Dress Like a Pilgrim a Procurement Guide by Mayflower Guard
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A Seventeenth-Century Doublet from Scotland
Edinburgh Research Explorer A Seventeenth-Century Doublet from Scotland Citation for published version: Wilcox, D, Payne, S, Pardoe, T & Mikhaila, N 2011, 'A Seventeenth-Century Doublet from Scotland', Costume, vol. 2011, no. 45, pp. 39-62. https://doi.org/10.1179/174963011X12978768537537 Digital Object Identifier (DOI): 10.1179/174963011X12978768537537 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Costume Publisher Rights Statement: © Wilcox, D., Payne, S., Pardoe, T., & Mikhaila, N. (2011). A Seventeenth-Century Doublet from Scotland. Costume , 2011(45), 39-62 doi: 10.1179/174963011X12978768537537 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 © Wilcox, D., Payne, S., Pardoe, T., & Mikhaila, N. (2011). A Seventeenth-Century Doublet from Scotland. Costume , 2011(45), 39-62 doi: 10.1179/174963011X12978768537537 A SEVENTEENTH-CENTURY DOUBLET FROM SCOTLAND By SUSAN PAYNE, DAVID WILCOX, TUULA PARDOE AND NINYA MIKHAILA. In December 2004 a local family donated a cream silk slashed doublet to Perth Museum and Art Gallery.i Stylistically the doublet is given a date between 1620 and 1630 but the family story is that it was a gift to one of their ancestors about the time of the Battle of Killiecrankie in 1689. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Smart Moves Smart
Page 1 Thursday s FASHION: s REVIEWS: MEDIA: The s EYE: Partying collections/fall ’09 Michael Kors, Getting ready diversity with Giorgio Narciso for the $380 quotient Armani, Rodriguez million Yves rises on Leonardo and more, Saint Laurent the New DiCaprio, the pages art auction, York Rodarte sisters 6 to 14. page 16. runways, and more, NEW page 3. page 4. YORKWomen’s Wear Daily • The Retailers’ Daily Newspaper • February 19, 2009 • $3.00 WSportswear/Men’swDTHURSdAY Smart Moves It was ultrachic coming and going in Oscar de la Renta’s fall collection, a lineup that should delight his core customers. The look was decidedly dressed up, with plenty of citified polish. It was even set off by Judy Peabody hair, as shown by the duo here, wearing a tailored dress with a fur necklet and a fur vest over a striped skirt. For more on the season, see pages 6 to 14. Red-Carpet Economics: Oscars’ Party Goes On, Played in a Lower Key By Marcy Medina LOS ANGELES — From Sharon Stone to Ginnifer Goodwin, the 40-person table beneath the stone colonnade at the Chateau Marmont here was filled with Champagne-drinking stars. It appeared to be business as usual for Dior Beauty, back to host its sixth annual Oscar week dinner on Tuesday night. With the worldwide economy in turmoil, glamour lives in the run-up to Hollywood’s annual Academy Awards extravaganza on Sunday night, but brands are finding ways to save a buck: staging a cocktail party instead of a dinner, flying in fewer staffers or cutting back on or eliminating gift suites. -
Attire Tailoring Fine Formal Hire
Attire Tailoring fine formal hire www.attiretailoring.co.uk Here at Attire Tailoring we know more than anybody that it is so imperative to look and feel your outright best on this huge day. Getting everybody in co-ordinating outfits is simple with our broad hirewear assortment, accessible in pretty much every size. With top of the line formal outfits and coordinating accessories, you’ll discover all that you need to put your best self forward, with costs from just £35 per outfit. View our wide scope of styles and shading palettes on the web and build your look using our intelligent Outfit Builder. With our totally online service you can arrange everthing without the need to visit a store . With our online service, we’ll send you the style of your choice for a two day trial in your own home, months before the wedding. Plan your wedding rapidly and where needed with our online assistance. With over 20 years of hirewear experience everything you need is taken care of. The choice is yours... Hire is the flexible choice. It doesn’t matter if it’s 1 or 100 guests, we have the sizes to fit the whole party - even the little ones! Hire is the convenient choice. Your wedding party can be located any- where in the UK and we’ll make sure all outfits are delivered up to a full week before the function date. Travelling to the UK from abroad? We deliver to hotels too! Hire is the sustainable/ethical choice. Renting is recylcing. Go on! book your fitting atwww.attire-tailoring.co.uk *The Try On service is only available on selected months. -
Page 0 Menu Roman Armour Page 1 400BC - 400AD Worn by Roman Legionaries
Roman Armour Chain Mail Armour Transitional Armour Plate Mail Armour Milanese Armour Gothic Armour Maximilian Armour Greenwich Armour Armour Diagrams Page 0 Menu Roman Armour Page 1 400BC - 400AD Worn by Roman Legionaries. Replaced old chain mail armour. Made up of dozens of small metal plates, and held together by leather laces. Lorica Segmentata Page 1 100AD - 400AD Worn by Roman Officers as protection for the lower legs and knees. Attached to legs by leather straps. Roman Greaves Page 1 ?BC - 400AD Used by Roman Legionaries. Handle is located behind the metal boss, which is in the centre of the shield. The boss protected the legionaries hand. Made from several wooden planks stuck together. Could be red or blue. Roman Shield Page 1 100AD - 400AD Worn by Roman Legionaries. Includes cheek pieces and neck protection. Iron helmet replaced old bronze helmet. Plume made of Hoarse hair. Roman Helmet Page 1 100AD - 400AD Soldier on left is wearing old chain mail and bronze helmet. Soldiers on right wear newer iron helmets and Lorica Segmentata. All soldiers carry shields and gladias’. Roman Legionaries Page 1 400BC - 400AD Used as primary weapon by most Roman soldiers. Was used as a thrusting weapon rather than a slashing weapon Roman Gladias Page 1 400BC - 400AD Worn by Roman Officers. Decorations depict muscles of the body. Made out of a single sheet of metal, and beaten while still hot into shape Roman Cuiruss Page 1 ?- 400AD Chain Mail Armour Page 2 400BC - 1600AD Worn by Vikings, Normans, Saxons and most other West European civilizations of the time. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
"Flemish" Hats Or, Why Are You Wearing a Lampshade? by BRIDGET WALKER
Intro to Late Period "Flemish" Hats Or, Why Are You Wearing a Lampshade? BY BRIDGET WALKER An Allegory of Autumn by Lucas Van Valkenborch Grietje Pietersdr Codde by Adriaen (1535-1597) Thomasz. Key, 1586 Where Are We Again? This is the coast of modern day Belgium and The Netherlands, with the east coast of England included for scale. According to Fynes Moryson, an Englishman traveling through the area in the 1590s, the cities of Bruges and Ghent are in Flanders, the city of Antwerp belongs to the Dutchy of the Brabant, and the city of Amsterdam is in South Holland. However, he explains, Ghent and Bruges were the major trading centers in the early 1500s. Consequently, foreigners often refer to the entire area as "Flemish". Antwerp is approximately fifty miles from Bruges and a hundred miles from Amsterdam. Hairstyles The Cook by PieterAertsen, 1559 Market Scene by Pieter Aertsen Upper class women rarely have their portraits painted without their headdresses. Luckily, Antwerp's many genre paintings can give us a clue. The hair is put up in what is most likely a form of hair taping. In the example on the left, the braids might be simply wrapped around the head. However, the woman on the right has her braids too far back for that. They must be sewn or pinned on. The hair at the front is occasionally padded in rolls out over the temples, but is much more likely to remain close to the head. At the end of the 1600s, when the French and English often dressed the hair over the forehead, the ladies of the Netherlands continued to pull their hair back smoothly. -
Monmouth Caps Were Worn by Soldiers, Sailors, and Other Men Doing Outdoor Work from the 15Th Through the Late 18Th Centuries. T
Monmouth caps were worn by soldiers, sailors, and other men doing outdoor work from the 15 th through the late 18 th centuries. They were included in a list of clothing suggested for settlers at Jamestown, bought for laborers in the Massachusetts Bay colony, and ordered by George Washington for his slaves. The knitted knob or ‘button’ at the top of the cap may have originally been used to fasten the cap inside a helmet; later knitted caps either have a small loop or tail at the crown instead, or are simply bound off. The cap in this pattern is based on the cap in Richard Rutt’s “A History of Hand Knitting.” The directions have been altered for the yarn used in this pattern. The cap in Rutt dates from the mid-16 th century, but a similar cap dating to the late 18 th century was found in a dig in New York City; it probably belonged to a sailor, as it 1 © 2007 Mara Riley for personal, non-commercial use only – do not duplicate or distribute Available only from marariley.net was coated with tar. These two caps are knitted in a very large gauge – Rutt’s has a gauge of 1 stitch/cm, which would be about 2.5 stitches/inch. Some other surviving caps from the late 17th through the late 18 th centuries were knitted in smaller gauges. The term “Monmouth cap” seems to have applied generically to knitted caps of the type worn by sailors and workmen, regardless of gauge. The most common colors for the Rutt-style Monmouth caps seem to have been brown or red. -
16 to 18 CENTURY COSTUMES from the COLLECTIONS OF
IRENE SECO SERRA* УДК 391:069.5(460) ИД 203968780 16th to 18th CENTURY COSTUMES FROM THE COLLECTIONS OF THE COSTUME MUSEUM OF MADRID Abstract: This paper introduces 16th to 18th century garments Our collections were initially developed in the from the collections of the Costume Museum of Madrid second and third decades of the 20th century. The starting through some of the most relevant examples. Although some point was a great exhibition of historical and traditional of the pieces presented here are likely to be of French origin, costume that took place in Madrid in 1925. The exhibition was the most of them are purely Spanish garments. This is inaugurated by King Alfonso XIII on April 18, and from the particularly true of the earliest pieces, which date from a time very beginning it received an immense amount of visitors. when Spain dictated fashions, but also of the interesting The success was such that it was decided to turn it into a 18th century majo outfits. The overview of the collections is permanent Costume Museum. A few years afterwards, while preceded by a summarized history of the Museum and the works were still in progress, the Costume Museum complemented by a brief description of the conditions in became an ethnographic museum and changed its name to which our costumes are stored and displayed. Museum of the Spanish People (Museo del Pueblo Español). Therefore, the scope of the collections widened too, and Key words: 16th century costume, 17th century costume, 18th ethnographic objects started to flow to the Museum from all century costume, Spanish dress, Majo outfits around Spain, adding themselves to the already growing collection of costumes.1 037 1. -
Costume Crafts an Exploration Through Production Experience Michelle L
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love. -
Counsels of Religion
COUNSELS OF RELIGION Author: Imam Al-Haddad Number of Pages: 280 pages Published Date: 24 Jan 2011 Publisher: Fons Vitae, US Publication Country: Kentucky, United States Language: English ISBN: 9781891785405 DOWNLOAD: COUNSELS OF RELIGION These three matters, in themselves often innocent and not forbidden to the devout Christian , may yet, even when no kind of sin is involved, hold back the soul from its true aim and vocation, and delay it from becoming entirely conformed to the will of God. It is, therefore, the object of the three counsels of perfection to free the soul from these hindrances. The soul may indeed be saved and heaven attained without following the counsels; but that end will be reached more easily and with greater certainty , if the counsels be accepted and the soul does not wholly confine herself to doing that which is definitely commanded. On the other hand, there are, no doubt, individual cases in which it may be actually necessary for a person , owing to particular circumstances, to follow one or more of the counsels, and one may easily conceive a case in which the adoption of the religious life might seem, humanly speaking, the only way in which a particular soul could be saved. Such cases, however, are always of an exceptional character. As there are three great hindrances to the higher life, so also the counsels are three, one to oppose each. The love of riches is opposed by the counsel of poverty; the pleasures of the flesh, even the lawful pleasures of holy matrimony, are excluded by the counsel of chastity; while the desire for worldly power and honour is met by the counsel of holy obedience. -
The Gatehouse
The Gatehouse This is the entrance to Abergavenny Castle, it is called the Gatehouse. It is a barbican gatehouse . A barbican was a wall or tower which protected a castle from attack. The Gatehouse today When Abergavenny Castle was first built, over 900 years ago, the gate was just a simple opening in the castle walls. Castle entrance in about 1087 Castle with Gatehouse in about 1300 Illustrations by Michael Blackmore Walk through the Gatehouse and loolookk closely at the walls around and above you. What can you see? Abergavenny Castle Trail The Gatehouse On the first floor above the gate were comfortable rooms for the Constable of the Castle and his family to live in. The Constable was in charge of the Castle when the Lord was away. The room had a fireplace, large windows and access to the walkways along the walls, as well as a winch to lower or raise the drawbridge. You might be able to spot the two holes above the opening where the chains have worn the stone away? TaTaTakeTa ke a close look at the walls either side of the opeopening.ning. Can you spot any holes where the huge metal door hinges might have been? We think that this stone-built Gatehouse was added about 600 years ago. At this time the Welsh, led by Owain Glyn Dŵr (Owen Glendower) were fighting the Normans who were in control of much of Wales. Abergavenny Castle Trail The Gatehouse At that time the Lord of Abergavenny was the Norman, William Beauchamp (Bee-cham or Bow-sham) .