How to Make a Peplos (PDF)

Total Page:16

File Type:pdf, Size:1020Kb

How to Make a Peplos (PDF) A peplos is a long fig.2 or it can fall to the fig.4 your own, you fig.6 garment: it can waist or below. can add buttons be a long dress or On the peplos in and button-holes, robe (on its own) the pictures, gold or ribbons like or a cloak (worn braid has been the ones in the over something sewn near the photographs, to else). The Greeks long edges at the join the two sides would have woven bottom of both the together; if you are the fabric to the apoptygma/flap using a sheet that size that they and the main part needs to go back wanted, so that of the peplos. to being a sheet there was no need at the end of the for cutting or sew- The main part day, you can just ing; but they also of the peplos use safety pins. used folding to should be roughly Rich Greeks would change the size. long enough to have used elabo- reach from your rate brooches. First, fold along shoulders to your the length of the ankles, although The next step is to longer edge to you can make it pin the front and make a flap (fig.2); a little shorter if back together at this fold will be the you like. A grow- your other shoul- top of the peplos, ing child could der as well (fig.6). fig.3 at your shoulders. fig.5 continue wearing fig.7 The peplos will Then fold the the same peplos hang open at the rectangle in half, for years, just side. Greece was folding across the folding a smaller a warm country, first fold, so that and smaller apop- and images in art the flap hangs tygma/flap so that sometimes show down from the top the main part of people with their at both the front the peplos still fell peplos hanging and the back. The to the ankles. open and a second fold will naked body be one side of the Make a sleeve underneath. peplos, and the by attaching the You might also two edges will be front and back of leave the peplos the other (fig.3). the top together, open to show near (but not too off a beautiful The flap is called near) the second underdress; the apoptygma, fold (fig.4). This alternatively which just means makes a hole that you can pull the “the folded-back the arm can go front and back bit”. The apop- through (fig.5). together (fig.7). tygma/flap can be just a short If you are mak- frill at the neck, ing a peplos of Use a belt to hold If your is really long, you can pull it up fig.8 apoptygma the peplos closed through the belt so that it hangs down over it as a MAKING HISTORICAL CLOTHING: THE GREEK (figs. 8/9). You can pouch. The Greeks also did this with the main part of tie the belt over the peplos; they called the pouch a kolpos (which just the apoptygma/ means “lap”!), and would have carried things in this like flap if it is long a pocket; In art you can sometimes see that the main enough (figs.8, 1). part of the peplos has been bunched over the belt, but This makes a little that the apoptygma/flap is still long enough to reach PEPLOS frill over the long almost to the bottom of the kolpos. skirt underneath. Alternatively, you might tie the belt under the apop- tygma/flap (figs.9- 10), especially if your peplos was made of elabo- rately decorated material that you wanted to show off. fig.9 fig.1 fig.10 A peplos is a very ancient and very simple garment: you can make one at home using a sheet, towel, or any This leaflet produced by the Department of Classics, University of Not- other rectangle of cloth – the only other things you need tingham, 2014. Contact: [email protected]. Text by are two safety pins to hold it together at the shoulders, Lynn Fotheringham. With thanks to our lovely model, Abby (& Amy). and a cord to use as a belt..
Recommended publications
  • The Parthenon Frieze: Viewed As the Panathenaic Festival Preceding the Battle of Marathon
    The Parthenon Frieze: Viewed as the Panathenaic Festival Preceding the Battle of Marathon By Brian A. Sprague Senior Seminar: HST 499 Professor Bau-Hwa Hsieh Western Oregon University Thursday, June 07, 2007 Readers Professor Benedict Lowe Professor Narasingha Sil Copyright © Brian A. Sprague 2007 The Parthenon frieze has been the subject of many debates and the interpretation of it leads to a number of problems: what was the subject of the frieze? What would the frieze have meant to the Athenian audience? The Parthenon scenes have been identified in many different ways: a representation of the Panathenaic festival, a mythical or historical event, or an assertion of Athenian ideology. This paper will examine the Parthenon Frieze in relation to the metopes, pediments, and statues in order to prove the validity of the suggestion that it depicts the Panathenaic festival just preceding the battle of Marathon in 490 BC. The main problems with this topic are that there are no primary sources that document what the Frieze was supposed to mean. The scenes are not specific to any one type of procession. The argument against a Panathenaic festival is that there are soldiers and chariots represented. Possibly that biggest problem with interpreting the Frieze is that part of it is missing and it could be that the piece that is missing ties everything together. The Parthenon may have been the only ancient Greek temple with an exterior sculpture that depicts any kind of religious ritual or service. Because the theme of the frieze is unique we can not turn towards other relief sculpture to help us understand it.
    [Show full text]
  • Clothing in Ancient Greece Edited
    Clothing in ancient Greece Clothing in ancient Greece and Rome was generally created out of large, single pieces of fabric. Several different pieces of clothing could be worn in various combinations to create multiple outfits. The fabric was also draped, belted and pinned into various styles. In art, it is sometimes very difficult to differentiate the various garments worn as they all seem to be billowy drapes of fabric. In Greece, women usually wore one of two garments on a regular basis. One was the peplos, a style of dress made from a single piece of fabric that is folded over at the top, wrapped around the body and pinned up at the shoulders. Folding down the top created a second layer of fabric that ran down the back and the front of the garment, which was referred to as an apoptygma. The other piece of clothing was worn by both men and women, and was called a chiton. The chiton was very similar to the peplos, except without the apoptygma. This was created by a single piece of fabric wrapped around the body and pinned up on the shoulders, or by two pieces of fabric sewn up both sides with space left for armholes. The men wore a shorter version of the chiton. This, too, could be belted or left as-is. The pins that were often used to hold up these garments worked very similarly to safety pins or brooches, and were called fibulae. The other important piece of clothing for both men and women was called the himation.
    [Show full text]
  • THE SCIJLPTURE FOUND in 1933 Plates IV and V
    THE SCIJLPTURE FOUND IN 1933 Plates IV and V Th-e campaign of 1933 was particularly productive in the field of sculpture yielding important marbles of both the Greek and the Roniaii periods. A series of the better preserved and more interesting pieces is selected for presentation in this preliminary report in continuation of the reports of the discoveries of sculpture in 1931 and 1932 puiblished in Volume II of Hesperia. A DRAPED FEMALE FIGURE A life-sized marble statue of a woman was found in the great drain in Section Eta of the E1xcavations.1 The figure is represented as standing on a base with the weight resting on the right leg and with the left knee slightly bent (Fig. 1). The head, which was made in a separate piece and was inset in a roughly picked socket, has disappeared, and both forearms are missing. The left arm was bent at the elbow, and the forearm, wA-hichhad been attached by a dowel, was thrust forward in a horizontal position. The right arm is broken away a.t a poinit above the elbow but the remains of a dowel hole in the break suggest that this forearm may also have been extended. The left knee and the front of the leg below it have been broken. The woman wears an Ionic chiton as an undergarment of which the sleeve fastenings atre visible along the upper arms. The outer garment is the Doric peplos which is fastened by clasps on both shoulders. The overhanging fold of the peplos is bound by a belt about the waist, and on each side the material is pulled out over the belt.
    [Show full text]
  • Baring the Female Shoulder in Ancient Greece
    Baring the Female Shoulder in Ancient Greece Duchess Andromeda Lykaina∗ ∗[email protected], https://andromedaofsparta.wordpress.com/ 1 1 Introduction A version of a garment in which the wearer bares one shoulder existed in Ancient Greece without doubt, but it appears to be constructed quite differently than its modern interpretations. Further, it seems to have been used sparingly and in very specific circumstances for women. We are using the broad period of Ancient Greece here as our examples are drawn from the Archaic (800 BCE - 480 BCE), Classical (480 BCE - 323 BCE), and Hellenistic (323 BCE - 146 BCE) periods. While garments differed in subtle ways across these periods, there is enough cohesion to allow us to recognize the same garment in different centuries. We will argue that the appearance of the one-shouldered chiton indicated a sharp departure from standard female behavior in proper Greek society, and we have constructed an example that closely resembles a particular instance of the garment in period. Note that the nature of the garment in most of the scenarios in which it appears lends itself to being simple and functional. Our goal in constructing an example is to show an authentic construction rather than to create a fancy garment. The rest of this work is organized as follows: x2 will present an overview of common garments in Ancient Greece so that we might put the one-shouldered chiton in context; x3 presents what evidence we have found of its appearance on women in the literary and archeological record; and x4 will present an argument as to its construction and an explanation of the example we have constructed.
    [Show full text]
  • General Ancient Greek Clothing Was Created by Draping One Or More Large Rectangles of Cloth Around the Body
    Ancient Greek and Roman Clothing Information Sheet Greek Clothing: General Ancient Greek clothing was created by draping one or more large rectangles of cloth around the body. The cloth was woven by the women of the household, and the materials most often used were wool and linen. There were no set sizes to a piece of apparel. How the rectangles were draped, belted, and pinned determined how they fit the contours of the body and how they were named. When seen on statues or in painted pottery, the clothing often appears to be white or a single color. In actuality, the textiles used for clothing were often dyed in bright colors such as red, yel- low, green or violet. Decorative motifs on the dyed cloths were often either geometric patterns or patterns from nature, like leaves. Wide-brimmed hats were worn by men in bad weather or while traveling in the hot sun. When not letting their long hair fall in trailing curls on their backs or shoulders,Greek women put their hair up in scarves or ribbons. Depictions of men in paintings and statues also show them with filets (cloth headbands) around their heads. Though Greeks often went barefoot around the house, a variety of shoe styles were available, from sandals to boots. The sandals worn by the statue of Artemis shown in full view on the next page. Oedipus is dressed for travel in his wide-brimmed hat, cloak, and shoes. Note that the reclining man shown on this cup has put his shoes underneath A woman with her hair this couch and that the musician is wrapped in a scarf.
    [Show full text]
  • The Dioskouroi on Four-Figure Etruscan Mirrors
    THE DIOSKOUROI ON FOUR-FIGURE ETRUSCAN MIRRORS By DANIEL “WOOD D” WEBER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2006 Copyright 2006 by DANIEL “WOOD D” WEBER Oh Muses, sing of my very own ‘divine’ twins, clear-voiced Ariel Faith and lovely-haired Gabryelle Raina, to whom I lovingly dedicate this study. TABLE OF CONTENTS page LIST OF TABLES............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii ABSTRACT....................................................................................................................... xi CHAPTER 1 INTRODUCTION ........................................................................................................1 Etruscan Bronzeworking ..............................................................................................1 The Dioskouroi/ Tinas Cliniar......................................................................................2 2 CHARACTERISTICS OF ETRUSCAN BRONZE MIRRORS..................................4 Material and Limitations...............................................................................................4 Types of Mirrors and Terminology ..............................................................................6 Inscriptions ...................................................................................................................9
    [Show full text]
  • A Lost Statuette of a River God in Feminine Dress
    HESPERIA 75 (2006) ACHELO?S Pages 317-32$ PEPLOPHOROS A Lost Statuette of a River God in Feminine Dress ABSTRACT a In this study the author analyzes the iconography of unique Early Classi statuette as a cal bronze that represents the river god Achelo?s peplophoros. Formerly in the National Archaeological Museum inAthens, the statuette is now as a lost. Using the myth of Herakles' peplos parallel, the author argues that Achelo?s is represented wearing women's dress in order to counterbal ance his excessive masculinity. The combination of masculine and feminine serves iconographie attributes to acknowledge the potentially destructive power of the river while also highlighting its life-giving beneficence. one In the current discussion of cross-dressing in Classical Greece, in a triguing image has been overlooked: small bronze statuette representing the powerful river god Achelo?s wearing women's dress (Fig. I).1 This now statuette, formerly in the National Archaeological Museum but lost, was at near excavated in the early 20th century Oichalia, modern Kyme, on as a man a Euboia.2 It depicts the god standing, bearded wearing chiton a a underneath peplos with kolpos and overfold. In his left hand he holds cornucopia; the right hand is missing. The cornucopia, together with the findspot (see below), confirms the identification as Achelo?s. Identified as a a by Brunilde S. Ridgway unique representation of m?t peplophoros,3. was an no. notes 1. This paper presented in March 1,1909, by K. Papaioannou, Al) that the location of at earlier form the 2004 Annual who reported his findings in the local the object, formerly in the National .
    [Show full text]
  • Apparel and Fashion Design, St.Teresa’S College(Autonomous),Ernakulam
    B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST.TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM 1 Curriculum and Syllabus 2015 onwards B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM, WOMEN’S STUDY CENTRE DEPARTMENT OF FASHION DESIGNING B.Sc PROGRAMME FOR APPAREL AND FASHION DESIGN (C.B.C.S.S) 2015 ADMISSION ONWARDS 1. PREAMBLE: B.Sc.in Apparel and Fashion Design is a 6semesters full time program with an ultimate aim to produce a Responsible Fashion Designers AIMS AND OBJECTIVES OF THE PROGRAMME B.Sc.in Apparel and Fashion Design is a six semester full time programme with an ultimate aim to create a responsible designer who will serve the country and society by innovation, education, technology and research. The course falls under an emerging area of design necessity. The yesteryear fashion designing course churned out designers for the field of clothing and its related industry but without a thorough understanding of the society, environment or technologies around them. The course is based on the core subject – “Design Thinking” with an aim of creating a ‘Responsible Designer’. This programme provides a perspective of society, environment, education, technology and innovation so that a fresh and unique approach in the fields of clothing, accessories and furnishings may be developed thereby creating more meaningful products and experiences. The syllabus of the course is designed in such a way that it provides skill development required to be a successful fashion designer along with entrepreneurial skills to set up their own venture.
    [Show full text]
  • Berlin Staatsbibliothek Ms Lat 130 (Phillips 1832)
    BERLIN Berlin Staatsbibliothek Ms lat 130 (Phillips 1832) De ordine ac positione stellarum in signis (excerpted from the Salzburg Compilation of 810-818 / Liber calculationis, a.k.a. the ‘Compilation of 810 in 3 blocks’) French (Laon) 873 The text accompanying the pictures is an excerpt from the Liber calculationis compiled in Salzburg during the years 810-818. In terms of the history of the manuscript, it is important to understand that there is a historic relationship between this manuscript and the one now known as Berlin, lat 129 (Phill. 1830), the latter coming into the library as the first section of Berlin, lat 130 (Phill. 1832), which was originally the first part of a larger combined with Berlin lat 130. There are notes in the first part of Berlin, lat 129 (Phill. 1830) referring to Metz and suggesting that these pages were added in the 11-12th centuries. See the entry for Berlin, lat 129 (Phill 1830) for additional information. So, though originally French and probably from Laon, Berlin lat. 129/130 (Philipps 1830/1832) inscriptions suggest that the original manuscript spent time in St Bertin, Metz, though it is difficult to say when it arrived. There are connections to the planisphere in Munich, clm 210 (fol. 113), one of the most reliable of the texts of the Salzburg compilation 810-818, thus further tying this now-distinct manuscript to the Salzburg Compilation tradition. The pictorial cycle in this manuscript has many of the defining characteristics of Group I, which is also encountered in Madrid Ms 3307, Monza and Vat lat 645.
    [Show full text]
  • Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi
    Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Molly Evangeline Allen All rights reserved ABSTRACT Portraits of Grief: Death, Mourning and the Expression of Sorrow on White-Ground Lêkythoi Molly Evangeline Allen In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lêkythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lêkythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might “speak” to a particular moment or variety of sadness that might relate to a potential consumer.
    [Show full text]
  • THE FITZWILLIAM MUSEUM EDUCATION DEPARTMENT Fact Sheet
    THE FITZWILLIAM MUSEUM EDUCATION DEPARTMENT Fact Sheet The Ancient Greeks Clothing The clothes worn by the Ancient Greeks were to a large extent determined by the size and shape of cloth that could be produced on the warp-weighted looms of this era. All the garments worn by men and women consisted of rectangles of material draped, pinned and sewn into various styles. The names given to these garments are now traditional but in ancient Greece the use of these was more fluid; a peplos , for example, was mentioned by Homer as being an article of dress, a shroud and a furnishing for a chariot. The Peplos The peplos was one of the simplest forms of Greek dress and was worn only by women. It consisted of a woollen rectangle, overfolded at the top edge and pinned to form a tube like dress. The back edges of the overfold were brought forward, over the shoulders and secured to the front by means of long pins. A girdle was sometimes tied round the waist and extra material was then pulled up over this. The Chiton The chiton was worn by both men and women and although it was also based on a rectangle of cloth it differed from the peplos in several ways. The chiton appears to have been made from lighter cloth which is thought to have been linen. The cloth was seamed up both of the side edges to form a tube which was then either sewn or buttoned at the shoulders and along the arms to the elbows to form loose sleeves.
    [Show full text]
  • The History of Fashion
    The History of Fashion “I saw it in the window and just had to have it!” Designed by Walter Plunkett, 1939 • “Went With the Wind Dress” • Designed by Bob Mackie for the Carol Burnett show, 1976 Now in the collection of Entertainment History at the Smithsonian Donated by Bob Mackie at the request of Carol Burnett Questions to leave with: • What is fashion? • What are the principles of great fashion design? • What does fashion mean to you? • How can the past and present be interpreted through ideas and characteristics of fashion? Takeaway: • Basic principles of design: silhouette; line; color; and texture • Basic fabrics used until the 19th century • An argument of how fashion relates to and mirrors fine art. The connection of fashion to fine art and architecture through the ages • The basic classical clothing elements of dress of Egypt, Greece, and Rome • The ideals of fashion as they were in classical times in Ancient Egypt, Greece, and Rome. We will look to see how these ideals carry-on through the ages Crossover: Fashion and Art The Golden Age of Couture: Paris and London 1947-1957 May 4–August 7, 2011 Terms with which to describe fashion: Four Elements of Design • Line • Form/Silhouette • Color • Texture Silhouette or Shape Silhouettes Silhouettes and style lines Underwear often is the most important element in creating the silhouette Color Wheel Textures speak volumes about people/characters Cotton/linen/Burlap Velvet • Hyacinthe Richaud, Louis in Robes of State, 1701 • Anthony Van Dyck, Charles I at the Hunt, 1635 • Piero della Francesca, Federico da Montefeltro, • 1472 • Pieter Bruegel, The Peasant Wedding , 1568 Silk The elegance, simplicity, balance, and attention to the human form begins with the ancients….
    [Show full text]