Transylvanian Civic Sumptuary Laws in the Early Modern Period: Preliminary Observations*
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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 -
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. -
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. -
Making and Breaking Order Via Clothing
Making and breaking order via clothing Clothing regulation, cross-dressing, and the ordering mentality in later medieval and early modern England Brett Seymour A Thesis submitted in Partial Fulfilment of the Requirements for the Degree of B.A. (Hons) in History University of Sydney 2012 Abstract Following the events which disrupted social stability in fourteenth and fifteenth-century England, individuals from a variety of social contexts demonstrated a particular necessity to see order visibly displayed in society. This thesis examines sumptuary regulations and cross- dressing side by side to demonstrate clothing's relationship to both making and breaking order. In the act of revealing this relationship, this thesis will argue that the two cases demonstrate clothing‘s importance in creating a visible confirmation of social order which ultimately brings to the surface an underlying collective ordering mentality that equated a sense of security with arranging everyone in society in their rightful place. Key words: order, mentality, sumptuary regulation, cross-dressing, clothing, early modern England, medieval England. Contents Chapter I Introduction: Order, disorder, and clothing in medieval English society .......................... 1 Order, disorder, and the response ........................................................................................... 4 Clothing and order .................................................................................................................. 8 Chapter II Making order via clothing: Clothing -
Tudor Sumptuary Laws and Academical Dress: an Act Against Wearing of Costly Apparel 1509 and an Act for Reformation of Excess in Apparel 1533
Transactions of the Burgon Society Volume 6 Article 2 1-1-2006 Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533 Noel Cox Follow this and additional works at: https://newprairiepress.org/burgonsociety Recommended Citation Cox, Noel (2006) "Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533," Transactions of the Burgon Society: Vol. 6. https://doi.org/10.4148/2475-7799.1047 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Transactions of the Burgon Society by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Transactions of the Burgon Society, 6 (2006), pages 15–43 Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533 by Noel Cox In the United Kingdom, as in other modern liberal democracies, there are few, if any, restrictions upon one’s choice of habiliment.1 There have in the past, however, been repeated attempts in most countries and civilizations—from the Romans (and indeed earlier civilizations) onwards—to strictly control aspects of apparel, by legislation.2 They were motivated by political, moral or economic considerations. However, these sumptuary laws, as they were known,3 were generally a failure, for many reasons. Those who wished to ignore them often could do so with impunity.4 The frequency of such legislation is a sign both of the perceived importance of The author would like to acknowledge the assistance of Professor Bruce Christianson and Ms Susan North in the preparation of this paper. -
Dress Like a Pilgrim a Procurement Guide by Mayflower Guard
DRESS LIKE A PILGRIM A Procurement Guide SEPTEMBER 29, 2018 THE MAYFLOWER GUARD General Society of Mayflower Descendants Dress Like a Pilgrim A Procurement Guide By Mayflower Guard As James Baker, noted Pilgrim historian, points out in his recent article in the Mayflower Journal 1 there is a major image problem associated with what clothing and apparel Pilgrims wore. The image of black clothing, buckles and blunderbusses persist in the public mind. To overcome this misperception and to assist in this effort to change public perceptions, the donning of appropriate garments representing what the Pilgrims actually wore should be a major objective for the commemoration of the 1 Baker, James W., Pilgrim Images III, Mayflower Journal Vol. 2, No. 1 [2017], pp 7-19 1 400th anniversary of the arrival of the Mayflower. We the Mayflower descendants need to Dress Like a Pilgrim and wear Pilgrim Appropriate Apparel (PAA). So, what did Pilgrim men and women wear? Fabrics In 17th Century England and in the Netherlands, there were two basic fabrics that were used for clothing, wool and linen. There was combination of wool and linen know has fustian corduroy that was also used, however finding this fabric today is almost impossible. Cotton while available was very rare and very expensive in the early 17th century. Colors We know that the Pilgrims wore a variety of colors in their clothing from probate records where the color of various clothing items were mentioned including the colors violet, blue, green.1,2 The color red was also listed. However, the reds that were used in the early 17th century were more of a brick red and a matter red which is a little more orange in nature than modern reds. -
1. Fabric Grain Follows Vertical Lines of Graph Paper. 2. Pattern Pieces Are
NOTES: 1. Fabric grain follows vertical lines of graph paper. 2. Pattern pieces are drawn without seam allowance. 3. The waistcoat is back-stitched; lining and pocket flaps are whip-stitched. 4. Center-front closure of twenty-two -inch-diameter self-covered buttons with fifteen 1 ¼-inch functional buttonholes reinforced with buttonhole stitch that extends ½ inch beyond the buttonhole opening; seven buttons are non-functional. 5. Six/8 -inch diameter self-covered non-functional Man’s Waistcoat, France, c. 1750, silk cut, uncut, and voided velvet (ciselé) on satin foundation, center-back length: 27 1/2 in. (69.85 cm), buttons are located below each pocket opening. purchased with funds provided by Suzanne A. Saperstein and Michael Finished pocket flaps conceal most of the buttons. and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. 6. Side seams terminate at pocket. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.812, photo © 2010 Museum Associates/LACMA 7. The back of the waistcoat is composed of linen plain weave. The collar line and the armscye are finished This handsewn sleeveless waistcoat is made of silk cut, on the inside with a 1-inch bias strip of the same linen. uncut, and voided velvet (ciselé). The meandering ribbon The center-back seam is only sewn 8 ½ inches from and acorn pattern was woven to follow the edges of the the top. Beneath this seam, eleven pairs of eyelets center-front and hem of the finished garment in a method (round holes reinforced with thread) line a 19 ½-inch known as à disposition. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
14Th Century English Sumptuary Laws THL Sarai Tindall [email protected]
14th century English Sumptuary Laws THL Sarai Tindall [email protected] http://clothingthepast.wordpress.com The stated reason for enactment of the 1363 English sumptuary law is because of “the Outragious and Excessive Apparel of divers People, against their Estate and Degree, to the great Destruction and Impoverishment of all the Land.” 1 The king, or his councilors and parliament, felt that people were spending too much on their clothing. The law lays out what fabrics, furs, and accessories people of each specific social group of the middle classes could purchase and wear for clothing. It is notable that this law does not mention anyone of the upper nobility or those of the lowest classes. The 1363 law seems to be mostly concerned with the creating of “an absolute social standing,” in which wealth, occupation, and rank are all combined to create one’s social standing. 2 The law breaks down the social classes based on a combination of rank and occupation. Knights were the highest social class, by rank, and Merchants were the highest by occupation, but still below knights. Some of the social classes, Knights, Esquires, and Merchants are further divided by their wealth, with some being afforded more expensive cloth for their clothing based on wealth. In this way money is used to allow a more privileged style of dress to those within a social class, but without overlapping into the lowest income of the social class above them. This would help to create a visual separation between classes, and a marketability of status through the use of income as a factor in determining final social status.3 However, even attempts at using multiple factors for determining a final social status were not always accurate since any one of those factors could change, as suggested by Sponsler.4 The factors should only be used to determine social status at a particular point in time, since anyone could easily gain or lose money very quickly thus altering their social status. -
Sumptuary Law by Any Other Name: Manifestations of Sumptuary Regulation in Australia, 1901-1927
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2015 Sumptuary law by any other name: manifestations of sumptuary regulation in Australia, 1901-1927 Caroline Irene Dick University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Dick, Caroline Irene, Sumptuary law by any other name: manifestations of sumptuary regulation in Australia, 1901-1927, Doctor of Philosophy thesis, Faculty of Law, Humanities, and the Arts, University of Wollongong, 2015. -
Sumptuary Legislation and Conduct Literature in Late Medieval England
SUMPTUARY LEGISLATION AND CONDUCT LITERATURE IN LATE MEDIEVAL ENGLAND Ariadne Woodward A thesis in the Department of History Presented in partial fulfilment of the requirements for the degree of Master of Arts Concordia University Montreal, Quebec, Canada December 2016 © Ariadne Woodward, 2016 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ariadne Woodward Entitled: SUMPTUARY LEGISLATION AND CONDUCT LITERATURE IN LATE MEDIEVAL ENGLAND and submitted in partial fulfilment of the requirements for the degree of Master of Arts (History) complies with the regulations of the University and meets the accepted standards with respect to the originality and quality. Signed by the final Examining Committee: _____________________________ Chair Dr. Barbara Lorenzkowski _____________________________ Examiner Dr. Nora Jaffary _____________________________ Examiner Dr. Ted McCormick _____________________________ Supervisor Dr. Shannon McSheffrey Approved by: _____________________________ Chair of Department or Graduate Program Director _____________________________ Dean of Faculty iii ABSTRACT Sumptuary Legislation and Conduct Literature in Late Medieval England Ariadne Woodward This study is an examination of attempts to control dress in late medieval England. Concerns about dress expressed in sumptuary legislation and conduct literature were demonstrative of deeper anxieties about gender, class, status, the interrelationship between medieval contemporaries, nationhood and morality. Clothing was especially targeted because it was an important marker of status and of individuals' morals. However, the lack of evidence of enforcement of sumptuary legislation and the limited scope of this type of legislation demonstrates a certain ambivalence towards a strict control of what individuals wore. Clothing played an important role in social negotiations. Late medieval society was extremely hierarchical and yet these hierarchies were somewhat fluid, which was both a source of confusion and opportunity. -
Style Guide 2020
STYLE GUIDE 2020 1 Cunard and Royal Ascot share a Royal Ascot is synonymous passion for unforgettable moments with sartorial elegance. that exude style. This is upheld by its Dress Code, which guests are invited to embrace with their own individual style and thus contribute to an occasion heralded internationally as a major fashion event. To advise and Sail with Cunard to be welcomed into a world of unique experiences – a world away from anything else inspire guests with what to wear to the Royal Meeting this June, we have partnered with Cunard - for at sea. Bask in the peace and tranquillity aboard our fleet; Queen Victoria, Queen Elizabeth and Queen the third year - to bring you the Royal Ascot Style Guide 2020. Mary 2, as you drift between towering Norwegian Fjords, catch first sight of sparkling Alaskan glaciers The Royal Ascot Dress Code is traditional, woven into the very fabric of our history. It was Beau or feel the breeze under a mid-Atlantic sky heading for New York on our iconic Transatlantic Crossing. Brummell, perhaps Britain’s first fashion icon, who at the turn of the 19th century dictated the dress for When not exploring new shores, the Cunard on board experience is built on fine dining, hand selected men in the Royal Enclosure. His sense of style is still reflected in Royal Ascot fashions today. entertainment and outstanding service. From the sophistication of a masquerade ball to the intimacy of Ascot continues to recognise key trends in the ever-evolving world of fashion and in 2020, the Royal a shared moment on deck, the stage is set for you to create your own memories at sea.