage
a
in a string, a ribbon, or
hair
would come
bridegroom had
to wear,
through-
its
up an ideal to be followed.
needed to become a knight
the age often or eleven,
A
:
come
at
of a
would
fulfil
necessary education:
swimming,
riding,
well
as
set
chess.
as learn
It
he would train
sports
at
would be promoted
arts,
he
and could
solemn
as
it
a ceremony as
was splendid; when Frederick Bar-
such
two
magnificent
it
was remembered
for
years to conic.
just
From
the
century.
altar
Museum
Physical comfort
especi-
on the
a single mattress,
third
floor.
sufficient
gave
a head-rest,
swathed tightly
in sheets
on which people
was always
from the
to drive
~4
ceiling
away
comfort-
evil spirits.
all
a little
brim. Their
chief weapons
The
fief
to
which he owed
spirit
of chivalry had
who
lost
dei
Domeni-
own mother)
in
doubt
and dame".
ate,
an age
This attitude
the
of Abelard.
in his letters
this
is
women
in
his
place for
women
perhaps changed?
see
their energies to
new
gam
state ot affairs
come
see
men spending
all
"No"
to brutality, and to
will be a century
Women, you
have
said
to
of sweetness.'
15
and
wore an
very
number
increasing
of them
all
full.
The most
and
11
.-T*>
this
and secular
In Italy
at
in character.
hem, over
tight
long under-
tunic. Sleeves
the shoulder,
set into
so that a
different
the outside.
Sicilian
girl
he
loved wrote: 'With her wiscia [leather bodice embroidered with pearls and other gems], her
veil
and
made
either
of wool, linen or
many
broidered or striped in
shorter
em-
garment was
heavily
silk
slit
ments
easier.
waist,
The
nether
a tunic
fur-trimmed
this
red.
down
full
had no
For older
to the ankles
robe open
belt,
but
in front
narrow
in winter.
tf
some modifications,
The
head-dress
face was
which passed under the chin.
From the North spread the fashion for furs, which
were also obtained from Asia, after the first Crusades.
Bear, sable and marten were very expensive, and so
terminated in
framed by
a stylised
small net
they often used lamb, fox, hare, cat and even dog.
down to
furs
Medieval shoes.
ventory included:
women wore
French
at
full,
with wide
by a
made of cloth or metal. Often the bodice was
embroidered and held
sleeves,
belt
night before
in at the waist
Gradenigo
in his
wardrobe
in-
'a
vermilion
White
cloth'), fur
skins
known to
Xenophon noted that
the
Romans and
even
its
rectangular
fastened
by
or
semi-circular
cords.
French
On the shoulders
cloak
women
was worn,
invented the
which
worn
their shoulders or
it
women
started to cut
their hair,
They
also
pointed shoes.
it
off completely.
else
visor,
sym-
to deal a
a
blow with
To
glove or
for soldiers,
The
who
stones.
when
less
romantic purposes.
worn
Strict rules
strips, a
helmet with
women
-*
Northern
dresses
They were
with metal
Italian
origin.
mesh or
moveable
plaited
on
divided by a parting;
veil that
loose
earlier.
regulated
gloves were to be
it
was
for-
who
woman
doctor
many
ioo,
years to
come.
To keep
women
even
slim, a
in those days,
and using
as a
as
more generously
the application
built
in
of elder-wood to such
sweating was obtained;
relaxation in bed
improved the
it
was suggested,
to
prevent
April.
The
Comunale, Padua
remove superfluous
by rubbing the
hair
by rinsing
hair blonde
calf's
with
in
it
kidneys;
scalp
perfume the
hair
with
cardamoms
all
To combat
but
fanciful,
fever a
bag
little
effect.
Constellations'.
to
make
The month of
quicklime; to
fire
prescriptions
mouth
firm by coating
lips
circulation. 'Sand
the
after this, a
gums
redness; to keep
tied
To
lessen
labour pains
bell
tower,
make
it
with
a hazel
alight
all
twig on
the year
Towards
sovemment, which
Craft-guilds and
self-
artisans
earliest
bellious
clans,
the
re-
by Julius Caesar; later they were reorganised by Augustus, who, however, put them
abolished
State, so that
revived in the
tions, later as
:
Communes,
first as
were
simple associa-
Detail of a procession,
8]
Detail of fresco
who wanted
The
from
of
their group.
breasts. Sleeves
skirts
were
slit
In Italy the
wealth and
social position
of
(orangy
Blue
yellow).
was reserved
monks, dark green
cloth
for
for
coloured
women
Who
Who
is
no
man
oh
in the
how
Laud
it
oj
suits her!
Abruzzo
in lore
with her.
women
green,
scarlet,
Another
trains,
in the
fresco
body
detail
Engraving of fifteenth-century
castle
second
women
Two
It
that veils
gear.
was ruled
should be
veils
that trains
worn
women
Philippe
le
also gold
and
that
silver
in place
In France.
Pope commanded
women
Very ingeniously
wearing
gold,
forbidden to
pearls be
braids'.
to
evaded
silk,
this
law by
interwoven with
ten times
more
attractive.
they
ermine,
petit-gris, squirrel,
to
wear
^v^/^ffr^'fecLi
83
But even the King had his small defeat. In his edicts
he had forgotten to mention shoes, so that these became a symbol of elegance, especially through the
efforts of a certain sieur Poulain. He invented a new
type of shoe,
more
or
less
long
as
cised
common
We
people.
women
epoch of
in this
The
in international trade,
and embroiderers.
the decadence of
Church and
the North,
In the
transition.
Middle Ages
soldier. In
one hundred and eight professions were exerby women: they were weavers and traders,
miniaturists, doctors
called,
Women who
others.
Paris
was
many
was
as it
sades: Isabella de
this
movement
in
icism,
that followed
own
women
Widows, on behalf of
estates.
when
their children,
as
it
is
useful to
men.
burden of work
late
defended their
fiefs
women
Narbonne,
level
who
of
this
period
Both governed
who
their
had
own
many
by two women,
two
the
was made
widow, fought
when
she
when
came
government;
her
daughter-in-law,
Margaret
of
example.
N4
Women
first
two Cru-
and
women
towns
in the fields
fell
German
women
and to philosophise;
high cultural
level.
recite, to
poems
were conducted at a
But towards the end of the
their lives
women
who must
write
with nothing to
say,
and in
were empty
be kept
society.
silent
Forgotten
as
they came.
voice
would be
raised,
high and
of St
Catherine of Siena.
Ivory
The
Fifteenth
Century
Museum, London
>**r *
v
k'
<
f,
>
From
classes themselves,
who were
tired
life.
in culture,
of interest
revival of learning
widespread growth
provided
The
that Cicero
had described
as
as a rational
tial
spirit
of humanism had
life.
And
new
ducted
that
all
surrounded
princes;
She con-
her.
correspondence
complicated
with
the
most power-
travels in
responded
with
The Marchioness
seas.
also cor-
who
merchants
and
craftsmen
in the international
market
adornment of herself and her ladies-mwaiting, her rooms and her palaces. From France she
for
the
fabrics, toilc
Reims
tic
in
the
in
everything
affairs
of
state,
turquoise or a Persian
news
statue, the
was
cat, a
musical instrument or
like that
owned
a belt
taste for
splendid furniture.
sensitivity, at
sionate interest in
Women,
with
their intuition
and
Illustration
V Acerba
'
by Cecco
were relegated
Some
brilliantly, for
example
woman
Strozzi, a
that
life
who
most
woman.
literature
her time.
poured
classes,
Her
of Alexandra Mancini
of the middle
her philosophy of
d'Este
of the man.
and the
women
of
three passions
From
appreciate
Italian
translations
of French
novels,
com-
many
far greater
Left:
and Terence.
tistery,
Following pages: 'The Birth of the Virgin'. Detail. Fra Carncvalc. Metropolitan
.<
be
it
painting.
at
with
draped
forehead.
90
The
veil,
which
fell
on the
priests
carefully shaven
who
France
this
that architects
were obliged
pass
brocade
size
it
to
of
to
lower
a veil that
Court
its
sizes
became necessary
to pass a
law regulating
The
its
fifteenth century
headgear
was known
its
coifs
made of many-
a rigid
frame,
a veil fixed
by
and
little
After the
dresses
garbed themselves
in various
in fabrics
sleeve. In the
'loose'
life,
91
from
Museum, Padua
Women's
its
made from
it;
fabrics
At
this
material,
all
parts of Europe.
made
in very
heavy
high, tight-fitting
wooden
busks that
sometimes exposing
Eleanor,
She was
Master of LomMilan
Library,
Trivulziana
century.
Fifteenth
bardy.
Frontispiece of illustrated manuscript.
Figures
92
on
Florentine chest showing the influence of ancient culture on dress. Victoria and Albert
Museum, London
J-U
t-
i'
[.fH
-v>
l,|>v
'^v*3
j^'-Cx 41
f l.1
-r.vtt^-
JvYVcttyLft Orw
>w
93
The
monsa
from
on
trains
dresses that
century before,
of washing
task
their hair.
ser-
women
had needed
a tail,
God
woven with
Many
Pallas
materials
in
of
Isabella
Castille
Christopher
a great
political
engaged
figure,
in
slit
from top
and fastened
buttons.
at
to
through the
show,
sticks in
mended
together
nail-cleaners
cleaners,
wood
that
with
and
tongue-scrapers
or precious metals.
It
tooth-
ear-cleaners,
little
was recom-
autumn. (At
a later date
and
them
it
immersion
among
to
in cold
in
year
hot
means of
many
relaxation,
ladies used to
in their tub.
where her
94
the aristocracy.)
skirt,
The
fiance
five
owned a wardrobe of which chroniclers have given us many details a black doublet with
feet four inches)
sidered
woman,
woman
albeit a
When
Dauphin of France
vermilion
Charles,
silk
Due
the English.
and
in
worn by
a huque
a dress
Another of her
of
gift ot
dresses
silk,
en-
prolong
for cosmetics
for the
with
background
a black silk
puff out
to
slits.
silver bottles
great
strips
white velvet on
Rome
full sleeves
gathered
at the wrists
and trimmed
life
her tumultuous
who was
never
him
into
numerous adventures,
in
to
wait-
in order to
)etail.
Francesco Cossa.
i3
***
it
95
> "
"
....
"Portrait
words,
loneliness
gaming
toad on a
was to capture a
Venus was shining', dry it. reduce
powder, put the powder in a little bag made of
to
soft linen,
little
at the
pitch
by burning
the ashes.
It a
fell
in love
was to put
'Fie
upon
lite:
speak to
He soon
Marguerite de Sassenages,
cleverly.
where
tending to have
lost
who
in
love with
to pass,
and
lifted
her
skirt,
pre-
way made
spreading
man
with
husband,
this
with
woman who
all
he had to do
Not
by
his
bittered because he
his
wife to
a state
had no
heir.
remedies
which according to common belief encouraged pregnancy Margaret never wore the
necklace of green-coloured diamonds which were
supposed to help in labour. She passed away
at the
bound
in
A Jewish
wedding.
Illustration
from
.1
Rome
*
*
mi*
him notice
The
her.
it
by the
lost
and picked up by
a ball,
Edward
III,
Edward
III
little
accessory,
circlet
nowadays
was not always popular. The Duchess
whole
collection of gar-
of dubious
itself
taste,
widow-
only in such
composed
in
Brittany,
by proxy
in
Rennes with
right leg,
which
for a
moment
Anne de Beaujeu,
women
of France'
'the
Italy
women
by
in
wife of
all
the
The
union, even
if due
to
political necessity, was quite happy, though the husband was repeatedly unfaithful. When he died, perhaps having eaten a poisoned orange, the queen shut
tears,
of
as
the hands
foolish
Sicily, the
his
he introduced naked
least
hand the
rules.
Anne of
seldom worn
On
no food,
Anne
the day
finally
colour by
surprise. In-
mourning, according
demanded
widowed queens
in floods ot
dress.
to foot
During the Renaissance mourning practices underwent considerable changes, due in part to Anne of
mood,
William,
at
that she
would be
his
she
was widowed.
who made
had had
her promise
his
who
Left:
They
all
Pisanello. Carrara
because
it
just repudiated
Joan of France.
Marquis of Ferrara.
Academy, Bergamo
German armour.
mood
who had
de Beaujeu
husband),
Fifteenth century
beautiful, if slightly
(she hid
high
sole),
make
herself
more
all
very
.to
made
lame
Illustration
Venice
with
in a
fifty eggshells
pounded
nails
she rubbed
hands
paste
soft
bergris and
Jewels
at
Her face-pack
in milk,
rings,
thumb of the
left
worn over
that the
women
both wore heavy gold necklaces studded with precious stones; gold chains, to keep in place the splendid
cloaks that
In
women's
their swords,
+*-..<***
a.
called James,
chastity.
Hair styles became important again after the disappearance of the hennin, which had hidden
In
Tuscany
women
Greek
women who
all
the hair.
manner,
wound round
in imitation
of the
with narrow
were whole
coffers filled
hair,
had
with bands,
veils
and tiny
in describing Laura's
'The son of
Umberto de Socrati.'
Munich
Detail.
Baldassare
Musee
-->'
rv
&
103
combed
to
frame
Though
who
jeered at
waving
curls all
round the
gathered in
knot
while the
face,
at the
rest
Greek
times.
Those
who
beard was
his
as
it
family
among
variety of beards:
To
men
in place,
Men's
it
token of humility.'
common
little
down
his
head
at
della
it
wear
a hat
as a
hat
had become
'.
a sign
and those
who
Rome
of great
did not
at
all'.
104
Vienna
'The Marriage of Boccaccio Adimari and Lisa Ricasoli.' Detail. Cassone Adiman. Accademia, Fl orence
In Italy a very
the mazzocchio,
left
common
from which
shoulder and
point
brim went
hung down
down to
the
around, and
the
whole
is
106
of a woman's neck.
their shoes.
These
a fashion
which originated
in the East.
Towards
tip, like a
It
line
was
head'.
Diirer. 1527
'Portrait
worn
lined with
different
which had
Women
six
Boots were
toes.
preferred to wear
with
low
of one of his
also
worn.
a strap;
French
women
designed that
it
steel, to
give
it
to
it
had
ders
was made of
and
maximum
It
durability,
hip-plates,
sides
had to be moulded
two
cuirass, so perfectly
plate, breast-plate
with
to
war transformed
crest,
with plumes,
go
men who
did not
ot
tively
so that they
the
hips;
the
elbows:
very
it
high
The weapons
in use
were
made of
as
parallel
in the
however, expressed
08
vertical
show,
useless.
down
through
families,
often open
fourteenth
stripes,
material
in different colours,
The heads of
great
skirt,
and
became
swords, dag-
rounded,
articulated steel.
shields, lances,
Men
with
leggings
called respec-
were
slits,
as
While
more
make
it
by
fastened
buttonholes.
through which
wide
thin
Sleeves
pure white
lapels in a
cord laced
often
shirt
had
would
women tightened
slender,
men padded
their shoulders
fashionable, and
their coats
make them
with hay, to
their waists to
fur.
a belt.
to line capes
and cloaks.
the
rich,
skirts,
older
full sleeves.
worn by women they were always semicircular and in one piece, or they had two slits bordered
with fur; some had two wide lapels, from behind
which the sleeves emerged. The sleeves were often
double, with pleats, sewn to the shoulders as if they
were wings, made heavier with embroidered borders
ones
and studded with gems. These sleeves were sometimes talse (that
is
the
m narrower sleeves)
pass
and
through them,
fell
loosely on
down.
in
at
the
left
the waist or
In
a
the
time
made
ally used.
in relief
and trimmings
o\ braid
and
fin,
which took
the shape of
.1
pen-
land mir-
though there
rounded French
like this,
was always
kerchiefs
flat,
shape,
109
The
caskets in
little
vided with
more
handle to
There were
ornate.
special
The
usually
and playing
law forbade
as the
also
became
boxes,
love.
Not only
Italian,
women
also the
women
but
were more
two
stiffened horns
which
began
to follow a
new
fashion.
the
stiff
embroidered
fabric
Men wore
pear-shaped pendants.
by
their colour a
handles were
made of a
two
most
the
women
of European
conservative
swathed
berets of every
provinces,
which were
colours, half black and half white 'to express the half-
like
began
to include forks
this event'.
Table settings
nun's
fillets
took
wound around
the wife of
wide, or
spoons. Forks,
chinstrap, or standing
first
became more
carved fronts and movable
Furniture
confined in
tri-
a small
wooden
a coif, a
material.
The
The
mode of dress
porary dress
is
would
in Italy.
were taken
write like
been
left a
first
woman who
'dared to
widow with
of
'Woman
is
equal to
man
his
no
as
Italy.
On
'vanities'.
prophecies, for
Italy
and cosmetics,
first his
words
the invasion of
w as condemned by
T
He
when he was abandoned by
Pope.
but
to an improvised
veils
the
committed
him
the
common people,
arrested
and
tried
and
of
fashions
continued
by God to rewas
the inspirer
He
much
intellectual ability.'
Church and
But Christine
trying to improve
Dominican monk
Novellino by Masuccio
was written by
He was
of many bonfires of
licentious
The Treasure
neckline with
at the
in France or in
comment on contem-
Savonarola's
generate the
last
severe,
Women
train
who, shocked by
Ladies. This
retire to this
points, reminiscent
Italy,
to place candles.
two
which
in
In the
points on
up
Sideboards were
sors,
very high or
chests
many shapes
had
elaborate:
tops.
Stiffened
coifs.
starched, these
'vanities',
to
feminine
(and
masculine)
The
Sixteenth Century
The
century
sixteenth
is
ancient learning
Europe's
new world
in the fifteenth
its full
in the field
of
as a gift
were introduced
truffles)
from
were
first
as
it
was
Ambassador
at the
cineespecially in the
work of an
of surgery
field
were
laid
Henry
to
II
trainer
les
Henry
III,
wrote
a treatise,
La methode
arquebuses
les
de
aultres
et
was
them
to 'rinse'
ness,
Pare
at
His studies in
the
first
since the
flight as a possi-
astonishing even
Throughout
the
in boiling oil.
Modest in
poetic circle
elegies
Don
new
minds
with the
He was
human
In this
to
anatomy,
a variety
it
new impetus
first
received
mari-
first
of his time,
flower.
role
their
time empires.
of
States jealous
independence.
painter, sculptor
artists
the
in
was
masterpiece of a
flowering of great
tradition
many
names of many women,
Among
such
as
Padua,
who
sionate but
unhappy love
Collalto. Vittoria
gift to express
for the
Conte Collaltino
Colonna, Marchesa
another personality of
her pas-
this period,
di Pescara,
whom
di
is
her con-
wrote
in
d'Avalos,
Ferdinando
his great-
though
who
hid
him
in his
own bedroom
to
Portrait of a
man wearing
a ruff,
accident
by
new
his
were
made
her
silver in plenty,
was
at
this
women used
for a
new
first
hats,
kind of fan.
appeared
in
been
all
last
And it was
kind cats, dogs,
century.
Left:
'The
Man
in this
squirstudies
ouvre
woman
M.iser
were most popular, in the sixteenth century all perfumes were fashionable many objects were scented,
from horse saddles to shoes and stockings. The
Italians and the Spanish were masters of this art, and
each Court had its own perfumer. In Portugal, it was
used also
especially
as a purse.
All accessories
close fitting,
made of
hundreds of
pearls; those
Duke
Jacques de
no
Perfumes
as in
also
ourite,
and
and musk
there
in the country,
were eight glove perfumers and twelve specithe art of cosmetics. Love of hygiene, howwas apparently very rare: Guido Postumo,
alists in
ever,
'.
here
[in
dirtiness,
beautiful faces.'
Women's
skirts
had
by bones, to which
were attached, sometimes
um&
<jm-
-tsstiU
Milan
of
a petticoat. Dccolletages
glimpse
in front to give a
fitting,
puffed
at
In
women
Venice
who
grandson,
Venetian
fashions,
which
stipulated
different
The young
girl
who was
down one
side; the
was modestly
it
ot the
was clad
in
bodice
slits
to
little
robe of precious
clogs to be seen.
marriage wore
made
deep decolletage
filled in,
eligible tor
and over
lenry
III
it
of
fiance,
even became
1-
petals
and
leaves.
hair,
skirt,
ones
Not
lace.
all
Venetian
the
There were
number of exaggerations,
lifted
up by
soles,
six
women, whether
Venetian
shaped like
'a
which
husband or maid.
were accustomed to
worn only by
courtesans, for
after
women
'little
duchess', daughter
the
a shift
it
of putting on
Latin,
inches or more,
made
sheets to
cated,
a support,
example
for
Black was
on the forehead,
little
silk.
fashion
skirt
became
veil later
this
I,
who
King
marriage in order to
alliances
He needed
another
ally,
silk
Venetian
men
also
these
were
hooks or double
pins.
Over
the
which was
had nothing
in
too,
also
the
Lucrezia Borgia
Bianca
three
they were
tions in
118
gold and
all
silk,
another
fifty
were
plain and
Rome
Right: Venetian dress and high-heeled shoes in the sixteenth century. Musee de Cluny, Paris
oured of Diane de
by twenty-one
with
a taste for
life,
with
failed .to
Poitiers, a
years,
little
regent
The astrologers who at her birth propheshe would be the cause of great misfortunes
Charles IX.
sied that
mother;
a neglectful
Night of St Bartholo-
Costume
plates
her,
and even
paid
homage
azure
at the
From
Le Costume historique by
M.
A. Racinet
to his mistress
by wearing a tunic of
lilies and embroidered
silk,
monograms of the
Vecellio
Below
rests
Diane de
royal
Poitiers,
initials
his
Catherine was
when Henry II
left a
much
II, who
had
six
died
at a
at
the age of
he loved,
fell
his
powdered young
woman
up feminine
aristocrats,
i}iigtwns
bedecked
121
in sumptuous garments
who surrounded him. Margaret had as weak a character as
Though he had a
all
of them.
temperament, Catherine
difficult
was constant in her love for Henry II. She was fully
aware that she could not compete with Diane de
who had
Poitiers,
beauty.
turn to
those days
In
legs.
women
side-saddle; in this
new
wear the
scandal
calecon.
rode on horse-back,
feet resting
a footas
it
to
a great
wearing
masculine garment.
sixteenth century
religious
found
on
this
movement,
movement
is
the
to be
of selling
indulgences.
but the
if Henry
Aragon
of his
order to marry
six wives.
In the sixteenth
spiritual
but
until the
of Rome.
a political
power. Catholicism
end ot
the values of
humanism
at this
new pagan
the
this
same decad-
which took from humanism its materialwas no whit behind the secular princes m
violence and deceit.
Pope Leo X is said to have lived like a spectacular
Roman prince, although he was less corrupt than
Pope Alexander VI, and less able than Pope Julius II,
who had tried to restore the power of the Papacy and
the Church,
istic
values,
free Italy
Above
left
from foreign
'Portrait
tmm
[21
Ml \\\P\t
Drawings of German
Evelyn Collection
women
1567.
styles
of northern European
Pope, more
Souls.
He
when
he had
the Magnificent,
than
dress.
a reveller
patron of the
than a Shepherd of
crowned with
seedy
little
arts
such
as
tries
as a political
through almost
all
dealt a deadly
sack of
Rome by
and
the coun-
but also
political progress.
blow to
Italy,
it
Neverthe-
The German
new
fashion
-4
after
Battle
their
of Grandson. Seizing
put
thus they
complicated that
to fray
scissors
tailors
brightly coloured
silk,
lining,
usually of
ot
who
it is
designed
fashion
made of wide
material
himself
also
The
The
the coat.
slits (U"
strips
the cloth.
for
said that
this
it
beards
at
this
in
his favourite,
in
garment.
of
Guard
is
was Michelangelo
costume
On
the 6th
Uomorantin.
Madame d'Aneouleme,
the
after
Comte de
he had found
broad bean
in his
was usual
to play at tirer
prepared in which
guest
les
was
was supposed
The
story
is
to be elected King.
his rival.
were
his followers,
decided to punish
ill
The
When
wounds.
to tend his
disfigured
beard.
ttg
attractive'
There were
III
appearance
chin,
also
two
as to
have
By
all
shirt.
According
to the advice
shirts
Then
had to be the
showing
grew
at
to
made
size
of the ruff
difficult to eat.
it
Men's
sometimes had
lateral
slits.
The
legs
were
knitting
this
fashion accessory.
underwent changes
Francis
the time ot
close-fitting
Above
126
multicoloured
knee, and their
stripes.
hem was
by
covered by stockings of
forests
with Henry
VIII, the
gold
belt, a
his
ap-
crimson
fairytale
filled
\vith
castle,
in
Museum
[27
bows
or
little
had two
vertical
slits,
The
period,
but there
make
fashion
more uniform
Fashions worn during the reigns of Francis I, Charles IX and Henry IV. Costume Documentation Centre,
'The Tailor'. Detail. Giambattista Moroni. National Gallery, London
ft
SL
I2S
see
the stockings.
Paris.
Below:
Christ
in
all
sizable
esteem because he
The
libraries
of
Church
in
richest library
love of books in
who
the Priory o{
them by
to
expressed
illum-
in
all
'those animals
on two
on
inflicted
legs called
women'
20
their treasures
would
of printing spread
all
knowledge
was perfected
depreciate in value,
it
in
in Paris
this
fashion because
lowed her
'A
Man
in Blue'. Titian.
it
made walking
to display dresses
with
Margot,
arbiter
of the
as
she
finer points
an English
*-^
coat.
Sixteenth
Museum, London
W^
century
woman, fond
life.
She was
Above
in
skirt.
and embroid-
used
al-
and
very wide
Fabric
easier,
Ml
132
hfABITJ
A
ONGARIA.
D*
HABITJDHXA Spagna
-HABIT DlGERMANlA.
I
in (on the
left)
Germany and
Spain.
From
surrounded by
artists,
intelligible
a talented
whom
with
that
only to the
initiate.
new
Henry
III
of France, though he
silk
(imported from
women
to dress
velvet, silver
silk
silk
and
middle-class
women
were allowed
trains
women
sleeves.
men and
narrow
silver;
(a
to princesses
Queen's ladies-in-waiting;
to use
mock
of a limited wardrobe.
women;
women,
able with
mood.
more
it
sion or the
this
and to the
applied also to
silks,
down
over
sleeve,
them from
women
dust,
wind and
of the bourgeoisie
wore
the farthingale,
it
and
women
more than
Though
variations
of this class
sixty sons
at
the
to
spend
single dress.
England, the
on
women
Court of Henry
III
in
France.
Italy
its
and
of France".
Anonymous Louvre
T G'-^*
F
'#*
'
**
dPr
^.
|P^-
JbY
L.
i-
'J
9& *i
A
v
and
filled in
right
with
reaching
at first
were close
by
strips
fitting
To
protect themselves
and long
pelerines
from
the cold
women wore
cloaks,
frivolity in this
garment was
was cut
German women,
like
wire frame,
Italy,
Henry
II
wound around
at all
to
women wore
and way of
life.
In
Germany
many
by busks, according
to
body appeared
fitting
feminine adornment.
fall
on
who
wrote Luther,
needed
women
most beautiful
is
very pleasant
God had
he believed that
rearing
sight',
women
that
felt
the
nevertheless
strict discipline;
destined
is
like
women
were
French
looked
like
like
bourrelet,
which became
so large that
looked
skirts
by
over
wheel,
made of
puffed like
little
also puffed
ruffle
of lace
from shoulder
at the wrists.
to wrist
braids.
136
II
of Spain. Detail
fitting
They were
and embellished
Sometimes
at the shoulders,
women
and made
by metal wire. In
France, where they had originated, these wings were
called conques, and from them a wide veil, rectangular
or oval, fell to the ground. Shoes were closed and
shaped like slippers, and were made either of cloth
or of leather, and brightly coloured. Cloaks, which
in very thin material, supported
Philip
a fan.
several
were
little
were generally
used,
which came
to the elbow.
The magnificence of feminine attire, which increased as time went by, was partly due to the great
and the rich materials that were
variety of colours
available.
fabrics
Queen
Tudor in
Elizabeth
almost
women,
all gifts
who
who
thrift.
At the age of
to beat her
temper, was
special
Mary
elegant of English
dresses,
half-sister
thin
haired,
succeeded her
fists
still
on the
very open to
flattery
and had
of
a
reign ruffs,
starch,
who
had seized
though
it
Below
Below
left:
herself
Louis XIII.
right:
Anonymous
Uffizi
Gallery, Florence
Right: Philip
II.
Titian. National
Museum, Naples
U7
When, how-
bestowed
knighthood
on him. The same ambiguous statesmanship was
a
life
was
Mary Queen
in jail
and
tried
with
It
two men,
name was
Leicester and
Sir
who
Virgin Queen.
Masculine costume
came very
refined
at this
and
elegant:
doublets
were
worn;
sleeves were heavily embroidered; coatwere cut so that they fell down the wearer's
back, and were often bordered with fur. Men's hair,
which was worn short, their beards and moustaches
were often perfumed.
In other countries fashions were similar, strongly
sleeves
ing to the
demands of climate and national temperamen still wore the long robe
ment. In Hungary
wide
was of Byzantine
Detail,
showing fashion
for
at the waist
which
VIII.
138
with
rings,
an
wx
i*a* -
to
Women
one's back
skirts
in
safe
through
Europe
their
dowry sewn
in a
to advantage
on their bosom.
like
embroidery on very
anglaise),
lace as
fine linen, a
we know
it
Christopher Froschauer, in
is
his
type of broderie
the
work of great
masterpieces
Italian in origin:
created
book on
Cameos and
fashion
Benvenuto
artists like
of
were often
Cellini,
who
workmanship.
intricate
coral,
to Switzerfact,
two
bobbin and
also
methods of making
lace
with
a needle; the
was
called
exaggeration'.
Men
also
it
had
like idols,
with
a profu-
from
their dresses
immense
fortunes that
Elizabeth of Austria,
came from
Queen of
the
New World
enough money
pay
to
his
him, gave up
meet
able to
Hair
all
his obligations.
styles in this
period tended to
make
the head
off,
the high
and often
plaited.
powder
hair
was
(middle-class
white bark of
lime
tree,
adorned with
fringes,
*fe-
With
increasing
many
different peoples,
more
so
down
at
Washing
meals became
the
drinking.
lips
If a
several spouts,
it
was considered
"
lips to
ceding guest.
Right:
The
the pre-
universally
popular
Infantado Collection
140
by
Spanish
ruff.
Sanchez
Coello.
^r
4K7
- .'
-'.:
/=
v
.
-r..^vA;
*^
r3
UI
to
the
same
gentleness.
No
court,
however
women; no
brilliant,
can nourish
without
among
ness to pick
and
kiss
it
It
before putting
was expected
it
in
was
envy
of polite-
a sign
is
not
moved by
woman
woman.
the influence of a
must be feminine
imitating
fulfil
to the
if
he
Casti-
her function,
full,
and avoid
but
in detail
what
life,
first
requisite
was
position,
would be
difficult to
classes,
arts
men
142
brutal, but
Too many
women
men in their
wars, he
could turn
felt,
men
make
towards
literature
and the
art
of entertaining
in this
way
she
is
With
the
of the Renaissance
may
be said to
close, a
creativity, in
art
and
period
its
literature,
new
of a
artifice
the
a love
Baroque movement.
of mystery and
tailor
at
work.
Engraving.
Seventeenth
The
Seventeenth Century
century
^
f
'<V^
ry
tit-
MDCIU
*^-T
M.VXXXIII
6ji.Seft.
Sre
M
-
s<,
?*^
,j
^-^ *
ftfe
41
^J^TTy^-
3be
IP1
JB
v. ***.*'
~~ T
\a
'Costume
is
XIV
So Louis
pomp
predominated.
still
There were
definitions
artistic, social
and even
it
its
The
of events,
tion
when no
knowledge of
exact
their
was known.
and
stiff.
From
adorned with
line,
band
chin,
came
a large
like a fan. In
order to keep
number of superimposed
also a metallic
layers
starching
became almost an
starch
of
court,
where Henry
a pale
III, it is
him
of the
He
the
which authorised the Protestant religion, gave freedom of speech to Protestants and thus ended religious
art:
at
strife in
linen
Theatre
fine
mere pleated
neck from collar to
personality
villages
the
lace,
the/raise, a
ruff,
made of extremely
Henry IV
desired.
this rigid,
greatest
said,
at
only
rice
the French
supervised in person
Then an
Turner invented
first
a starch
English
woman
of a pale yellow
popular.
pale yellow
was considered
a Papist
In
Eng-
when
of poisoning
Engraving. Callot.
1617.
unjustly,
Bertarelli
its
inventor
Sir
Collection, Milan
France.
Simple
in his
never paid
much
nate
who
woman
warrior of
Forli
the court of
King Henry.
Left:
Queen
collars
Passe.
high
Elizabeth of England
set
at
stir}"
Following pages: Portrait of the artist and his first wife, Isabella Brandt. Rubens
(
irca [609. Bavarian State Collection, Munich
V
c
m
^:^.
~v~
r
<?$ir.
4.
&
ZLtL
-.
*L B
*\-
i**
V
i
at
the
Tower
woman
with
kept
yellow
ruff, after
which no elegant
in her
wardrobe.
fashion,
plete
immobility; although
it
comworn by
to almost
could be
ruff
abandon the
went on wearing it
the
little
first to
ruff,
for
though
some
time.
few followed
Louis XIII
In the time
falling collar,
although
which
many
fell
in the
touch
by gold and
As cumbersome as these dresses were
styles, often composed of stiff little plaits, as
of white
at
silver braids.
the hair
we
fashions
Women
148
lace.
The
farthingale slowly
the colours of
'leaf colour
browngreen, gay-green, lawn green; and even more fanciful names like 'laughing monkey', 'kiss-me-my-
all
for false
by bunching up the
width
at
the
Portrait of a lady
style
Rue
St Denis.
They were
skirt.
of ruff won)
at 'La
of the
in
149
cheek; 'boldness'
they were placed
try' if
if
they adorned
at the
a nostril; 'kiss' if
expressed
a desire for
lip.
This fashion
of velvet or
silk,
The
ruff
falling collars,
'Portrait
150
made
The wish
to appear original at
to another fashion
which
lasted
all
costs
gave origin
green or black.
slit
vertically; each
ribbon ending in
slit
hemmed
with
coat fastened
ings.
pointed col-
trimmed with
lace.
lar
made of
lace,
slashed sleeves.
Men
with
and very
full
Portrait of
his family,
From
the
lace.
By 1650 people no
its
influence
women
all
very
preferred their
Amster-
dam Museum
51
staid old
skirt itself
was
made of
silk
The
worn on
fully gathered.
little
hat
ambassador of Ferdinand of
to the knee,
calves. (These
Roi
In fact the
sensational
bankruptcies.
It
became necessary
to
feature
in
embroideries,
paintings
and furniture
decoration in Holland.
XIV
seemed
cause Louis
it
girls,
Louis
Soleil
marriageable
when
XIV
returned to wearing
a style
lilies.
This
honeymoon, bestockings
silk
was
him
small, being
to
add inches to
under
he
Women's
red.
shoes were not unlike the men's, but their shoes had
Louis
Elegant
XIV
men began
full
short trousers,
The wife of the Lord Mayor of London. Wenceslaus Hollar. 1644. Right: The fashions for the ruff
and the deep collar overlapped for some years.
Le Costume historique. M. A. Racinet
152
wore under
scarlet heels.
was open
in front,
on
Very often this third skirt lengthened
into a train, which had to be carried by a page. These
three skirts had somewhat fanciful names the inner
one was called la fidele and was the jupe de besoin,
pleated and puffed
pins or buckles.
woman's beloved;
in the
the second
et d" eclat,
in
one was
known
as la
modeste or
la secrete
accord-
who were
satirised in the
work of Moliere,
Madame
de Chevreuse,
where all the gossip of court and town was exchanged with eager malice.
Men
letters,
describing a
tres
on
their cloaks,
shaped
like capes,
men
livres.
loved trimmings of
sums on
this
Even
enormous
extravagance.
was passed by Mazarin which forbade the use of gold and silver not only on clothes,
In 1656 an edict
his
laws
Museum, Nuremberg
cream-coloured
Museum, Turin
on
silk.
in
Seventeenth
magenta velvet
century. Civk
153
154
Milliard. Victoria
and Albert
Museum.
ondon
ss-
Right:
style
of dress
Prado, Madrid
made
artisans,
who
buttons,
wove
who
fashions
across the
Austria, del
Mazo. Prado,
of the
Rue
dressed with
the
by the war between France and England. From 1672, however, fashion news had also
been spread through a newspaper, Le Mercure Galant,
barrier created
at
Madrid
?;
2&
Mllil-
&
w
l
58
4uL*T
cobbler.
Abraham Bosse
Berlin to Madrid,
finely pleated, or
whatever fashion's
whim
latest
ruffles;
decorated with
little
much
in the
winter
at the
skirts a la Psyche,
back;
it
which were
soft
and
full
and flow-
Women's
stockings,
had
made of black
silk.
either white
little
shoes
velvet or o\
them
silk sachets
containing perfumed
[59
Men
were
tight
knee,
and
important.
fitting
sleeves
Portrait
at
the
became
of the
60
m
essences. Furs
many
were
also
of fur,
tiger,
in
fur.
belts:
Venice
XIV
did they
with beads. At
subsequently
first
respectable
women
their
hands
cold,
From 1674
porary
mo-
of their
to conceal a lapdog.
to 1678
standstill,
as part
owing
tem-
the elegant
his
man wore
body from
at the chest to
Below.
allow
Now
glimpse of
was open
sumptuously
Albert
Museum, London
101
embroidered
shirt.
he wore
into
two and
fell
down
a cravat
Hair Styles
which divided
a military origin
it
was part
who
new
masculine fashion.
The most
she
hunting expeditions.
her appearance in an
dered her
Elegant
They
From
the bodice
full
another
rosettes,
made of heavy
robe,
short
La
robe
was covered by
open and secured at the hips by diamond
bows
material,
or circular draperies.
large
162
the ladies of the court arranged the curls that had been
hanging on
their
by wires.
Another hair style which was all the rage was one
which Madame de Sevigne described to her daughter
thus: 'The hair is parted at the sides and arranged in
round, soft curls, which must not fall lower than an
and
little
with bunches
Women
The
effect
is
young and
pretty,
women
Illustration
on
a fan,
showing
mock
Milan
yfortm
^G>
fc
I
1
4.
w
Jcsnmc
if
tii
pi
it.
>^/A
11
irf/r
/Ml
pirtc
Z<
tin
rnn, J^i
muf
[63
who
but Louis
adopted
a peruke,
every fashionable
even
man
in
he
fail
Europe began
he had no need of
if
had an
wear one
to
it.
lasted for
lar that
new
on the wig-makers'
tax
way
trade. In this
the
was
set against
were
at first the
shaven and
It
of
Venetian courtesan. Forabosco. Uffizi Gallery, Florence
was
The Roi
this fashion
in the reign
Soleil
of Louis
dresses
were made
at
this,
>mj
Charpentier and
couraged
Madame
Villeneuve.
They
en-
to
embroideries, to trim
Dutch enamelled
Victoria and Albert
Charles
scissors
case.
Seventeenth century.
Museum, London
Pitti Palace,
Florence
ones like
taffeta.
They
and gleaming
silk
by Elizabeth Charlotte of
Bavaria, which was wound round the neck, with an
embroidered fichu, or a lace tie. This lace tie was long
and narrow, wound round the neck, crossed on the
breast and ended in a buttonhole in the bodice. It was
or fur scarf, launched
called a Steinkirk, as a
won
tradesmen
first
who
The import-
his earlier
style dress
164
mm
K.
V
msnt
'aMI
im\
.**" Jf
<
\1
I
li
ft
'.;
'
edicts.
was
it
The
shirts specially
made
for
it
engageants. Lace
was used
when
it
Male
ing,
ingenuity in lengthencoats.
tally,
to four,
worn by men
They made
them from
vertically,
horizon-
now made
women.
of
were
material,
this
was
velvet,
and
and they
much
the
enriched with a
a slit in front
made of
well as
as
embroidered; sometimes
rained.
two
wig
same material
as
became
shorter again.
vened personally
another.
As
to guide fashion in
one direction or
symbol of mourning
He
actually passed a
law for-
and
silver coats,
which he
when
and
He
also
coats'
em-
broidery they could follow the King without needing any further permission.
which
at first dressed in a
new uniform,
Then
a blue tabard
the grand
with
roi
ordered
a silver cross.
were no great
differences
Only
hats
there
were
felt
hats,
like
cones with
silver
child. Detail.
A. Kers-
women
elegant
166
IBM.
wfrA
Jtf/
SPU^^S
/
>
_ N
y<" rHLi*
TW
<**+*
"
c-*y7v2
'
M' *;
1*
L-/
fY
TLA m
4
/
^
i
m
,-
J^
for
widows) with
head,
held
stiff
countries did
women
bon
for married
cap, for
widows
crown, usually
women;
;
or
some-
made
or
in silk
all
and with
a rib-
we
all
other
see the
a small
women.
beginning
no
little
ruffs or farthingales
were
full
Of
course embroidery
bonnets and
collars,
as
but
skirts
the thirteenth
documents of that time we find descripof girls' capes and boys' shirts; sumptuary laws
discussed. In
tions
still
of Charles
In the Vita
who was
Nuova Dante
her very
simple:
young
age.'
little bells
or
reached
its
critical spirit
and the
rise
It
of
sun,
wear embroidery.
girls to
in
I'.
diminution of
last
and
hope of establishing
all
rival
powers.
An
famous words,
in
absolute
he bent to
and middle
classes.
his
Under
of art and
it
to
make
politically,
but
intellect.
festivities
Museum, Rheims
mistress
Left:
He
doned
for
insolent
Madame
woman. At
declaimed
his verses,
triumph of baroque
first
in
taste,
and
honour o{
whom
he aban-
Bcnserade
Molierc produced
'Children of Charles
his
['.
comedies,
Detail.
Van
R ft
'klLSk^Jr*. o**s.
V*C
[69
170
jr
IX
171
Louvre
who
ladies
the Strasbourg
Bertarelli Collection,
attire
was
triumph of the
made
by
tall
naked shoulders
beautiful
and brocades,
silks
rising
from
their
foam of lace,
carried
lace,
dressed richly in
ladies
Cour-
tiers
jvsT
Milan
long train
L^^?
of immense
The advance of
sacrifices
by the people.
by the
m'k
Kf^-
spirit
1
his
feelings.
In
Br sij/r
<%M
Pfiiil WSsis.
human
who in
thoughts and
^jSl
W-3&.
animals with
in literature
also.
England
Portrait of Newton.
In the reign
degree
his operas.
power.
genius,
five
were housed
fetes
and
in adjoining buildings.
festivals
The
fairy-like
The
impulse by Michelangelo
lines
1-2
its first
pure
literature
Armada
she
in
land arose
his
Bacon. From
made
In
in science, Francis
War
in
Eng-
hated, certainly
and
the
power.
emergence of England
as
European
Portrait of the
Museum
tury,
Italy
first
In Italy, at that
was
carried
on by
Tommaso
Campanella,
thought
who
itself.
where
Women
and Manners
found
world of philo-
of spontaneous genera-
did original
tion;
work
Women
in the field
173
dress
with
more flowing
line
who
village called
'as
their
holy and
The
strict
modesty',
'ladies in grey',
dresses
of
this
as 'cloister,
obedience'.
colour,
worked
wore
at their charitable
historique
la
Those
the sick as
gave away
who lacked
ladies
was under
Queen of France)
example of the
in the
Maison de
money
to charity.
did,
Thus Marguerite de
de
la
Paris,
an establishment which
made
more
a great contrisick.
young Mexican
girl
who
had learnt
and
who
had been
la
how to
their
Cruz,
read at
when not
yet
muse' by her
sisters
physicist, philoso-
less
not
as
well
known.
Gilberte,
A shop
in Paris. J. Berain.
1678
at the
sister.
women
famous
literary society.
somebody important;
when
duchess
pre-
who
her
life
Onofrio Colonna
sacrificed
to
political
Count
necessity);
from the
worn
is
Zoppi, another
as
did
intellectual.
she
Fathers
of the Church,
holm
in the presence
sitting in their
down
at the
hold the
Communion,
nobility; silence
is
little
to take precedence of
there
King
all
Though
sit
their napkin, to
taking
was
King
is
is
the
in
absent.'
throne
but
at the
age of twenty-
would
no heirs. Dissatisfied with the Prowhich she had been brought up, she
therefore produce
testantism in
became
where she
tional
176
life.
led a splendid if
Rome
somewhat unconven-
lise
'The
Visit'. Detail.
tion,
Milan
Pictro Longhi.
The
Eighteenth Century
-4
.*
'
The beginning of
rupted by the
was
dis-
in Poland,
monarch who,
after
having
monarchy
itself.
ment by law
the
undermining the
of
At the time of Louis XIII the Fronde
for the
institution
A second conspiracy,
it
Enlightenment',
cultural
movement of German
origin,
brilliant writer
who
essays
other ideas.
of
She
possessions.
also
the Great,
now assumed
importance in European
rich
Jesuits, Voltaire
was encouraged
Educated by the
by
his father to
his
follow a career
He was
as a
revolutionary theories.
friend of Frederick
which had
as its
politics.
Already
felt.
a role
of
first
made
England,
started the
and lampoons,
satirical
tales
and tragedies,
territories,
England.
Wars and
of the
new
new
states
on the
as
fight the
return to a
life
taste
have lived
in
who were
supposed
Contemporary with
was
'the
Left:
Museum
Men wore wigs and long jackets with embroidered cuffs. 'Louis
XIV receiving Frederick Augustus of Saxony'. Louis Silvestre. Versailles Museum
Following pages:
XIV. Rigaud.
Portrait of Louis
New
Versailles
Museum
XIV,
dress
became
simpler,
ridding
itself
instead
weighed
painter
it
that,
known
the
because of
Women's
of an
from a combination
influence derived from the theatrical
dress
Italian
developed
also
was
stiffened
The
dress con-
pleats
From
little
skirt to
XV.
L.
M. van Loo.
Versailles
Museum
Fashions
'Louis
make
it
metallic-
worn in
paniers
by
hoop exactly the same size as the waist, the panier
later became a double structure, separated into two
material of the skirt, and held in place at the waist
a
uncomfortable
and
impractical
for
skirt
was
wearing
in
of the
whim
of
an
actress
who
decided to appear on
wheel of fashion.
Dressing from head to toe was a very long business.
Madame
de Stael
in
marquise
little
silk
(worn by women)
which fell from the head and
rochetto
or lace
bautta,
its
three-cornered hat.
which concealed
XVT.
A.
morning,
'It is
we
with which
all
Versailles
F. Callet.
enough
Museum
choosing the
!
with
discussions
latest dress, in
And
performing our
tail
Every
those
The Gardens
then
What
and
care in
we have
toilette
artisans
with
all
In Italy fashion
but also
linzioletto.
head, reached
The former
which covered
the
The
linzioletto
it
was the
fancy-dress mask,
Genoa
In
inezzero.
a large
modern
an
white
foulard.
it
all
sorts
'Louis
silk
tabarro
however,
it
at Versailles.
could only be
worn during
wear
it
festivities:
from the
first
it
Sunday
few months
until
election of the
Doge
or his procurators.
were abolished,
little
women
shoes
became
fashionable,
of a jeweller
who
had succeeded
in
preparing
used
in
The
strass.
little
which he
diamonds or
it
so
Marco, and
to attend the
being recognised.
In
tabarro,
which was
wear
made o(
material or
to reveal his
man
allowed to
costume: the
rich, puffed,
embroidered
[83
men
modified their
dress,
The
made of damask,
waistcoat
rich garment,
satin
became a
or velvet, em-
number of gold
could also be
silver
it
buttons, closely
or enamelled
only the
first
few
was
that
it
is
had
fitting,
'L'Enseigne
de
Gersaint'.
Dahlem Museum,
Srriocd Venetian brocade. Chigi Collection, Venice
184
Antoine Watteau.
had a great influ-
Detail.
embroidered front
and large cuffs. 'Portrait of a
Gentleman'. Ghislandi. Brera
Museum, Milan
the shirt
was replaced by
made
in
black silk. The long coat was lined with silk of the
same colour as the material of which the waistcoat
was made. The tails were flared and held stiff with
the
as
one Casanova
all
the seams.
in masculine dress.
jabot
two rounded
points.
The
coat
a frac; its
Left:
collar
made
also in black.
was
called a
goldoniana.
cover
the
Though
extending
knee,
braces
over
were considered
the
stockings.
novelty in the
new to the
had been worn in
when men were
Scandinavia
as early as
1500
B.C.,
Portrait of Vergniaud.
Durameau.
Museum,
Lambinet
Versailles
which covered
their shoulders, and ended in two points to which
leather straps were attached, straps which had the
same function as braces.
There were
tious
trimmed
in blue,
it
long coat of
his trousers,
of a
was
soft
buttonholes,
stockings were of
silk
a silk rosette.
with vertical
silver
his
stripes in blue
fur,
trimmed
'A
Gentleman'.
Drawing by Watteau
IS-
Below: 'Portrait of
Detail.
Ghislandi.
Museum, Milan.
Gentleman'.
Poldi
Pezzoli
Right: Detail of
**
my
i
middle with
in the
neck
wide
tie in
poppy-red bow;
a large
at his
stripes,
The
at the sides
in front,
and shaped
was
tied very
down
his back.
hair
fell
low on
the nape
pleats
trimmed with
lace
too were
'a la
women
Spanish
a 'parfail
wore elaborate
felt
from
hats with
little
brims.
rosettes.
A History of Fashion. M.
A. Racinet
Iloaks
hood.
trimmed
middle
of the neckline, which was wide and deep, was called
keteers
mantilla, a silk
corset,
rosettes
hats
of the
Wattcau
contentement'
The
in the
up on each
volume
gathered
lace.
[89
When
with
jeers,
hooped
the
skirt
There was
tions.
Louis
working-class
girls
breaking
a certain
XV, on
of loose morals).
where he decided,
middle
classes, to invite
women, even
if they
to be in fancy-dress,
the
and
it
fir-trees
emerged
ball
was
that
titles.
as a fir-tree.
They surrounded
among
the
most popular,
When
conquer
Chateauroux had
wool warp
cloth
silk
cartek, a lining
material; the
(as this
was the
his
heart,
as
his
the doors
men dressed as
crowd of Columbines,
who were
the
with
to join the
The
Materials
wedding
dancing.
ladies did
Madame de
The woman who
favourite
died recently.
Madame
XV was
daughter of a
provincial weaver.
Left:
dour".
'Portrait
Francois
Collection
Milan
(iallery,
Rome.
Left centre:
The Marquise
de
Pompadour
and
gifted,
made
herself
acceptable
to
the
Queen,
Maria
much
so that her
full skirt
to
make
it
191
'Portrait
of
Lady'.
Verri.
Miniature.
Circa
1760.
zonico, Venice
parfait contentement
Mengs. Circa
petits
and organised
gold),
theatrical performances.
She
(she
week,
in order to
would apply an
astringent lotion
made with
cones,
roots,
cypress
walnut
nut
a linen cloth.
On
oil,
in a
double
veal
warmed up
boiler, filtered
all
fat,
hazel-
this
was
and scented
ward point
in front, a
or square (with
pleated
lace
here). In the
192
the sleeves,
which were
Madrid
1770. Prado,
trimmed
wide neckline
rounded
corners),
either
V-shaped
trimmed with
frills
that
in the
skirt beneath,
which was
a
Madame Pompadour
deep emtrills
and
A
\
which often
ornamented the upper part of the skirt, were extremely rich and expensive, and often cost more than
the material and the making of the dress. Les robes a
la francaise were publicised in the Mercure Galant and
neglige in
to
as to
lift
form deep
became fashionable:
folds.
the dress a
Then
new
la circassienne,
young
Circassian girl whom the French Ambassador in
Constantinople, Monsieur de Ferriol, had bought in
the slave market. The dress named after her had three
cords which lifted up the ankle-length overskirt; the
sleeves
wrist,
down
to the
dress.
i^^B
4
0Kr
HV^^v
^H
~JR
^dwm
Hm&flHHHHHlflHHHl
194
plete
the
HBIm^VJHJHBKU^
were
skirt
all
in
one
piece, to
and practical
first
to
neglige
Then came
a beautiful
HE
bodice and
of
la francaise.
This consisted
masculine one,
a short
There were no
little
of
stiff
cushion which
Pouf
fifty
csuvert
parent-
and
Louis
friend of
Madame
taught science,
arts,
nun
de Maintenon, mistress of
attending
ladies
it
were
wore
fontanges,
which were
headgear made of
trimmed just
little
black aprons,
Hair Styles
At the beginning of the eighteenth century hair
styles
increase the
very close-fitting bodice, pulled in tight with whalebones, which was joined to a rich
skirt,
cut slightly
trimmed with
lace,
like the
make
tulle,
more expensive
which
to
lace. Little
little train.
linen scarf
masculine jabot.
became so excessive
every country there were laws passed
fashion for lace
chine to
some
The
that in almost
to limit
invented
its
use.
ma-
extent replaced
aprons
made of tulle
La, Uyj/v/zt'i/je
195
introduced
was
more
far
now loaded
with
with
bedecked
a battery
stif-
grew
to
century fashion.
had
the
news
that in
Turkey and
widely
known and
There was
also a
practised.
founder of mesmerism, a
the
Toilette'.
Bertarelli Collection
style inspired
by
and flowers.
Hair was always carefully powdered.
wore
hats.
little
To keep the
home ladies
caps
large silk
the hair
hair to hats,
and hats
as large as
sunshades there
;
one made of
brim upturned
at
little
the side
were
They wore
little
black
is,
silk
bag
rest
tied
curls
of
of the hair
with
they wore
else
with three
women in
gathered into a
fashionable.
modest than
ribbon
their hair
up on top and
Blarenberghe. Versailles
196
curls
Museum
behind the
ears.
Van
1 et ua
on Chapman a la Henri FV
i-onreau de chaire.
Bertarelli Collection
Collection
wig with
a tail
later
Wigs were
else
it
at first
pow-
could take
hair styles, in
women.
_,
Villeroi
le
Bertarelli Collection
He was
the
first
Rousseau. Villeroi's
France,
w hich
T
had begun
appeal and
its
place
its
to
was
he never
tastes
seau,
was
its
changed, however,
on the
scene.
when
Although
it
on
the disap-
numerous
ruffles
of lace.
Marie Antoinette
The most
definite tastes in
wearing 'con-
siderations',
abandon the
florid
style,
good
with
its
taste,
succeeded
curved
in furniture,
[98
innate
lines
as
and
well as
J
Feaiipe
Joli*Fw
JoLit*
*u
il<il>abille
iralftffl
l,
England.
the romantic
This
new freedom
new
gradually supplanted
faithful, platonic
The absurd
back.
The
done once
by nature,
that
curls falling
model farm,
design.
symmetry of French
would
receive her
wide
The
grey.
in
curls
the
Younger.
Bertarelli Collection
Engraving. Moreau
that
were
Madame Du
not red,
(blonde,
as
XV
which were
favour of soft
Lady-in-waiting wearing
fell in
powdered
still
by
the skirts
was quite
and elegance
of the Dauphine).
hats,
tied
with
saddle fixed
to the underskirt
which had
a piece
breast'.
The
up
stiffly
pearance
so that
it
ot false breasts.
Mademoiselle
Bertin
Minister of Fashion.
gendarme, she
natural
good
Marie Jeanne
who
came
taste,
won
was
Marie
The daughter
Antoinette's
oi a provincial
to Paris
in the
Rue
[99
'Marie
Antoinette'.
Penn-Salbreux.
Detail.
Beaux
Arts
Museum, Rheims
Engraving.
1780.
Chodo-
',
200
Engraving.
Bertarelli
Collection
'
Jk SSSb>~3
1S^
St
Jk
WmL m
:
Jr
mm
&" JLJ-jH
1
.
Fir
1*
^^^
,
bftwn
^*V
l<u '"V>|riaur.fiT c
[
'
i-hrtorati p In
201
To
'Le
Doux'.
Billet
New
Museum,
Detail.
Fragonard.
Metropolitan
York
had
'But
in them!')
created
milliner
little
masterpieces
also
to
an
able
Court
for
her.
business
to give her
Other
accessories
in
which
scissors,
(ladies
accessories.
little
made of leather,
oiled
Dr Tronchin
air to
fans
containing
Accessories
were
two perfume
to
keep
enamelled metal
bottles; sheaths
a little
watch key,
penknife, an ear-cleaner,
wore
their nails
and boxes
a pair
a
of tiny
nail-cleaner
pencil and
little
Amongst
make
notes.
was
novelty. These
encourage
not
last
a fresh
even
complained
202
few
to her
steps.
little
shoes
Morcau
which
at that
much
tremely fashionable, so
ette, after
Marie Antoin-
go
to the dairy
Jewellery
Jewels
at that
designs which
of
time
trinkets
period.
showed
little
widespread
frivolity
and
masterly
skill. In this
ostentation,
work. This offered great scope, and was very popuespecially with semi-precious stones in
lar,
women. Diamonds,
so,
styles
tended
parure
either
rings.
were owned by
by themselves or
rich
set \\ lib
were
iiold
also
or silver ribbons
worked
a sbalzo,
and often
203
Portrait of
gold or
formed by four or
silver,
five
plates
of
The
thin plates
flexible hinges.
made of strands of
of varying
sizes.
little
On
shaped pearl.
their
hair
velvet
drop-
with gold
hair slides
pearls,
pearls
diadems, strands of
filigree
monds, or covered with enamel or delicate miniaWatches were also worn by women; often
they were tiny, covered with diamonds, enamelled
and attached to a little filigree chain.
tures.
Men
were
set in
men made a great display of their decoraThe gold or silver watch became an accessory
military
tions.
of great importance.
It
in the small
a small
gold
no functional purpose
in the breeches
of walking
sticks
strap
The handles
clasps or buckles
which fastened
below the
the breeches
Women's
made
and some-
either
of
silk
or velvet.
in
slippers
rV
in the
of cloth or velvet.
Portrait of
Gallery,
Domenico
Milan.
embroidered
like
Right:
Anniballi. A. R.
Detail.
women's
Mengs. Brera
Men wore
dresses
waistcoats
Women
Not
all
of the Time
women
eighteenth-century
in fashion
a child
prodigy
at
were frivolous
and intrigue.
;
at the
In Italy
age of five
on the
she asserted
lectual capacity
no way
is
in
inferior to that of
men.
205
workshop
Tailor's
Left:
in
Aries.
Raspail
The English
style
plate. Bertarelli
7W
C.L.
Gunston
Hall, Virginia
of frac. Fashion
Collection
before the
Pope Paul
Holy College
presided over by
III.
the
fluently,
horse and
manage
home
her
one
which
she
her contribution in
this
lecturer in mathematics. In
sick.
she
Italy,
was
made
mother
who
great
as a child
in turn
made
206
207
to
pastels,
famous
in
live in Paris,
portraits,
and
later
became
went to
friendship of
nancy.
woman who
French
The Queen
sat for
painted
first
preg-
skirt
covered with
mass of garnements.
Women
of
this
After joining
this
called herself
dress, a
name
Masonic
'Candour'.
Sister
wore
Jewellery
which
belonged
to
Catherine
of Russia.
During the
last
form
years ot
a parure
Mane
Antoinette's reign,
in simple,
comfortable, inexpensive
continued to
of neoclassicism,
fabrics.
Men
Left:
208
rings.
A. R.
Mengs
^ss
Marie Antoinette's
In this
and necklace
tiara
of architecture and
styles
furnishing.
After
in
the
Baroque period, which was characterised by elaborate scrolls, curves and carved ornaments,
came
during
1723,
was
when
called
fragile
in
the
Philip of Orleans
the
to the
was
'Queen Anne'
Bcrain,
715-
England.
work of Jean
term of
who
it is
More-
epitomised
rediscovered the
period was
and figures
When
style
XV
Louis
made
its
came
ishly
as
creatures.
Also
fashionable
decor-
Rococo
decoration.
continued.
and voluptuous
style
mythological
all in a
its
strange
of the Chinese.
furniture in black
'Ghinoiserie:
this
subtle
play of curves,
swirling,
asymmetrical
lines, especially in
a
furniture
new character
209
series
Madame
de
Pompadour had
There was
tasio
moment
at this
time
of the day.
rococo
trifles,
abrupt end to
masks, carni-
of fantasy
in
taste
pursued
until the
it all.
210
Fashion,
to
a passion for
rich riot
which
in the reign
be more informal,
now
of Louis
XV
had
started
silks
were
now made
cotton, called a
these
la
brooch, or crossed
The long
lace,
citoyenne or a
at the
gloves of
silk
la
Charlotte Corday
in front.
replaced by the
less
against
all
imposed by the
high
or lace.
tyranny of fashion:
little,
created that
fringes
blue.
on
The
belts
neglige a
la
of a
all
costs to be destroyed.
would be
the
between the
distinctions
Marie Antoinette's
The working
men of the
classes
Since the
all,
classes: for
women
same
time of Colbert
heels,
drawing no
men
the bour-
extreme simplicity,
in
the
seventeenth
fan. Versailles
Museum
and the
wore wide
tricoteuses
made
material
in a red
wide
was completed by
This outfit
collar
with red
boots and
tions
return
Italian school.
Eighteenth century
a
a
influential painter
introduce
lapels.
a red beret.
at
plumed toque on
had no
real
members of
from the
dress
ideal
At
oi the
became equally
and locks
time
this
styles
falling
over the
ears.
Once
again costume
of the age.
The
\
parasol
ogue
came
in the Late
war
into
eight-
1780.
Bertarelli
lollection
2]
Venice
the
century. In the
last
as Italy
had
in the sixteenth
through
city
German
England. In 1791 a
Paris,
the
left
traveller, passing
this
come
makers.
capital,
women
were obliged
to give
up wearing
printed
materials
'Equality',
nit
'Liberty' or 'Republican'.
for
name of Madame
in
time in
newspaper
On
first
Tues-
choose
companion from the list of candidates for matrimony. After choosing one of the loyal republicans
available it was enough to post an announcement ot
marriage in the town hall: the religious ceremony
a
'Madame d'Aumont'.
Detail. Elisabeth
Vigee-Lebrun.
212
MM
->*
were
because
easily
two
individuals
law made
in
made
first
dresses
imitated in
Fashion during
by trends
in
this
England.
with
When
was expecting
a
mewing
This made
new
the Duchess o(
.in
heir, she
York
launched
stomach', ob-
tained by
trout.
to the
up
under the
The
all
'false
breasts,
The
line.
married
women
waistcoat,
girls as well as
by
expecting babies.
lapels
reproduced on the
lids ot
dandies
who
Bastille.
made
Then
at the Palais
ith
dif-
ribbons.
Debucourt
_____
and
a la Vestale
a la Diane.
this
alluring outfit
the ankles,
was replaced by
fichu
spencer,
collar
and
shawl, and
by the English
close-fitting sleeves.
and arranged
head
in little curls
The
The
frac they
sleeves
with no
and
cuffs
fastened at the
usually they
men wore
from
the frac.
Round
an enormous necktie
feet.
Drawing of an
elegant
man
with a cockade
in his hat
privileged
class,
who
sticks a
la
number of
tailors,
dressmakers,
Knobbly
at the
a large
walking
few years
stiff horizontal
fashionable tailor,
sensation.
leux
The Chemise
it might be
anywhere in Paris a working woman
capable of making a hat or a cobbler capable of
making a pair of shoes. This was why, just as
crisis in
At the time of the Directoire, French women abandoned the false exaggeration of their figures and
adopted
Roman
times,
a line inspired
Greek and
parent chemises.
Long
tunics
in light,
of
flowing trans-
linen,
of very light
difficult to find
his
wars and
political
manoeuvres, decided to
in Paris, in
216
designs; these
were
called
world of fashion
OcToam
IM
Mil
OK THE I.OV
The
Nineteenth Century
[VAR]
The nineteenth
town
dress,
if
shoulders.
all classes
became more
differences in material
To
express the
imitating
all
Women
differently.
alike
classical
a passion for
things Greek.
Styles of dress
as
long
yards for a
1810
220
as six
long
as
flat
slippers or
shaped like
below
these tunics
most of the
were very
richly
second
became
classic
to
Roman
tunic
as
With
and
white
many of
might
was Madame
Tallien,
Thermidor, the
first
woman
to
adopt the
1830
de
reticule, a
vase,
tin,
shaped
like
an urn or Etruscan
successful outfit
was
chemise
skirt to
show her
legs.
at the
She wore
serious problems, he
in fashion,
not so
found
much
be-
bracelets
wanted
toes, as
of coloured
wore
head-dress
feathers.
Women
their hair,
oval brims,
trimmed with
these varieties
lace, ruches,
with
tied
under
of
8 10 the
1855
challenging England in
at the
this field.
of
fabrics and,
vantage
century,
for
the
manufacture of
textiles,
still
while in France
done by hand.
or flowers. All
in
England were
St
installed in
In
was
of
1874
22]
tulle, batiste
and
lace
Emperor wrote
was
started.
in the field
Thus France
of
fabrics,
to General Caulaincourt,
re-
and the
'I
have
memoirs
d'etat.
woven from
He
Kashmir.
who
warm. The
fashion for
make
dresses, to serve as
as
'Les Incroyables'
manufactured
To
in France.
as to
The
chemise dress
Collection
222
his
court a
pomp
He
same
dress twice.
at
He sum-
ladies
fashion, just as he
tionaries
He was
aristocrats.
in his early
youth became
at the
a hairdresser,
the
satin,
powder
F.
Gerard.
first
life,
assured later
worthy of
by
the Republic.
costume
He had immediate
success
a tricolour dress,
he found inspiration
among
in the fashions
the archives,
of the
past.
An
produced by
his hair
for his
he feared
National
J. F.
Tishbein.
des
below the
bust,
The
waist
was
in shape.
sewn in
round or square and Vshaped at the back, was trimmed with lace. A very
short sleeve barely covered the shoulder or came
only in
down to
material
decollete;
the neckline,
was shaped
slit
either
with
a fold
was long
upper
narrow and
part, then
back, had
The
a slight
skirt,
em-
became
ground and conical
breasts
from
made
heavy
always embroidered,
it
colour and
just
under the
was
of blue velvet
embroidered
she
from
the
The Empire
The Empire
tion of
Style
style
Notre-Dame
f->22)
224
in a different
precious brooch.
and ribbons.
close fitting.
in
1804.
The
in the Cathedral
dresses
of
of the Empress
An
Italian
225
with
on the
left
sleeves,
and
a velvet
worn with
cloak embroidered in
in silver
The
left
brocade
a train.
conical with
shaped
like turbans.
Over
fashion,
able
by
with fringes or
embroidery.
'Portrait
fur,
with a high
Sleeves
collar,
hemmed
became longer,
until
they
- him,
women
all
in the land
com-
However,
there
was one
woman who
stood aside
'Empress
Marie Louise'
Louvre
Detail. Lefevre.
226
over
4&#*-
talk
of all
Paris.
On
her night
Portrait
women
Even the
dif-
bathroom of
22~
Borghese Gallery,
hidden behind
The
Josephine and
still
tailor
of Leroy were
her daughter,
hats,
a sofa
best clients
former had
Antonio Canova.
Rome
was always
was able
first
and
veils, frills
able to give
at
up her old
Days,
when
she
fell
step-daughters
of the
Stephanie. Caroline,
Leroy
Emperor,
Queen of Naples,
and hunting
two
Hortense
fact
and
also used
and
procured
22<S
all
her
as large as in Josephine's
stoles
tended to
make women
this
period was
of Vienna
in 18 13 fashion
affections
of the Emperor,
who was
flattery
The names of the victors joined the names of the defeated: the Duke of Berry, who ordered gloves, hats
and ribbons for
a secret mistress;
the Princess of
all
Leroy
satisfied
an Empire was no
change of
client.
of the Empire
style
had the
With
To
begin
230
-/.
Lady's
toilette.
with narrow,
to a slim line,
skirts,
and
tall,
straight, ankle-length
feminine figure.
full,
The
tirst
signs
the
first
of romanticism
Mary
in the
When
Then
which tended
to
became twice
as full
of torture. She
London,
in a
costume consisting of
fashion.
ish
breeches adopted
as
costume
until the
of, dresses
trimmings
oi the
'wolf's teeth'.
two or
hem
same material
Now
frills,
three horizontal
rows
to give
Sleeves,
which up
to the
width
in
at the
were favoured.
became
shorter
short skirt to be
reforms to
jacket and
made
work
The
trills
tassels.
collars.
shape of an hour-glass.
The Restoration
hats,
and
waist
Henry IV
like 'hams'
'legs
In the nineteenth
century
but
this
was not
to be
An
obscure
[ungarian doctor.
for the
hoop.
Ignatius Philip
women
those who
in
helped them
if
childbirth
31
during labour
first
washed and
disinfected
their
Bourgeoisie
positions of power.
later
was the
first
a la Reine,
Queen
Victoria
revolution. Instead
stiffjackets a la
it
went
wide
on the
worn on
To
books.
embarked on
or painless childbirth.
sewn
new
They became financiers, industrialists, merchants and members of the Stock Exchange. They began to collect paintings and precious
a life
of conspicuous consumption, to
womenfolk who
nostalgi-
and furniture
as
A new
was born,
sensibility
ballets
of
dress.
fashion,
and fashion
gown was
began
in
to
show an
interest in
Balzac wrote
literature.
which fell
down in adorable pleats and betrayed the hand of
a fashionable tailor'. This tailor was called Victorine,
and was admired even by Stendhal for her skill.
'.
her
adorned by three
frills,
des
The Crinoline
Fashion under Napoleon
Over long
petticoat covered
kept the
skirt
worn
the
by the
woman wore
crinoline.
special
skirt stiff
a flannel
under-
this
were
three
dress.
wore
III
lace pantaloons a
little silk
When
she
went shopping
Her even-
multicoloured
by
stripes. In
summer
the dress
was often
it
nish
man-
turf, to
George Sand,
232
who
their heads
and
a lionne,
with
Romantic
'Portrait
fashions, with wide but modest necklines gave women a fragile look.
of Margherita Verdi'. Mussini. Museum of La Scala Opera House,
House. Milan
233
Louise, Napoleon's
widow. Minia-
an intelligent, active
At
woman.
the crinoline
first
Hoops of compressed
horsehair and
earned
women
skirts
steel
hoops allowed
number of under-
away with
all
padding, and to
effect a considerable
the
Thompson
crinoline,
Then
ten
more comfortable.
flat
in front
and extended
at the
back, or a crino-
234
In
the
mid-nineteenth century
'Portrait
of
the
Archduchess
wide necklines.
Bertarelli Collection,
'Portrait
of
1836.
Milan
Sommariva.
Boulanger
Detail.
C.
B.
Lady'. Berry.
Milan
235
The
h\
crinoline became very popular during the reign of Napoleon III. Twelve variations are shown above. Little tringed
shawls and trimmed bonnets were also fashionable at this time. Bertarelli Collection, Milan
236
became
so exaggerated that
of all the
The
satirists
it
was
of the age.
made
frills
Illustrations
seeming
frivolity
imitated her,
taste,
and
attitudes.
Eugenie
Marie Antoinette,
with
whom
she
in turn
who was
felt a
was
a great
admirer of
The Empress loved variety in her life, and frequently made drastic changes in her apartments and
her wardrobe. She loved silk shoes, and never wore
the same pair twice, even though they lasted much
Tie in Sixteen Lessons'. Conte della Salda. Milan, 1827. Bertarelli Collection
T><?
Camucin
Sy
Jy-4-
fo//e(fo /a/to 9,
la/f.
( o//effi
Jfy.
^
-Fieya/iLra e&/jfa O-at/d&a
Fta Jf
}.
238
women
<*?"*^
Collo (A
ele-
Spanish
black hair
at the
gance,
in
Empire
their tragic
woman who
wit
for having
Terry c
a;,
'!?
.9
Tenyo
Ruj
in the
eigh-
feet,
took an
their First
Communion.
Fashions for
Men's fashions
more
about to take
practical
Men
in the nineteenth
and
less fantastical
century were
much
Fiy
JZ
/;
-Di Catcia
/n
/i/t fh/fHortli&t
4/fa Cr.Jui?a
1U Era,/r
Di Baffo
/r /ant/c-ic
Co>tc/"yha
Va/'V'a
2S
fto
/Jt/u T"a/mri
76
A/fa Cv/i'f
Fu
A/i' /tn/tana
.\t <i'~titttr
1//a
Hussa
C ti.'ti
239
different.
shaped
like a stole,
usually
worn buttoned
wardrobe, so
much
ordered thirty
The
collar
or
had large
and
lapels;
it
was
to the top.
known
to have
and de
so that Balzac
is
buttons
Furnishing fabric. Circa 1850
initially ankle-length,
to mid-thigh. Trousers
were
it
was
later
or
more
shortened
the heel of the shoe, and had a leather strap under the
them
foot to keep
front,
had
a black or
taut.
The white
pleated in
shirt,
worn with
white cravat.
were
circular cloaks
capes,
which
later
with deep
became
collars
and
little
cape,
which had
vertical
over-
slits
sleeveless
came from
Italy,
240
worn very
often.
Two
As time
to
young
ladies in
underwent
romantic
certain
and deepened
at
by
the back
extra fullness; a
was added
left side
to the
the side.
down
The
silk
monial dress
is
Milan
worn
were cut
The
by the
'plaid' in
was
later
supplanted
tartans,
and by
'Portrait of the
Versailles
Museum
by the famous
Talma), which was semi-circular. There was
actor
ing journeys.
had
The
hood purely
(A burnous worn
still
were made
a strap
under
from the
During the
in a different material
checked or
plain.
length
silk
worn knee-
was
down
universal.
Around
241
to the
modern
styles.
length.
However,
creases in trousers
in a
he taught the
for six hours
twentieth century.
Men's
a certain
all
his clothes
only from
the
more
He
and
In
school where
Each lesson
lasted
ridiculed
in
the satirical
prints
and
away
ties.
is all
of knotting
were much
art
number of ways.
founded
is
noticeable.
how
One
men
hair
was
Giacomo
at first
Perollo,
who
was condemned
insisted
to have
it
on wearing
cut in pub-
fashions
beard of Tolstoy.
hat,
and
its
'Madame
Moitessier'. Detail.
J.
MH
244
245
French fashion
plates. Styles
on the
its
rounded crown,
famous
was
in-
made
hatters
of
brim;
this
brigands
who
romantic velvet
felt
new
first
des
Women
styles
times had as
their hair
on the
wire.
sides
Women
many
as
plaits,
which some-
The accompanying
were
246
topknot of
or
curls,
secured by
tortoise-shell,
high
By way of a
with
veils
home
hat
women wore
feathers, or else a
they usually
their hair
pler,
and
wore
a lace
town
styles
middle.
Then even
At
became sim-
a parting in the
were abolished,
curls
flat,
turban.
styles
be-
arranged in
or
plaits
between the
rolls
many
and the
ears
years hair
was worn
lace.
and
a little velvet
a great
a thin net
worn around
ribbon was
on the
the neck.
With
the crinoline
it
Then
false.
hair-clips
flat
were
back
falling
down on
to the shoulders.
la cabriolet;
these
ribbon
There
had very
far
ww/w//rff
Yfrrtt ',!'
"m
''>j'//j//i/rfi/i
f/rtt/ifttr
1/iriMtn
</ '
<f
Oi //'..
fu/ata
i
Madame
dressed as
SHnHBHHBMMMH
248
III.
Museum
"Portrait
1 1
'orth
The middle
dressmaker
couture.
ot the century
who was
He was
saw the
rise
of
great
woman
ot
modest
in
birth.
His
tracted
him
far
more than
and
lace,
figures,
however,
at-
and he decided Co
where he immediately
found work with Gagelin, the owner of one of the
most famous boutiques in the city. Before long he
leave
England for
Paris,
on
his
own
in the
Rue de
la
Paix.
249
most
in his career
was
his
marriage to
campaign
he began
to acquire rich
his wife.
a carefully
With
planned
ternich,
Madame Worth to call on Princess Metwho was as thin as a rake but extremely
elegant,
He
sent
She was
highly cultured
was
Queen
Victoria as a
Sooner or
young
woman.Winterhalter. Miniature
later,
she
250
the
young Duke
own
this
Worth's best
a
town
client.
velvet ribbons,
worn with
Worth
dress-
became
created
in predicting
successful.
This
happened with the polonaise, a puffed tunic reminiscent of the paniers of the old regime. He also created
by Mallarmc, who
on the La Derniere Mode, writ-
was then
a journalist
nom
model
like this,
able to create a
de
we
all
long
that
The
that
Worth
has been
of a translucent blue,
train
dreamed of
is
of pleated
to bot-
silk.
Over
Elizabeth of Austria
The
sleeves
The
Bustle
The pouf or
consisted of a
starched
port
small saddle,
frills,
composed of
several
hoops
in the shape
by
of
laces or
at the
231
same
fullness that
when
the crinoline
of little hops
skirts
were
as if
in turn supplanted
by the
crinolette, a sort
of miniature crinoline, which once again was supplanted by the bustle, although
now
it
was more
a bustle.
womanhood,
for
new
last
expression of an idle
freedom
Women
swim and
now
had
to
first
breeches, puffed
first
fence;
first
sports shoes.
High
Rejane, and
women
in
II
fashion
high society.
Italiane,
Men adopted the top hat and frock coat. Drawing. Detail.
R. Sernesi. Brera Gallery, Milan
232
/-
;v:
'V
l*tt
z*.
Jacques Doucet
him
in creating the
Doucet was
stage,
century, his
dress.
ruches
gone
and
lace
of men's
age.
The
clients
shirts,
of white
spats
in his outfit
his
He
He
perfected the
his atelier
tailleur
came
the
first
la
There was
a coat in velvet
and pleated
were 'Rejane
hats',
satin 'a
made by
Mon-
a delight-
Postiches
Napoleon
III.
Women
and
curls falling
hair
was drawn
of
plaits
to the top
was
which matched
the dress.
few
duced;
this
was
this
century the
women wore
were imitations of ancient dethe only true innovations were in the use of
coral
rings
were made
in
smooth or carved
human
coral, repre-
figures
and
Paris. Bertarelli
Collection
'54
arabesques.
bracelets,
was
delicate
made of very
chains,
crosses
with
medals,
trinkets,
little
King of Rome,
were gold
fashionable
medallions,
Men wore
jewels
made of gold
in their tie-pins,
with diamonds.
Although
their clothes
they were
still
were
less
'Woman
Art,
New
Fishing'.
Georges Seurat.
Museum
of Modern
York
complicated,
L.
five,
and then
G. Ricard. 1878.
iH^
-<
/4i.
B**
hL
<**
-
p"*
w
\JF
<
little
little
bowler
hats, or
it
was
still
ot the
made themselves
One
dresses.
could also
fmd
toys, lace,
knick-knacks
stalls
choose,
French Revolution.
lish
fashions also
The ready-made
against
the
use
of the
'infernal
machine'
An American,
and launched
could
first
a decade.
Houses were
filled
were repeated
in
many
was
copy of a
Roman
Greek
Portrait of
tano.
Bernardo Celen-
Domenico
National Gallery of
Art.
2*6
Rome
Morelli.
Modern
257
Etudes su
-*?>Sjs>
in
recently
fr r .-->
ao*
4mi>. a Vm**g* A** p-r-.no-> l*a *u, 4e fa
!.! " I'tll'slftB
rt
qu, lro.Bl tar
trop lar.f o lanr frao/a p*
.., r^ufB K.aa a. pia
ft*.
U\\
fruet
t*M
mm:
Yai m*
* .el
m.. .(*-
mi*
IM. mm
la
fc
t'l'ia.
ua lull* r*X qi
-o * ^+ (a or la
h-
,-
m - Q1
>
ri
t--ai
LTlaaiM
-* e
f-Blil.
du
r*at#.
q"
** p*t
from La
Vie
Parisienne.
ii
u^-^o^*'
faira
ra
-i*
Sic-
I- 1 .-
I
,n-b folia
ata igr uo* pi Bhraix-ba
lone. tr* sua 4 a
' Of.H
U qtiei.M
-
Hr
i*la
I'
la pat
loll
fin aioaf
d-do*-
4 etra laa-
-,.
"Of^L
'J)
JH^-
Illustration
IW
a|
Bertarelli
Collection, Milan
pf*(*r
t!- ft
!-'.-
MilUat.
"eteTV
V
3or Tr*a pr*lM|ii
.1
tu
Mt
r^-fk S.
o-.ir
Prwdml iu
naft-a.
fa.1
U.mkf
un
B cava ClM
1P WBI
l.
lr.,-
b. qo-
tassels
and acorn-shaped
by
Towards
:
for the
for
bunches of
peacock
heavy ornamentation.
flourished
launched by Makart,
glass
who
cloths usually
first
came down
table.
to the
to
kinds.
During the
and the
dome. Table
all
plain.
*,' * P;;''
w ax
feathers,
crammed
dvaleor
liicb'r
last
in the
new
style
was
Pre-Raphaelite Brother-
258
-*,
TOILETTE.
hood, founded
VII- SER1E
in
Gabriel Rossetti.
The
Rossetti
movement sought
pre-Renaissance
started the
To
Italy.
this
its
to
inspiration in
LES POSTICHES
'.
it
was
Palace raised
Eiffel
Tower
its
accelerated. In
soared
who was
new impetus
steins
to
craftsmanship
founded professional
tions
of arts and
However,
art schools
in
and
England.
set
He
up exhibi-
crafts.
Belgian
and
modem
stil.
was
in
in the
style
lenry
influenced
in the
by
van de Wide,
a
which
in
functionalism
Germany was
pleted
International Exhibition.
called Jugend-
his sketches
and com-
the
259
which, with
style
by
characterised
its
a long,
curved sensitive
is
line, as in
Europe
lutions in
many
continental countries.
A year or two
to their thrones.
ment
saw revo-
The
nationalist
move-
in Italy
at last
at
House of
home and
among
role
in the
sia;
by
radium
the
which were
way down
movement
the leg,
trimmed with
ribbons and
frills,
lace,
Another
woman endowed
wounded. Against
the wishes
and nursing
Lamp.'
at the
aid
Between
great powers
a Russian
obtained
on the
services
battlefields
first
of the
in her hospital
On
when
to be called 'the
she
was
Lady of the
From
Red
national
Cross.
women
Progressive
at
this
woman,
which was
But they did not
manage to banish such feminine artifices as make-up
and the many different kinds of adornments of this
news from
the
Belgiojoso,
baldi,
a balloon.
beautiful
and travelled
continent of Africa.
the
first
far
The
and
Princess Cristina di
aristocratic
was attended by Giuseppe Verdi, Alessandro Manzoni, Carlo Tenca and Ugo Foscolo. Less aggressive
more sensitive,
power to the support
all
to be
won in
hair;
artificial
eyelashes
a larger
pills;
bosom.
Woman' move-
ment of
the
In the
vistas
and
been planted.
260
its effect.
new
long
When women
clothes
became
cyclists. 'Les
The
Twentieth Century
262
The
First
From
Three Decades
everywhere, on
tecture.
whose
ally in
chinoiseries created a
and
flat,
new
fashion, especi-
with
fabrics,
The
Poiret, an
stylised patterns.
at the
Paul Poiret
in Oriental objets
and oriental-inspired
oriental
Women
tiara
dresses,
at the
with a sapphire
applause of the
boned
in front, thus
bosom and of
straight-
the hips.
swathed herself in
a feather
guidance.
as
well as
fringes
women's
screens,
clothes.
youth inaugurated
(a
dresses entirely
Rue Aubcr
his
in
influence.
wore
which the
of breathing
in the
d' Annunzio,
francs
Corsets became
Maison
his
hundred
month
from Cartier's. Poiret's whole career was extravagant and sensational in this manner.
With 50,000 francs borrowed from his mother, the
Paris,
Bead
five
first
links
rage.
the
ap-
who stopped in
When Alexandra
than
it
had been;
from shoulder
freely.
sleeves,
at the
now were
tight
at the wrist,
em-
An
displayed painted
ina Alix,
the
Queen
lips
still
more
in public.
tie.
Berlin, Czar-
In
official visit to
man's
or
like a
daisies.
with
suit,
a little
lilac
(at a
the
time when
black
high up
at
one Russian
who
Left:
'Girl
had
at
to
the
make
Mirror".
her
way on
foot, passing
Fedcrigo Zandomeneghi.
Following pages:
'I
ady with
.1
Red
Iat'.
Maillol
v5
at the
became indispensable
Poiret
perfected
made of
accessories.
which he
The high
waistline,
these
were
full
last
long
became fashionable;
made
Some of
were positively pyrotechnic evening
cloaks in brilliant colours and culottes which provoked
low on
Poiret's dresses
a scandal
Taking
when
they
first
his inspiration
appeared.
East, Poiret
266
Woman
red, green,
lemon, orange,
violet,
women
young
as
art, as
well
tailor
also
Rosina,
named
time
which
later
perfume,
reflected his
own
first
perfume
all
the great
couturiers in Paris.
Poiret introduced
many
~*^
r,.
.-y-
267
'
The Diseuse'.
Picasso.
by short minaret-shaped
wide
belts as
as
tunics,
the Japanese
new
he looked for
original,
Diaghilev,
in
Stravinsky's
ending
obi.
in trains;
and
Extravagant and
of
Bird,
Rimski-
in
Korsakov's Scheherazade.
The
first tailor
to travel
in order
attended by the
parties
life,
elite
he gave splendid
of
One
Paris.
with
at Versailles, a fete
such
a classical
beard gilded.
Q-uests
On
and
hundred
Fashions for
In the first
was
dress
and swathed
his cothurni
guished
Men
uniform black
itself
by the variety
in colour, but
it
distin-
expensive loden,
it
named
paletot, often
a cape
made of wool,
silk
Don
back; the
side pleats
all
of which
deep pleat
Prefect, a single-breasted
coat with
were
were an English
at this time.
erally
hats
worn on informal
Women
intellectuals
felt
and
Folies Bergere".
26S
269
also artists
who
ties a la
turned to boaters,
at first
men
consisted of
coat
trousers. In
a top-hat.
tie
winter
Gloves were de
and
men, business men and civil serwent about their work, the poorer among them
and cycling
and their
accessories
by
last
of the dandies
is
suits
dis-
an attitude
comment 'Work
Edward
VII, the
tures,
Illustration
from
was replaced by
graph. 1905
2~n
The muslin or
petticoats
1907. Bertarelli
flannel underskirt
of light cotton or
silk.
ladies
Folies Bergere,
of pleasure
and despised.
gance. At a time
tram ride
for a dinner
and
a theatre,
rigueur
clad, professional
Men had
a fur
skirts
Photo-
who
beauties
caused
controversies
excited
because
it
obliged
women
cyclists to
much
Emmeline Pankhurst
Women
only
in
from
political activities
quality of
life
in
In
first
Illustration
from
'
L' Art
ei
la
Mode'.
1909.
Bcrtarclli
Collection, Milan
bomb
at
Lloyd
by lying down
in the street.
North America
movement.
Her own
was
women were
first
although
the
one
single representative
Other
women
been started
won
of their
own
sex.
as early as the
They
row and
them from
also to cycle.
the sun).
But
in
They
learned to skate,
271
Right:
Giovanni
Boldini.
Duke of Montellano
Collection,
Madrid
men coming
train.
without paying attention to the piano that accompanied the events on the
silent screen.
Soon
the
among
first
at
their faces.
was
still
after the
its
description: 'This car has the grace, the slim lines, the
Collection, Milan
lacked by
Women
cars:
Photographic
too began
obedience."
lilies.
gears.
Below
Annesley Voysey
2-2
-^.
While some
women
trivialities.
Photo-
In
many
pete with
Above:
door meeting
274
at
Enfield in 1914
men on
New
fashions
became
were introduced
as
the sport of
and goggles
Photographs. 1905
magazine
at
Henley
movement
regatta
how
women from
were created
to learn
with
also
bundled themselves
Men
peaked caps
their eyes
down
with
over their
and neck.
in
faces,
special goggles,
while protecting
enormous
objects
Illustration
276
from 'Album
Models
of the San
toque
with jabot,
in the
sleeves
Tanagra
figurines. Fra
slit
at
was
a dress inspired
Kingdom
by the Egyptian
redingote buttoned
lower leg. The costume was comby an odd hat made of feathers with a shape
vaguely reminiscent of Mercury's winged helmet.
done
to reveal the
pleted
A new
it
women
tinian
it,
men
escorted by sun-tanned
with
Paris, Berlin
and upper-class,
With
their hair
all
the tango.
their foreheads,
to give
the
pelvis
thrust
aster
forward according to
slightly
Poiret's instructions,
women
danced
came
World War,
First
Illustration
dresses and
from
'La Chic
Parisienne'. Bertarelli
lection,
Right:
(
Col-
Milan
Portrait
lavalieri.
oi
Lina
Cesare Tallone.
Private collection
assumed
men
in
every
a military shape.
field
trains
and
At
to an end,
life
longer in America.
a party Wallis Warfield,
who
in
later
became
the
cloud of chiffon,
Milan
tion,
rather
trimmed with
short
feathers.
and
boots,
skirts,
hats
when
grey
battlefield.
hospitals
very
full
flame-coloured
Mansfield,
writers
Towards
though
skirt.
Women
as
of the time,
like
Katherine
clothes, such
from
material
frills,
often
were an
to the hips
made in
it
a different
became longer
sleeves.
ribbon or
Mata
Hari,
boa and
Cecile Sorel,
suit
was
still
when visiting
the
first
which
During the war,
jection in
des
Modes'.
relli
Left:
278
191 3.
of sub-
women
women had become aware that they
Illustration
nal
state
Berta-
Collection, Milan
Paris
des
model from
Modes'.
tion,
'Journal des
Dames et
Milan
from
'Journal des
Dawes
et
des Modes'.
Milan
SO
men
and, as a
new
first
shyness,
reaction, they
women, out of
to shave the
was
a sign
nape of the
The garfonne
in women's
was unpop-
hair style
first
eighteen
riches
of negro singers
eagerly
like
thirsting
lor
amusement,
in sport.
Women
too
made
their
waving and
way
mark on
to the
this age,
and their
field
women
started
of fashion: corsets
the underbodice
through
Women
began to display
shorter.
Belts
clothes a
hamen'
became
line,
inspired
and the
little
from
'Journal des
Dames
et des
Modes'.
Illustrations
from
Dames
'Journal des
beach, in cafes, or
at
et des
Modes'. 1914.
Milan
Bertarclli Collection,
which had
less
as
made
little
Women
of
ously.
were
fashionable.
Modern
her younger
sisters.
people to keep
The
as
fit
and retain
their youth.
'little
num-
worn almost
at
The
the knees.
great couturiers
who
had
tried to reintroduce
last
launched
geometrical,
flat,
new
at
was
felt in
fashion. In
By
this
women
time
be part of their
lives;
to be short.
many
woman.
obtain in
the
became longer
again, but
knee
in front
were
irregular;
above the
dresses
Wall
its
all
made
2S2
as the
definite
at
Madame
femininitv ceased
the Callot
Vionnet,
who
sisters' atelier,
went
to
own
Doucet's for
a short
woman
Fashion Designers
her
She
best.
alities
men
on wooden mannequins of
Madame
by women, because
regained their
as
men
if
not
clients,
and
Madame
Paquin displayed
wax
Coco Chanel
Chanel, inspired by the example of Lily Langtry,
thread for
more formal
dresses.
quality
sitting in front
of her
coiffeuse,
Gabrielle
(Coco
brought her up
still
to a standstill.
Women
wore
Following pages:
to her friends)
suits
silver
The revolutionary
in
expensive
their
dress trade.
in
dress.
mannequin of
touches to her
that
suit
of
would
opened
to
very young
talent,
Cambon. During
overalls
Coco became
who
in
Rue
nurse in a
New York
>
ian
iDdii
IIBIl
linn
mill
mill
Ill I*
Hi
<
The boyish
figure
came
into
curves.
Fashion
Bertarelli
1925.
plates.
Collection,
Milan
hospital in Deauville.
up
infallible instinct,
At
this
in a boutique.
created for
all
the
women who
sometimes adding
of
became
On
huge
met the
owner of a
she landed in
became
Unable
286
holiday.
women
in the
first line.
world
in
and
coats.
made of
success.
When
crystal or
coloured
glass,
When
it is
when
or semi-precious
fashionable, a fashion
fashion
to stay inactive,
for
perfume and
called
it
Chanel
number
Number
who
later
became
made
in the
of Renoir's
the ethereal
windows of
woods
lit
Among
East.
When Yvonne
after her
separation
in
Maggy
fell
in love
daughter of the
tailor
who
made
woman
pilots,
'a
pale,
soft dress,
who
one of the
had
first
almost golden,
it
seemed
287
dm\
7
from
'The Tango'
'La
gold
and
flattering veil
ensemble.
art
Bon
Gazette du
Ton'.
1922.
Milan
Bertarelli Collection,
a beret
belt,
with
which suggested
Of all
importance
/"
Cosmetics
many
After
became fashionable
tesans
and
for respectable
women. (Cour-
actresses
make
make-up again
powder on her
cheek-bones,
lips
had
in a
face
and
ears.
Act-
from
coral to wood-rose.
powder
to her chin
with
nostrils
with red
in different shades
of red,
the tip of her nose and the lobes of her ears with
salmon-coloured
paste.
Her
immobility of a Chinese
doll.
suits.
288
'
World War,
launched cosmetics
as
it
was
woman who
Arden
rice
from
few
really elegant
women
reddened
lips,
their lips as
by
Madame
Pomp-
de
new creams
Arden
Madame
Hubbard,
this
among
With
the help
Elizabeth
ties,
beauty
clinics
Helena Rubinstein,
Arden, was born into
but
left
tiara
contemporary of Elizabeth
a well-to-do family in
Cracow,
Illustration
from
'La
A
***
***->
290
~^s.
fur coat
from
Ton'.
Bertarelli
Collection.
Milan
291
by Doucet.
Right: Designs
Illustration
Left
Designs byjeanne
Lanvin.
Illustrations
*&k
Australia.
She
facturing
cosmetics.
also built
up
vast
empire manu-
facture
it
on
Madame
Rubinstein started to
a large scale
from
this
clinics has
at
beginning
manua
chain
left a
Illustration
from 'La
292
cally
last
owed
century,
women,
that
who
of the
developed
in the
profession for
'beautician'.
in the twenties
new
field
was
that
was developed by
who
left
the
Illustration
mood
of this period.
Milan
293
from 1920
to 1930
is
almost
new
of enormous achievement
were
actors
Gloria
also years
literature
ism had
in the field
of
that
all
had
The radio from 1920 onwards devoted more and more time to literary, artistic
and musical
activities.
Negro rhythms
created
new
Jolson
Baker took
Paris
seeds
statuettes, vases
and bowls
were used
for
filled
decoration.
a favourite
decorated with
Mah-jong,
of
game.
between the
were
women
tarelli
294
made of
felt
helped to give
Collection, Milan
required.
The
this
of the century.
emancipation. Most
women
masculine,
Fashion
as
of the exceptional
jacket.
She wore
this
with
silk dress.
at
an elegant cocktail
Milan
295
Shi
From
1 *
>*
From
laces.
beach. She loved to shock people through her unconventional dress, for example by appearing bare-
when everybody
was wearing a
hat. Once at a dinner-dance, she became aware that
another woman was wearing the same dress as she;
this was of black tulle, trimmed with a large spray of
headed
Ascot
at
ostrich feathers.
pair
else
mous cow-boy
of rock
roses, or pieces
ornaments
in her unusual
enormously
successful
oured
a
heavy black
of
Rome
296
line,
she liked to
streets
a tiny
hats of the
amber
as
woman
writer,
was
woman,
the stoics,
wide
crystal or
home.
Being
period was
art
with
Prefer Blondes.
this
her eccentricities,
on the decorative
used them
all
Despite
hat.
bought her
hats
self:
and huge
and dresses
stores,
skirts
in the children
and suddenly
new,
'>
'""^S-!
i
i.
''"',
I'M
v;
Side
tric
by
side
women,
gence,
York,
who
with
this international
group of eccen-
and
intelli-
Paris, Berlin
New
fast,
many
was
a residue
ties'
left
whole
series
of devices: side-draperies,
skirts,
but
Skirts
suddenly lengthened
the
whole world
to
its
'roaring twen-
the
down
The
hurricane, and
it
was not
longer
until
hips,
skirts
at the trout
tragic.
back than
but their
teenth century.
At the end of
at the
cigarettes,
No
foundations.
to mid-call or lower,
its
and
here
it
decade.
Unless
from
that
we
believe, in defiance of
women
is
all
the evidence
by
handful of Pans
297
we
designers,
change
can hardly
fail
If
we
over the
its
Great American
this
when
waists,
we
can
having
vogue
for
wide
sleeves a
remained obstinately
making
It
is
no
ac-
that
women
these
two
make
periods. In 1820
a distinction
and on
a conflict
paternalism,
narrow
bear children.
all
between
previous oc-
mean
some degree of
It
it
was
fear
come,
They began
of Hitler.
necessary to
sleeves
it is
wide
with the
Yet
la
death-knell.
compare
of
all
air
tricity
to
grow
women
set aside
possible to
it
im-
natural position
to
make
its
or voluminous
thirties this
298
of the waist to
skirts,
wide
sleeves
was
a passing
Drawing by
Steinberg.
Fashion Today
From
Schiaparclli
woman
of la haute
a
in the highest
ranks
inaugurated something of
apache sweater into the Ritz, but her genius lay pre-
cisely
making ordinary
by some
field
mode
sweater
in the face
taste,
had
a fashionable clientele,
whom
she dressed
for
including Greta
years.
in
Even
Garbo
Schiaparelli's
Marlene Dietrich
in
Schiaparclli
reflected
daytime
clothes.
some
engaged
in
tor this
purpose
sisting
Women
sort
a
of
all
classes
women's
were now
made. Trousers,
sometimes worn
Right: Culottes
in the
form of rather
tailor-
full slacks,
were
were fashionable
Milan
for
Bertarelli Collection,
lighter
women
the
new
sleek line.
Left:
3d
in Paris
the
worn by
dance
on
favourite film
for
going to
hall at night.
classes to that
at
fashion had
in
classes
become
The
a duty of up
might be imposed on the cost oi the
model. Models imported, on a temporary basis, for
the purpose of copying, were however allowed into
America duty free. The main American market
this
to 90 per cent
who
purchased
linen).
with
toiles
(that
is,
full
directions for
making them
.is
up. Simplified
little as fifty
dollars,
and firms
like
had entirely
their
own way
in the
Milan
tion,
Bertarelli Collection.
Milan
medium
price
brackets)
expensive and
in the
have
been
Hattie
Norman
Norell, B. H.
Bill Bl.iss.
Wragge, Anne
Geoffrey Beene,
The numerous
given
in
America
terest in fashion,
are evidence
is
no country
in
command
The
Top
right:
tarelli
a larger sale.
later the
Milan. Below
right:
Wide
A hat of
93 8. Bertarelli Collection,
303
Bette Davis
1938
Even
in the twenties,
would have
it
the use of
cedented
ture:
man-made
level,
in fact
even
fibres has
in the
reached an unpre-
production of
Men's
la
clothes,
never
own
quickly
so
haute couas
cheap
right.
modified
as
women's, continued the steady progress towards informality which had been noticeable since the end of
the First
frock-coat disappeared
silk
hat
were
seen only on ceremonial occasions. The ordinary daywear was now the lounge suit, and from 1924 until
the end of the thirties it was worn with the very wide
trousers known as 'Oxford bags'. Soft collars re-
placed the
stiff
other sports,
with
knickerbockers called
a gaily
coloured
'Fair Isle'
who
sports clothes
became
stall,
playing
tennis
far scantier
Forest
until
America,
in
But
it
was not
ventured to appear
began
Hills
legs.
at this
in shorts
Women
in trousers
and to
of the traditional
side-saddle costume.
i)t~
the
Second World
War
than
we
at
As the cataclysm
Women's
which were,
to be divided
war and
A beauty
the
parlour
skirt, until it
was almost
as
slimming her
waist.' In Paris
all
the designers
seemed
to be
having displayed
It is
expanded
fashion
At
and
first
in
the
March
war seemed
to
make
when
all
1940,
little
difference,
life
went
all
Styles of 1940
The
their toes'.
it
had been
determined
the second
by
and even
a revival
new woman
decreed
gloved
and
[Schiaparelli
evening
in
corseted
and
even
button-booted.
over
the
of
artists
dress
fashions.
skirts that
touch
all
made every
effort to
win
designers
The export
trade,
as
as
it
troduced
in
ceased to exist.
A woman
306
pilot in the
Second World
War
Barracks
at
the
Duke of York's
An embroidered
what
dress
worn
in
1943
making
wearing
to
stockings unnecessary.
thereby
skirts,
to
down
slacks,
Even with
their legs
legs;
and drew
lines
weather by
in
wet
hoods.
plastic
most
at the
difficult
dress
Germana
Another
designer.
talented
woman,
Italian style.
Both during
the
war and
after, the
'King
migrated to
Paris)
Three
sisters,
maisons de
Simonctta Colonna
with branches
in
New York
-'
,s*t
Emilio Pucci in
vague.
supremacy
But
after the
war
Paris
in design.
herself,
skirt
appealed to
women
ing the
tier,
In
Britain,
Carpen-
Ricci.
Group of Great
Mad
in
England
which was
a deliberate
attempt to
In
308
for
It
what seemed
the past.
The Fashion
1935,
Hartnell,
women
New
Look
it
was,
however,
essentially
made
a typical
appearance. Balenciaga
'post-crisis'
dress
was
first in
produced
first his
its
after his
'New
his
Look', Dior
A-Line. Since
the
twenties, that
is
so long as they
clothes of
women
immediately
after the
clothes
'New
meant an attempt
curious re-
throw-back of
classes, this
worn
Second World
showed
to
reproduce the
styles
close-
ler hat:
neo-Edwardians,
who
had
their clothes
made
for
no
became an
essentia! part of
bad old
24
The
difference
old and
in
new
between the
measured
looks,
centimetres
>
V
?i
days',
They had
on which they
to
own
their
insisted.
by
ago
social differences
today
is
in
clean.
has vanished
this
The new
degree but
a difference in
shows
is
not
a difference in kind.
For
difference that
itself
We
in
masculine
revolution
which oc-
The
essence of that
knee-breeches and
coats,
century,
country clothes
that
of the eighteenth
ruffles
and
tightened
smartened
version
of
is,
to
wear
this
wear tends
itself.
By
(or has
tended in the
clothes
But ordinary
past) to formalise
come
the tailcoat of
new smartened
wear became
clothes, that
the lounge
War,
this
is
lounge
suit
suit.
had
great coutur-
Above
Jacques Fath.
iers.
1957.
left:
Left:
poses on the
Coco Chanel
left.
1955. Right:
310
evening
full
dress.
Ordinary
version of country
itself
become
World
formal, and
something
Once
from
again a
war
the process
much
jacket,
was
The
in
and was
'Government
was the Navy's con-
selling
duffle-coat
blouse or Eisenhower
the
battle-dress
the
tribution;
by the shops
aided
Surplus Stores'.
time
combination even
this
this
wearing
pursuits.
else
found
cyclist
in
of which the
ample.
He
upon
also seized
is
an obvious ex-
Twenty
is
we
can see
is
nary
dress.
But
now
a far
is
wider range
is
available
possible.
'
The
significant thing
reign of gentility
is
was something
in town) from
seems
at last to
longer
feels
it
about
over.
a
What
this
is
'caddish' in
a
all
any departure
(at least
necessary to
show by
belongs to
A Givenchy
design. 1957
man no
he
Stiletto heels
were an
Italian
contribution to fashion
in the
We
The way
the
open
is
to every kind
of innovation.
some
startling
Perhaps
we
are
on the eve of a
drastic reassessment
to clothes.
we
and
The
It is
is still
pertinent to ask
valid.
and
it
already
ing
may
United
States,
where
we
can
central heat-
is
tion
see, in the
is
cities
streets
of the future
themselves
arti-
ficially
will
it
was taken
for
more
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the
this,
A new
--_
312
become
great social
until the
French Revolution.
gentleman enjoyed
been such
provement
in
tremendous im-
it is
the suit
tell
is
be suspect to
show any
most evident
in
women
countries
this
whether what
probably
It
clothes
may
is
we
women's
clothes, but in
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in the
so,
will, in a
Women's
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wear
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An example
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leisure
wear
in suede, designed
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Vingt Ans'
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The
by Courreges, 1964
317
INDEX
Numbers
Abelard. Peter. 75
Acacius, 61
Ahmasi.
94
Aisse, Mademoiselle. 194
Akhetaten, 15, 18
Album
Cartier. 290
Bernard de Ventadour, 72
Bernhardt. Sarah. 252
Berr\. Duke of. 230
Bertelli. Pietro. 122-3, 132-3
Bertha, wife of Eudes I, Count of Blois,
Alcibiades, 42
Amazons. 21
Ambrosio, Arturo, 272
III. 15
Ankhesenamun. Queen, 20
Anne of Brittany, 101
Anniballi. Domenico, 204
Annunzio, Gabriele d", 263. 272
Anoraks, 311
Antimony powder. 26
Antonelli. Maria, 308
Antonia, wife of Drusus. 50
Aphrodite, 37
Aprons. 149
Aquinas. Thomas, 84
Arcadia (literary society). 176. 179
Arcadius, Emperor. 60
Arden. Elizabeth. 290
68
Benin, Marie Jeanne, 199. 202, 212
Bertrada, wife of King Pepin. 65
Biki, 307
Bikinis, Roman, 53, 53
Blarenberghe. van. 197
Blanchard, Madame, 260
Blanche of Castille, 84
Blass, Bill, 303
Bleaches (for hair), 36. 49
Bloomer. Amelia Jenks, 231
Bloomers. 261
Boas, feather. 263, 278
Boaters. 270
Boethius. 87
Boilly. L. L.. 222
Boissard, J., 130
Boldim. Giovanni. 270, 269. 273
Boleros. 263
Boleyn, Anne. 122
Bombasine. 190
Bon Genre. Le. 230
Bon Marche, Paris. 256
Bonaiuti. Andrea. 75
Bonaparte, Napoleon, 216
Bonaparte. Caroline. Queen of Naples,
228
Bonnard, 266
Bonnart.
Bonnets, 82. 221, 232. :.Borghese. Pauline. 229
Borgia. Lucrezia, 94, 118
Born. Catherine von. 136
Boscarati. Felice. 179
Bose. Cornelia Adrienne. 223
Bosse. Abraham. 158-9
Aretino. Pietro, 1 13
Areus, 58
Ariosto. 87. 113
Aristophanes, 35
Aristotle. 32
Botticelli.
287
268
Boucher, Francois. 190
Boulanger. C B 235
Bourget. Paul. 263
Armour,
Bottini. Georges.
238-9
Bowler
Artificial silk,
Cecco
Breeches. 16th C,
128-9; 17th C,
d",
151.
162.
166.
151.
C, 184,
C. 241. 252
Brinon. Madame. 195
187,
216.
198:
158-9; 18th
305
19th
87
Aten, 15
Athenais. 64
Augustus. Emperor. 53. 58. 80
Aumont, Madame
d'.
212
Cadenettes. 198
Balzo. 106
Bandello. M.. 113
Bandinellas, 71
II.
Emperor.
61
Bayadere. 232
Beads. 263
Bear skin, ^x
Beards. Egyptian.
15th
19th
Beatle-,.
309
Braces. 187
C, 104:
C, 242
19.
16th
22:
Greek.
C.
125-6.
The. 22
Beatrix ol
Calecon, 122
Caligula. 50
Callet. A. F.. 183
Callot sisters. 283
Camelot. 190
Cameos. 254 255
Camiknickers. 282
Camille". 211
36;
138;
248
Caraco, 194
Carbonari. 260
Cardigans. 31
Cardin. Pierre. 313
I8
Carmagnole
21
Number
Crosna. 66
Crotali. 50
Cruz. Juana Ines de
174
Cuff-links, 255
Cuirass, 107-8
Cutaway
tailcoat,
242
Five, 287
Chaperon, 133
Chaplin. Charlie. 294
Dacier.
Chardin.
Dadaism, 294
J. B..
la.
Cendal. 72
Cervantes. M. de. 1 13
Cerveten. 44. 45
Cezanne. Paul. //
Chainse, 78
Champaigne. Philippe de, 168, 169
Chanel. Gabnelle (Coco), 267, 283. 287,
288.294. 301, 305.310
Chanel
Cossa, Francesco, 95
Costume jewellery. 286
Cotton. 42, 52. 53
Council of the Ancients. 2
Council of Lyons, 83
Courier des Dames. 224. 230. 232. 246
Courreges. 317
'Court of Love', 72, 73
Cousteau family. 352, 391, 404, 406
Cranach, Lucas, 10
Cravats. 162, 240
Creed. Charles. 308
Crepe. 223, 263
Crequi. Charles, 172
Crete. 29-32
Crinoletle. 252
Croix, Josephine
254. 186
Anne
Lefevre, 206
Charlemagne. 65
Charles V, Emperor. 118
Charles VI of France. 129
Dalmatica, 82
Dancourt. 194
Dante. 113. 168
Daughters of Charity'. 174
David. 211
David, J-L., 218-19, 227
Davis, Bette. 304
Dawes. Mary Claire, 260
Debucourt. Philibert Louis, 214-15
Defence of the Conception of the Virgin,
Damask,
Dame
Cod-pieces. 16
Coello, Sanchez. 141
Coifs. 91. 110, 117. 136
Coke. William. 246
Colbert. Claudette, 305
Colbert. J. B., 164. 211
Collalto. Conte Collaltino
Cologne water. 202-3. 228
1
di.
113
Considerations'. 198
Consolation of Philosophy (Boethius). 87
Constance of Castille. 68
Constantine, Emperor, 64
Constantinople. 61
'Constitution'. 21
Make-up
Trot, 80
110
Degas.
252
E.,
Deir el-Bahri. 15
Delirac. 234
Dent e lie. 140
Department
stores.
256
Diane de
Diodorus Siculus, 45
Dior, Christian. 308
Directoire. 211. 216. 220. 231. 256
Dogskin,
(Bertelli).
Dolly
sisters.
282
Dombes. 174
Don Carlos. 268
Don Quixote (Cervantes). 13
Dongen, Kees van. 288-9
D'Orsay, Count A. G.. 254
1
113
Capotes a
Carven, 308
Casanova. 186
Casati. Marchesa. 296
Cashin. Bonnie. 303. 316
Cashmere, 223
Castello. 308
Castiglione. Baldassar de. 142
Castiglione. Madame de. 248
Cat fur. 78. 161
Catherine of Aragon. 122
Catherine de" Medici, 113, 118, 120
Catherine of Russia, 179
Cavalieri, Lina. 270, 277
Cavanagh. John. 308
Cavour, C. B., 242
Celentano. Bernardo, 257
Cellini. Benvenuto, 140
Candida. 53
Beatrice. 168
Car-suit, 276
Cartek. 190
Albert.
Amon.
15
refer to illustrations
Caroline.
Benserade, 169
Benzoin. 290
Aiguilletle,
Amenhotep
in italics
A-line, 308
see
also
Dubufe, 248
Duffle-coats. 311. 307
Eisenhower jacket. 31
Eleanor of Aquitaine. 71, 84
Eleanor of Aragon. 87
Elisabeth. Queen of Belgium. 278
140
Elizabeth Charlotte of Bavaria, 164
Elizabeth, Empress of Austria. 287, 249,
251
Elizabeth of Prussia. 249
Elizabeth, Queen of England, 116, 137,
148. 172, 144
Eloise. 75
Elsie. Lily, 288
Elzevir family, 130
Empire style. 224-30, 231, 256
Engageonls. 166
'Enlightenment'. 179
Entrave, 267
Enzo. 308
Ephebos. 32, 36
Epicureans. 36
Ermengard of Narbonne. 84
Ermine. 276
Essen. Jacob ben. 98-9
Essex. Robert Devereux, Earl of, 138
Essler. Fanny, 232
Este, Ercole d". 87
Este. Isabella d, 116
Este. Lionel d\ 100
Estense. Baldassare, 103
Etienne family, 130
Etoiles, Madame d'. 190
Eton Crop'. 298
Etruscans. 45-50
Eudes I. Count of Blois, 68
Eugenie. Empress of France. 238. 247.
250. 254,244-5, 248
Euripides. 87
Exekias. 34
Eyelashes, false. 260
Feather
Feather
Feather
Fee aux
fans, 202
head-dresses, 221
Femma. 295
Ferdinand
Garconne hair
Gaumont, 272
Gautier. 164
Gazelle du Bon Ton. 1m. 288. 2902. 293
Geinreich, Rudi. 303
Genevieve of Brabant. 73
Genoese velvet. 92. 137
Gentlemen Prefer Blondes (Loos), 296
George HI of England, 179
Gerard. F .. 223
Germanicus, 43
Geron, 32
174
Guido, 82
'.reek. 42;
C,
50; 15th
C.
102 3; 16lh
159; 18th
C, 203
4,
C,
208,
Machiavelli.
New
Macy's.
13
York. 302
(Princess Metlernichl.
250
Maeterlinck. Maurice, 263
Mattel, Clara, 260
Mah-jongg, 294
Maillol. A.. 264-5
Mainbocher, 303
Mamtenon. Madame
Justinian.
XIV
'Madame Chiffon'
Comnenus. 63
(St Louis). 84
Emperor. 61
Juvenal, 57
H-line, 308
Karnak, 15
Mannequins. 87
Mansfield. Kathennc. 278
Hair-clips. 248
Manta. Castle
Hair dyes, 58
Hair styles. Cretan. 29. 32: Egyptian.
21-4, 14. 15. 19. 20. 22-3: Etruscan.
49. 44; Greek. 33-7. 28. 29. 34. 35. 36;
Kaulbach. 255
Mantilla. 189
Ken
Roman.
C,
Kepos, 36
Kersloot, A.. 166
140;
103-4.
C,
Kom Ombo.
of. 16.
Hooped
191
19
Saluzzo. 82
Marathon, 36
195
Hartnell,
of.
Khnumhotep. tomb
Kimonos. 267
Norman, 308
Harvey. William. 168
Hathor. 2b
Hatshepsut. 15
Head-scarves. 307
Hecebolus. 61
Heciorean style. 36
Melchior. 124-5
VII of France. 71
IX of France
Manguin, 308
26
Hare
Fox
Journal des
Conches. 84
Griselle. 190
Fidele. 152
Forobosco. 164
Foscolo. Ugo. 260
Irene.
John
Gradenigo, Graziano, 78
Grandson. 124
Grassini. 228
Greer. Howard. 303
Gregory V, pope. 68
Gregory X. pope. 83
Gres, 308
G rifle, 308
Fontevrault. 7 3
Lork.
Louis
Louis
Louis
Louis
Louis
Louis
J
D 230, 243
Empress. 64. 65
Isabella of Bavaria, 90
Ingres,
140. 17th
Hammond.
Fomanges. 195
Lorenzetti, Ambrogio. 76
Lorenzo the Magnificent. 122
Roman,
Hamamelis, 290
33
48
Mantua,
29.42
Incroyables, 216
Indicaleur. 2
Guinizelli.
Iliad.
19.
Isabella de
307
Loincloths. IX
Isabella of Castile. 94
Ferroniere. ISA
sisters.
Half-gloves. 210
Hals, Franz. 169
Fontana
Horus. 26
Hotel Dieu, Paris. 113, 174
Hour-glass shape. 231
Hubbard, Elizabeth. 290. 293
Huque. 94
cut, 281
of Castile. 94
Ferrandina, 190
Five Hundred, 21
Flannel trousers. 31
Florentine velvet. 103
Fogarty. Anne. 303
Foix. Margaret de. 101
Folies Bergere. 270
of,
208
Laurana. Luciano. 97
Laval. Jeanne de. 97
trianna of Austria
Mine
La
Leonardo da Vinci.
Leopard skin. 19
Mane
de Ventad
"4
I
Marinet!
Marten
Maruccclli.
Mary
Mary
Germana. 307
Queen of Scots
Stuart.
udor.
Queen of England.
''
1
M
Masol
13
Livia,
widow of Dru>i.
widow of Augustus.
H.,
a.
15
Linziolelto. 183
Queen of England. 84
Uucntin. 109
vie di. 102
Mattli
Lionnes 232
Livia,
Mata
Empcr
45
319
Merode, Cleo
288
de. 270.
Merovingian, 91
'Mesmer' hair style, 196
Messalina, 58
Metamorphoses (Ovid), 94
Metastasio. 210
Metternich, Princess, 230, 250
Mezzero, 183
Michelangelo. 125, 172
Milesian Fables, 58
of.
Rebalzo. 106
Rebel. Francois, 208
Reboux, Caroline, 254
Recamier, Madame. 227-8, 290, 227
Redi, Francesco, 173
Redingote, 194. 199, 211, 226, 231, 240,
268, 277, 278
Regnault, 164
Rhinegraves, 162
Ricci. Nina, 308
Penn-Salbreux, 200
Perle des
Mouches.
Giacomo. 242
Perollo.
Perukes, 164
Pelasos. 37
Peter the Great, 179
Petit-point. 184
Petit Trianon, Versailles, 199
Petits bonhommes, 192
Petrarch, 103, 113
Petticoat-breeches. 162
Montellano. Duchess
Raphael. 118-19
Ming, 294
Minoan, 29, 32, 33
Miss Satin (Mallarme), 251
Mistinguette. 277
Mittens, 232
Modeste. 153
Moitessier. Madame, 243
273
Philippe le Bel. 83
Philippe of Thaon, 71
Piguet, 302
Rosala. 68
Rosales degli Ordegni. Isabella. 206
Rossetti, Dante Gabriel, 259
RoufT, Maggy, 287-8, 304
Rouille, Marguerite de. 174
Rousseau, J. J., 198
Rovello, 68. 69
Rubens, P., 146-7, 148, 160
Rubinstein, Helena, 290. 292, 293
Ruches. 221,263
Pilos. 37
Morelli.
Philobibtion. 129-30
Phrygian bonnets, 38
Piazza Armerina, Sicily, 50, 53, 64
Picasso, Pablo, 282. 294, 268
Pickford. Mary, 272
Picta. 53
Pigafetta, Antonio, 87
Steinkirk. 164
13
222, 223,
Necessaires, 202
Necklaces, 20th
C.
281-2, 287
25
Nefretere. 19
260
Nitocris. 24
Norman, 303
Obi, 268
Octavia. wife of Mark Antony. 58
Octavian, Emperor. 18
Oil cloth. 248
Organdy. 232
Orlando, 73
San
191-4,
Pre-Raphaelites, 258
Printemps, Yvonne, 287
Printemps, Paris, 256
270
Propertius, 58
Paletot. 268
Palla, 52, 61
Pais, 32
Palmata. 53
Palmyre, 251
Pamelas. 226
Panama
hats,
320
210,
Poulaine. 84
Vitale,
Tabarro, 183
Tacitus, 176
Tacuinum
Taglioni, 232
Rabbit
Tanagra
Ravenna, 276
Tang, 294
Tarot cards, 1 10
Tarquinia, 45
Tatez-y, 192
Taylor, Robert. 303
Tebenna, 49
Teddy Boys, 309
Tenca, Carlo, 260
Terborch, Gerard, 150
Terence, 87
Sansculottes. 21
Theodolinda. 65, 66
Theodora. Empress, 61
Theodosia. Empress, 61
Theodosius. Prince, 61
Savile
Theopompus. 45
Thermae,
53. 57
Theseid cut, 36
Secrete. 153
189,
216
Tibullus, 58
Tie-pins, 255
Tiepolo, G.
202, 212-13
Ties, 184, 186, 189, 270. 238-9
,
Jamet du, 97
223
J. F
Titian. 130, 137
Tillay.
Tishbein.
'Toga', Venetian,
18
Tanaquilla. 45
Madame, 220
Salome, 67
216; 19th
254
Tailleur,
Tallien,
Sanilalis. 75
290. 190
Palalina. 164
Pompa-
Pougy, Diane
de,
271,274-5
267
Pomodoro, 313
Pompadour, Madame
Suffragettes, 260,
St
Pliny. 50, 87
Plotina, wife of Hadrian, 57
Poiret, Martine,
Nicot, Jean, 1 13
Nightingale. Florence, 260
Norell.
Plautus. 87
Pleiade, 113
Plautius, 45
'New Look
Plato, 176
184
1801
Simpson, Adele. 303
Singer sewing machine, 256
Sinuhe, 21
Slacks, 301, 307
Slashed coats, 124-5
Slimming methods, Egyptian, 26
Smallswords, 204
Smith. Betty. 281
Snuffboxes. 204. 206. 213
Silvestre, Louis,
Spats, 254
Romans,
Moreau
50
Roman
Silius,
Solon. 42
Rococo. 209
Romorantin, 125
Ronsard, Pierre.
de. 120
Shorts, 305
Socrates, 38
Pezzotto, 183
Philip II of Spain. 136. 137
Philip of Orleans, 209
C.
1*
236-7
Top
257
Toulouse-Lautrec, 267
Tournure. 251
Tractatus de Arte Venandi cum Avibus, 64
Treasure of the City of the Ladies. 10
Urgulania, 45
Uta. Queen, 68, 72
Uzes, Duchess of, 276
Valenciennes, 221
Valentina, 303
Valentino, Rudolph, 294
Valentinois,
Van Dyck.
Comlesse
de, 140
17, 120,
Wolf
Voile, 251
Tuiulus. 49
C,
240,
250
Umbrellas. 202, 204. 232, 266
187.
'
71, 74, 76
254
Ulsters, 268
C.
172; 18th
fur, 161
18
Tutankhamen, 20
"Tutankhamen' line, 281
18,
166,
Waistcoats. 18lh
Veneziano, Domenico, 97
Ventura, 279
Verdi. Giuseppe. 242, 260
Verdi, Marghenta, 233
Vergniaud, Pierre V., 187
Vernet, 222, 230, 231
Veronese. Paolo. 1 14-15
Verri, A., 192
164,
C,
Tullia. 48
126
'Turkish' cape,
Vitrea. 53
17th
Virgil, 45, 58
Vita
Wigs, Egyptian,
164
charmani. 198
Villeroi le
Tricolour, 21
Tricoleuses, 21
Madame.
Villeneuve,
World War
World War
I,
305, 311
II,
Xenophon,
78, 87
Zendado,
8,
83
Zip-fasteners, 281
Zipone. 118, //
PICTURE ACKNOWLEDGEMENTS
ALINARI:
6, 9,
5,
38 (upper
left),
44,
ANDERSON:
64
(lower
left),
128-9
(lower), 179
ARBORIO MELLA:
(lower).
15
20.
(upper
left,
right),
194
(centre),
centre
(left),
BULLOZ:
MULAS:
CARPINACCI:
19 (left).
ARSPHOTO
169 (right,
right)
52,
56
53,
(left,
centre
left,
101. 104
106.
right,
(upper
left,
lower
lower
left),
right).
172 (upper
and
lower),
68
THE OBSERVER:
ELECTA:
174 (lower
left),
left).
175
185, 186
316 (upper
right),
306 (upper
317 (below
right),
left), 205
206 (upper and
PUCCI:313
QUEEN:
FILIPPI: 202 (upper
(left)
left)
SCALA:
203 (upper left), 214-15.
218-19, 223 (right), 226 (left), 245
72
(upper
(left),
(left)
305 (lower
(left), 93,
left).
HORST:
303
left)
PAF INTERNATIONAL:
(left),
ASSOCIATED PRESS:
left)
right)
GOMBRICH:
98
left).
257, 269
left)
(lower
left)
1NTERSTAMPA SCOOP:
310 (lower
SILLS &
CO INC
Mf. iright)
right)
ATTUALFOTO:
BEVILACQUA:
21
MARZARI:
(upper and lower
right), 24 (lower), 27, 33, 85, 88, 92
(lower). Ill, 130 (lower). 131 (upper
left
and
KEN SCOTT:
54
MERCURIO:
lower
74,
13,
left), 59.
77.
79,
5,
164
(upper),
48 (upper
left
BIASI: 19
(right)
(upper
left),
312
193
and
VAGHI:
75
VASARI:
229
(upper
left),
234
(right)
81. 87 (right).
92 (upper
left).
134-5. 138 (lower right). 164
(lower), 177. 178, 184 (lower left), 268
right),
188
right). 105.
right), 100.
108-9,
107.
(upper
and
and
left
right,
(upper
310 (lower
313
57 (lower)
GIRAUDON:
ARCHIVIO MONDADORI:
MATCH:
208
268 (lower
left)
VINGT ANS:
316 (below
(above right)
32]
Everything
Cretan
is
here
the
women, Roman
flounced skirt of
of the twentieth,
styles
is
all
women's
Nor
fashions; the
a special section
^ASHION
FROM
ANCIENT
EGYPT
TO THE
PRESENT
DAY
Hundreds
of
tell
a lively text
the changing
story of fashion
through the
ages.
visually exciting
who
for all
are
interested in clothes
and
their effect
on
history.
with a Foreword
by Count
Eniilio Pucci
and an Introduction
by Janey
Ironside,
Professor of
Fashion Design,
London.