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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 -
Replica Styles from 1795–1929
Replica Styles from 1795–1929 AVENDERS L REEN GHistoric Clothing $2.00 AVENDERS L REEN GHistoric Clothing Replica Styles from 1795–1929 Published by Lavender’s Green © 2010 Lavender’s Green January 2010 About Our Historic Clothing To our customers ... Lavender’s Green makes clothing for people who reenact the past. You will meet the public with confidence, knowing that you present an ac- curate picture of your historic era. If you volunteer at historic sites or participate in festivals, home tours, or other historic-based activities, you’ll find that the right clothing—comfortable, well made, and accu- rate in details—will add so much to the event. Use this catalog as a guide in planning your period clothing. For most time periods, we show a work dress, or “house dress.” These would have been worn for everyday by servants, shop girls, and farm wives across America. We also show at least one Sunday gown or “best” dress, which a middle-class woman would save for church, weddings, parties, photos, and special events. Throughout the catalog you will see drawings of hats and bonnets. Each one is individually designed and hand-made; please ask for a bid on a hat to wear with your new clothing. Although we do not show children’s clothing on most of these pages, we can design and make authentic clothing for your young people for any of these time periods. Generally, these prices will be 40% less than the similar adult styles. The prices given are for a semi-custom garment with a dressmaker- quality finish. -
The Bread-Winners
READWINN'^t' -\ ^^?^!lr^^ <^.li i^w LaXi Digitized by the Internet Arcinive in 2011 with funding from The Institute of Museum and Library Services through an Indiana State Library LSTA Grant http://www.archive.org/details/breadwinnerssociOOhayj THE BREAD-WINNERS 21 Social Sttttra NEW YORK HARPER & BROTHERS, FRANKLIN SQUARE Ck)p7right, 1883, by The Century Company. Entered according to Act of Congress, in the year 1883, by HARPER & BROTHERS, In the Oflace of the Librarian of Congress, at "Washingtoa All righit teterved. THE BREAD-WINNEUS. A MORNING CALL. A French clock on the mantel-piece, framed of brass and crystal, wliicli betrayed its inner structure as tlie transparent sides of some insects betray tlieir vital processes, struck ten with the mellow and lingering clangor of a distant cathedral bell. A gentleman, who was seated in front of the lire read- ing a newspaper, looked up at the clock to see what hour it was, to save himself the trouble of counting the slow, musical strokes. The eyes he raised were light gray, with a blue glint of steel in them, shaded by lashes as black as jet. The hair was also as black as hair can be, and was parted near the middle of his forehead. It was inclined to curl, but had not the length required by this inclination. The dark brown mustache was the only ornament the razor had spared on the wholesome face, the outline of which was clear and keen. The face suited the hands—it had the refinement and gentle- ness of one delicately bred, and the vigorous lines and color of one equally at home in field and court; 6 THE BREAD-WINNERS. -
Anne Lister's Use of and Contributions to British Romanticism
THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM ___________ A Thesis Presented to The Faculty of the Department English Sam Houston State University ___________ In Partial Fulfillment of the Requirements for the Degree of Master of Arts ___________ by Michelina Olivieri May, 2021 THE CLOSET ROMANTIC: ANNE LISTER’S USE OF AND CONTRIBUTIONS TO BRITISH ROMANTICISM by Michelina Olivieri ___________ APPROVED: Kandi Tayebi, PhD Committee Director Audrey Murfin, PhD Committee Member Evelyn Soto, PhD Committee Member Chien-Pin Li, PhD Dean, College of Humanities and Social Sciences DEDICATION For Jasmine, who never gave up on me, even when I did. We made it. iii ABSTRACT Olivieri, Michelina, The closet romantic: Anne Lister’s use of and contributions to British romanticism. Master of Arts (English), May, 2021, Sam Houston State University, Huntsville, Texas. In this thesis, I explore Anne Lister as a Romantic writer. While much criticism has focused on Lister’s place in queer history, comparatively little has examined her writing itself. Thus, this thesis aims to place Lister’s writings within popular Romantic genres and in conversation with other Romantic writers. Chapter I is an introduction to Anne Lister and the scholarship that has surrounded her since the first collection of her diaries was published in the 1980s and establishes the arguments that will be made in each chapter. In Chapter II, I examine how Lister uses Romantic works and their writers to construct her own personal identity despite her lack of participation in either the written tradition or in the major social movements of the period during her lifetime. -
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. -
A Plantation Family Wardrobe, 1825 - 1835
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 A Plantation Family Wardrobe, 1825 - 1835 Jennifer Lappas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2299 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. 1 The Carter Family Shirley Plantation claims the rightful spot as Virginia’s first plantation and the oldest family-run business in North America. It began as a royal land grant given to Sir Thomas West and his wife Lady Cessalye Shirley in 1613 and developed into the existing estate one can currently visit by 1725. The present day estate consists of the mansion itself and ten additional buildings set along a Queen Anne forecourt. These buildings include a Root Cellar, Pump House, two-story Plantation Kitchen, two story Laundry, Smokehouse, Storehouse with an Ice House below, a second Storehouse for grain, Brick Stable, Log Barn and Pigeon House or Dovecote. At one time the Great House was augmented by a North and a South Flanker: they were two free standing wings, 60 feet long and 24 feet wide and provided accommodations for visitors and guests. The North Flanker burned and its barrel-vaulted basement was converted into a root cellar and the South Flanker was torn down in 1868. -
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition Introduction There does not seem to have been any distinctive everyday dress for Christian pastors up until the 6th century or so. Clergy simply wore what was common, yet muted, modest, and tasteful, in keeping with their office. In time, however, the dress of pastors remained rather conservative, as it is want to do, while the dress of lay people changed more rapidly. The result was that the dress of Christian pastors became distinct from the laity and thus that clothing began to be invested (no pun intended) with meaning. Skipping ahead, due to the increasing acceptance of lay scholars in the new universities, the Fourth Lateran council (1215) mandated a distinctive dress for clergy so that they could be distinguished when about town. This attire became known as the vestis talaris or the cassock. Lay academics would wear an open front robe with a lirripium or hood. It is interesting to note that both modern day academic and clerical garb stems from the same Medieval origin. Councils of the Roman Catholic church after the time of the Reformation stipulated that the common everyday attire for priests should be the cassock. Up until the middle of the 20th century, this was the common street clothes attire for Roman Catholic priests. The origin of the clerical collar does not stem from the attire of Roman priests. It’s genesis is of protestant origin. The Origin of Reformed Clerical Dress In the time of the Reformation, many of the Reformed wanted to distance themselves from what was perceived as Roman clerical attire. -
Translating the Fashion Story: Analyzing Fashion Captions in Two Women's Magazines Ehimwenma O
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2013 Translating the fashion story: analyzing fashion captions in two women's magazines Ehimwenma O. Vosper-Woghiren 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 Human Ecology Commons Recommended Citation Vosper-Woghiren, Ehimwenma O., "Translating the fashion story: analyzing fashion captions in two women's magazines" (2013). LSU Master's Theses. 831. https://digitalcommons.lsu.edu/gradschool_theses/831 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]. TRANSLATING THE FASHION STORY: ANALYZING FASHION CAPTIONS IN TWO WOMEN’S FASHION MAGAZINES 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 Science in School of Human Ecology Department of Textiles, Apparel Design and Merchandising by Ehimwenma ‘Yuwa’ Vosper-Woghiren B.A., Loyola University New Orleans, 2004 December 2013 © 2013 Copyright Ehimwenma Vosper-Woghiren All Rights Reserved ii I would like to dedicate my thesis to my grandfather, the late Joseph Henry Tyler, Sr. Throughout my life, my grandfather always stressed the importance of looking your best despite your social status. Growing up in the rural and segregated South, my grandfather did not have many opportunities. -
United States Patent 15 3,639,916 Vaughn (45) Feb
United States Patent 15 3,639,916 Vaughn (45) Feb. 8, 1972 (54) NECKWEAR CONSTRUCTION 72 Inventor: Richard C. Waughn, 216 Delhi St., 57 ABSTRACT Syracuse, N.Y. 13203 Simulated cravat comprising a relatively stiff section of fabric having a knot portion and panel portion adapted to depend (22 Filed: Nov. 20, 1969 from the knot portion, the knot portion having wing portions 21 Appl. No.: 878,496 extending beneath the left and right collar tab portions of a shirt, and the knot portion and the panel portion each having an aperture, the spacing between which is an exact multiple of 52 U.S. Cl........ a - - - - - - - - - - - - - - - - - - 2/130, 2/145 the common shirt front button and buttonhole spacing, the 51 int. Cl................ ...A41 b3/00, A4ld 25/04 cravat being combined with a shirt having a collar button and 58 Field of Search....................... 21145,153, 130, 137, 152 buttonhole, and shirt front buttons and buttonholes, and a but 56 References Cited tonhole adjacent the collar button, the cravat having its knot portion secured to the shirt collar by a cuff link like fastener UNITED STAESPATENTS projecting through the knot portion aperture, and through both buttonholes, and being secured to the shirt front at the 1,375, 190 4/1921 Waller....................................... 2/145 button in alignment with the panel portion aperture by a 2,946,106 7/1960 Moran. .2/145 X second cuff link like fastener extending through the cravat 3,097,362 7/1963 Dinn.......................................... 21153 aperture, the shirt front buttonhole in alignment with said last 3,405,408 Oll968 Baker....................................... -
Dr. Jaeger's Sanitary Woollen Clothing System : Net Price List
PREVIOUS LISTS CANCELLED. v NET PRICE LIST. lip, ■ *>$■%< -*! SANITARY lx> lib llen Clothing System REQUIRE THIS TRADE MARK UPON EVERY ARTICLE. N p&a„ Every Article of Dr. Jaeger’s System bears the above Trade Mark. NONE ARE GENUINE WITHOUT IT, SOLE DEPOT: 21 & 23 COLMORE ROW, BIRMINGHAM. ---w^ ^ ^fr w w -*w* ** 0+ TISH MANUFACTURE. Dr. Jaeg-er’s Sanitary Woollen System Co., Ld., Central Office (Wholesale):— 95, MILTON STREET, LONDON, E.C. MEMORANDA TO WHICH ATTENTION IS RESPECTFULLY REQUESTED This edition supersedes previous editions. Wholesale Postal Address : 95, Milton Street, London, E.C. Retail 33 33 42 k 43, Fore Street, E.C. 33 3) 33 3 & 4, Princes St., Cavendish Sq., W. 33 3) 33 East Street and The Avenue, Brighton. 33 3’ 13 23, Commercial Street, Leeds. N.B Customers ordering by Post for the first time should address their correspondence to 42 k 43, Fore Street, London, E.C., unless, in view of probable future transactions, some other Depot should be considered more convenient. All Goods are supplied for Net Cash. References or Remittances are requested from strangers before dispatch of Goods. Remittances should include cost of carriage (see below). Orders should be headed with—Full Postal Address, forwarding instructions, and Railway Station for Parcels. Full permanent home address (if writing from a temporary abode). Title, whether Mrs., Miss, etc., should be stated. Change of address should be immediately notified, and the late as well as the new address mentioned. In the event of any mis-spelled name, or wrong designation in the Invoice, the error should be pointed out at once; otherwise much subsequent confusion may arise. -
Dressing for Success: Lawyers & Clothing in Nineteenth Century
Dressing for Success: Lawyers & Clothing in Nineteenth Century America M.H. Hoeflich* When I arrived at the Cravath law firm as a new associate in the autumn of 1979, I was surprised to discover at orientation that the firm would provide each new associate with a fairly sizeable credit at Brooks Brothers to assist us in purchasing a suitable professional wardrobe.1 We did not have great discretion in our choices; the firm had instructed Brooks Brothers that we were to purchase clothing from an approved list that set out what we should buy. For male associates there was a set number of suits of particular colors and material—a blue sport coat, a leather briefcase, etc. Female associates had a similar list with gender-appropriate differences. Thus, we were all to dress in the appropriate Cravath manner.2 Today, very few firms explicitly dictate the type or style of clothing their lawyers should wear. Many firms, particularly those outside the East Coast, even permit their lawyers a degree of flexibility in their dress so long as it is respectable (I would imagine that no firm, even today, would be happy if one of their lawyers appeared in a speedo, even on the hottest day). Indeed, this flexibility in expectations about dress may increase in the wake of the extensive telework that has been embraced in the midst of the current pandemic. However, many law firms still expect their lawyers to look “professional,” but the origins of what is considered appropriate dress for lawyers has been lost in the mists of time and very little is written about the subject today.3 Certainly, no lawyer or law professor would * John H. -
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