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Presented by: Olive Webster

DATE DUE

Demco Historic Costumes

Their Influence on Modern Fashions

By S. H. Ditchett Editor of the Dry Goods Economist

Reprinted from the Dry Goods Economist of April 3, 1920

Price 50 cents

239 West 39th Street, New Yiyrk 14 {"}H! yes, I know what it means—only I can't tell you." Lots of people—in stores and out of them—are in this plight as regards terms used every day that indi- cate a certain form of coat, or skirt, or collar or other detail of dress, or perhaps some general tendency in fashion. Those employed in certain departments in dry goods and department stores can't afford to be unable to tell when a customer asks what it means when a coat is in Directoire style, for example. Or a customer may lose faith in the saleswoman who tells her a dress is "1880" when it isn't anything of the kind. So here we outline briefly the characteristics of lead- ing historical styles of costume to which fashion de- signers more or less continually have recourse as inspiration for our modes Many books on historical costumes—most of them very expensive—have been published. As a rule, these works contain such a wide range of illustrations as to be confusing to the student, though of great value to the designer. This short review, with its accom- panying plates, will give any thoughtful reader a clear conception of the principal costume ideas that history affords. Those who wish to pursue the subject fur- ther will, in our opinion, get the best results by reading histories and biographies, as well as books of costume. When you actually "know" the leading figures of by- gone days and their environment, you naturally visual- ize them in the dress they wore, the more so as in every biography and memoir you come every now and then on authentic and illuminating bits of description as to costume, hairdressing and other details. Historic Costumes

COSTUMES of bygone days are the in- dress may be modern or ancient. We have spiration of the fashion creators of to- to-day the Egyptian influence, derived from day. Sellers of women's apparel, neck- the period of the Pharaohs, and we have wear, millinery and other articles in which styles drawn from the present-day costumes style is a factor have constantly on their lips of the peasants of Bulgaria, Roumania and words derived from the personages or wear- other Balkan States and of the well-to-do ables of centuries long passed away. Chinese. Moroccan and Arabian costumes True, these words are not invariably used have also been a source of inspiration for in their correct or original sense. "Peplum," fashionable dress of the current hour. for instance, in its twentieth century usage, The foregoing glance, brief as it is, opens does not mean the close-fitting garment ex- up a broad and long vista. It clearly indi- tending from neck to feet and girdled above cates how vast a space of time and how ex- the hips, spoken of by Homer and shown on tensive a territory the close student of cos- archaic vases. Nor does "gabardine" to-day tume must take under his observation. Is mean the garment worn by the Jews of the it not then an impossible task to cover the sixteenth century and spoken of by Shylock history of costume even in an extensive ar- in Shakespeare's "Merchant of Venice." ticle? It is; and we will not here attempt it. What can be done in the space at our com- Terms Have Definite Import mand is to touch the high lights of the sub- Nevertheless, the majority of the terms ject, endeavoring to make clear to Economist employed are used with a marked degree of readers what is meant by the costume terms accuracy; "Moyen Age," "Renaissance," that are nowadays in most general use. "Medicis," "Louis XIII," "Directoire," "Wat- For the sake of brevity, as well as clear- teau," "1830," "1880," etc., have a meaning ness, we shall avoid direct reference to the and application that are definite and prac- classic dress of ancient Greece and Rome. tically unchanging. These influences were strongly revived in Sometimes, however, inspiration is di- France during her great Revolution and can rectly traceable to some historic period be treated of in connection with that period. not previously drawn upon. For example, Furthermore, during the centuries that ex- "Moyen Age" was not heard of in connection tended from the fall of the Roman Empire with fashions until 1908. Sometimes a new to the Renaissance, or revival of letters and name is employed to describe fashions based art, which began in Italy in the fourteenth on the costumes of a certain period. Thus century, costumes showed little change and "Velasquez" and "Spanish Infanta" have thus can be treated practically as a unit, only recently been employed to designate under the title of Moyen Age, or Middle styles which owe their inspiration to the re- Ages. nowned Spanish painter of the seventeenth Moyen Age, or Merovingian century and the dresses of the young and Let us, then, take royal lady he portrayed so graphically. as our starting point the Moyen Age styles. Paris used these as National Dress Influence inspiration for a new mode in 1908. The Distinction should be made between idea originated in a theatrical production at period influences and those flowing from the the Comedie Franchise, entitled "Le Bon Roi national dress of a country or region. Such Dagobert ("Good King Dagobert") and that Historic Costumes

ruler of the fifth century of our era being one shows the adoption of two distinct types of of the Merovingian kings, the styles in ques- costumes for men. tion in their application of twelve years ago The first of these types was a long and were at first referred to as "Merovingian." loose gown, with wide sleeves, belted at the The principal feature of these Moyen Age waist, and having a broad collar folding back styles was the close-fitting bodice, following over the shoulders and displaying an under- the natural lines, extending to the hips and tunic or vest, loose at the throat. The other terminating in a broad band which further costumes consisted of a short tunic or vest, tended to hold the bodice in to the figure. tightly fitting, worn under an open doublet There was also a strong use of embroidery, with loose sleeves. this being a feature of the costumes of the Men's Dress Remarkably Elaborate men as well as the women of the Merovingian period. The use of a girdle, either double and During the later Tudor period—that is, encircling both waist and hips, or at the hips in the time of Henry VIII, in England, and only—in the latter case, tied at the front and of Francis I in France—men's dress reached with long hanging ends—was also essential a remarkable degree of elaboration. The gen- to the well-dressed dame of the fifth century. eral effort was toward the creation of an ex- tremely broad and capacious effect. The trunk Ideas Drawn from Men's Costumes hose, as the garments were called which after-

The next period that has made its mark ward developed into breeches and later into on modern fashions is that of Louis XI in trousers, were gathered at the mid-thigh and France and of the earlier Tudor monarchs greatly puffed out. All garments for men were in England. heavily padded, and were of such stiff and

Here it may be said that throughout the heavy material that only men accustomed, as centuries which we shall cover the French were those of the sixteenth century, to the and English fashions coincided to such an habitual use of armor could support such extent that it is not only possible but proper heating and uncomfortable costumes. to treat the styles of the two countries as a A Monarch's Rich Attire whole. Hence, where it is advisable we give Here is the description of the dress of both the French and the English names for Henry VIII in the year 1540—and doubtless each period or style. his contemporary, King Francis I of France, It should also be noted that from the was no less richly attired, for it will be re- Tudor period down to the beginning of the membered that the two monarchs united in eighteenth century the dress of the men was holding a tournament at which the costumes fully as elaborate or even fantastic as that and other appurtenances were so costly that of the women. At times, indeed, the men the occasion has ever since been known as outdid the women in the richness and costli- the Field of the Cloth of Gold. ness of their apparel, as well as in the bril- liancy of coloring and in the variety of ma- A garment of cloth of silver damask ribbed with cloth of gold as thick as might be. The gar- terials employed. ment was large and pleated, very thick, of such for this reason that so many of the It is shape and make as was marvellous to behold. modern ideas in fashions for women are Women's Costume Less Extravagant drawn not from the women's costume, but from The costumes of the court ladies of the that of the men. Tudor or Louis XI and Francis I periods The Tudor or Louis XI Period were rich, but not extravagant. The hair THE period embracing the reigns of was worn in an easy, natural style, some- Henry VII, in England, and of Louis thing after the manner of the women of 1830. XI (Louis Onze), in France, and later The sleeves were often puffed and slashed those of Henry VIII, in England, and of at the shoulder and elbow, and terminated

Francis I (Francois Premier), in France, with a cuff or frill of linen. Historic Costumes

Lace did not come into general use un- while the "Virgin Queen" directed Eng- til some years later. Thus, the ladies of land's destinies, are associated with many Henry VIII's court, as painted by Holbein, fantastic ideas in dress, as well as with a wore plain linen headdresses and untrimmed number of forms which have been largely frills at the neck and wrists. utilized by modern fashion creators. The unfortunate Mary, Queen of Scots, Skirts Richly Trimmed had been educated in France, had married The women's skirts were full, the idea of Francis II of France, who died a year after breadth and capaciousness which character- the union, and had thus become one of the ized the upper portion of the men's costumes historical personages of the great fashion being carried out in the lower portion of the creating country. From her we have the women's garments. The gowns were richly Marie Stuart headdress and the Marie Stuart trimmed, often with gold embroidery or with collar. During this and a subsequent period other ornamentation. Catherine de Medicis, widow of King Henry Velvet was freely worn by both sexes, and II, was the real ruler of France, and from furs were commonly employed for trimming. this passionate and artful queen of Italian The use of furs was liberal on the part of birth we have the collar which is known as the nobility of both sexes until the eight- the Medicis. eenth century, due largely to the fact that Hoopskirt and Pointed Bodice the houses were very poorly heated. In fact, During the same period there was intro- as late as the reign of Charles II in England duced the hoopskirt, which was the forerun- and of Louis XIV in France even the higher ner of the crinoline, together with the deep, classes wore their headcovering and furred pointed corsage. The large, convoluted and mantle3 at meals during the winter. stiffly starched ruff, which was worn in the Throughout the Tudor period, as also in latter part of the sixteenth and the early part the early years of the seventeenth century, of the seventeenth centuries by men and both in the men's and women's clothes elab- women alike, has fortunately not been orate use was made of slashings in the handed down to their successors. sleeves and elsewhere, through which the un- dergarment was permitted to show. The Voluminous Effect the Rule slashed effect was also produced by the com- During this period the dress of both men bination of material of different colors. and women was elaborately trimmed, both slashings and embroidery being freely em- The Renaissance ployed. As above suggested, the women's period The just referred to coincides skirts were puffed out to an enormous ex- pretty closely with the Renaissance, more tent, a wheel-like "farthingale" being worn especially its development in Italy. But in in many cases around the waist and present- that country the women's dress was suited to ing almost the appearance of a circular table. a milder climate, the gowns being loose and Here we have the origin of the extended hip flowing, but of soft, clinging material, with effect introduced by Paris designers for the wide sleeves, round or square neck, and fall season of 1918. The modern form, how- loosely girdled at a rather low waistline. ever, was flattened at front and back. These are the principal forms in which The voluminous skirts worn by the the Italian Renaissance inspiration is appar- women were imitated by the men through the ent in modern designing. use of enormous trunk-hose or " breeches," which had almost the appearance Some Weil-Known Styles of a short crinolined skirt. These trunk- The reign of Elizabeth of England and hose were puffed and swelled out to an enor- those of Charles IX, Henry III and Henry mous size, descending to a little above the IV (Henri Quatre) of France, which occurred knee. Historic Costumes

Court Dress Latter Part of l3^h Cent,ury

Mobleman of the Voung woman's Dress I3^h Century 14-"^ Century

Court Dress of 1390

Court Dress Young Gentleman 5*= 4*=K Early 1 Century of the 1 Century

4 Historic Costumes

The Pointed Bodice slashes. His doublet was of purple cloth, and his short cloak of black velvet, to correspond with his long-waisted, pointed bodice effect THE hose; and both were adorned with a great number which was introduced during this pe- of small silver buttons richly wrought in filigree. riod was worn alike by men and A triple chain of gold hung around his neck; and, in place of his belt women, and its use was continued by both a sword or dagger, he wore at an ordinary knife for the purposes of the table, sexes up to the early part of the reigns of with a small silver case, which appeared to con- Louis XIII in Charles I in Eng- France and tain writing materials. He might have seemed land. some secretary or clerk engaged in the service of This style has since been frequently re- the public, only that his low, flat, and unadorned , and his shining shoes, indicated vived, and in more or less modified form ap- well-blacked, that he belonged to the city. pears in the fashions of the present moment. Cavalier and Mousquetaire The Henry IV and Early Stuart Period The reigns of Louis XIII of France In the early part of the sixteenth century (Louis Treize) and of Charles I of England, —that is to say, during the reign of James I are associated with those picturesque and ro- in England and the latter part of that of mantic characters, the cavaliers in England Henry IV in France—women's dress became and the mousquetaires in France. considerably more lavish, as well as less In each case the broad of velvet or modest and more seductive, than in the reign felt, ornamented with a huge ostrich plume, of Elizabeth, the "Virgin Queen." The neck shaded a face that except for a small mous- was frequently low, and when the starched tache and pointed beard (originated by Louis ruff was retained the front of the corsage XIII), was cleanly shaven, and was framed was cut out so as to expose the bosom. in a mass of long curly hair, the tresses At this time the sleeve, which in Eliza- which fell over the front of the shoul- beth's time had been rather tight around der being known as "lovelocks." The the arm and puffed out at the shoulder, stiffly starched ruff of lace or linen had was widened out into the "gigot" or leg-of- given place to a "falling ruff" of lace or em- mutton shape. The hair, which had formerly broidery, which turned over a doublet been partly hidden under a or headdress tightly fitting and rather pointed in front. like that which has become associated with The apparent width of the shoulder was Mary Stuart, was worn loose and flowing. increased by a sort of curved epaulet con- Men's Dress of Early Stuart Period forming to the armhole and extending out- At this time men wore tight-fitting jack- ward and downward. A richly ornamented ets, known as doublets, with wide, full belt supported the rapier. The breeches sleeves drawn in at the wrists. Gradually were loose and tied at the knee with rib- the trunk hose developed into loose breeches, bons, and the hose showed over boots which somewhat in the style of the modern knick- extended above the calf and which were erbocker. These were drawn in at the knee often made with absurdly wide tops. Fre- and tied with ribbon rosettes. Ribbons also quently these tops were allowed to fall over were worn on the shoes. half way down to the foot, exposing a lining

Here is the picture of a rich goldsmith of lace or other material. who did business with King James I and Long gauntlets, from which are derived his court, as given by Sir Walter Scott: the "mousquetaire" glove, and a short cloak The stranger's dress was, though grave, rather or mantle, elaborately trimmed with lace or richer than usual. His paned hose [the word buttons and having a silk lining, completed is not "hose" here applied to stockings, but to the this picturesque costume. garments, already referred to, which were the forerunners of breeches. "Paned" is an obsolete Women of the XIII Period word meaning checked or ornamented with square of the Louis XIII or Stuart pieces of cloth] were of black velvet, lined with The women purple silk, which garniture appeared at the period have been immortalized by many Historic Costumes

CourtDreSS of Tudor Noble of the Tudor orLouiSXI Period orLouisXI Period

C i t i zen of E arly Tudor orLouis XI Period.

Court Dress 1550 Judor or Citizen's Dress Francis 1 of 1545 Court Dress 1540 Tudor or Francis I

6 Historic Costumes

painters, in England, notably by Sir Peter Lely. coat. A long necktie of lace, known after Such portraits show that the hair was worn 1692 as a "Steenkirk," from the battle in in rather natural style, curling in ringlets Belgium fought in that year, was carelessly around the face and ornamented with a knotted around the throat. small headdress of jeweled gold and ribbon. Cuff of Enormous Size The bodice was low and around the decol- letage was a fall of lace or embroidery closely The sleeves of the coat were rather loose resembling that affected by the men. The and were often turned up so as to be quite sleeves were elbow-length, loose and richly short, showing the ruffled shirt-sleeve of ornamented with lace and ribbon. The cor- fine cambric. In some cases the sleeves were sage was sometimes long and pointed and of the natural length, with cuffs of enor- sometimes rather short. mous size turned back almost as far as the The voluminous skirts were gathered at elbow. These cuffs, like the front and shoul- the waist and were trimmed around the foot ders of the coat, were richly laced. The with a broad band of embroidery. Often breeches were of moderate width and were they were raised to show an under-petticoat tied at the knee with ribbon. The high of rich material. In other cases the cos- boots had by this time given place to a tume consisted of a robe, opening in po- low shoe, ornamented either with a rosette lonaise form and showing an under-petti- of ribbon or with a buckle of gold or silver. coat of different fabric and color. In it is Women's Coiffures Were Monstrous seen the source of inspiration for the over- close connection between men's skirts and tunics and the sheer, embroidered THEstyles and those of women was appar- underskirt which are so prominent in dresses ent at this period in the greater elabo- for the coming summer. ration of women's hairdressing. The coif- The Louis XIV Styles fure was piled high on the head and was The reign of Louis XIV (Louis Quatorze) ornamented with ribbons and other devices. saw the introduction, about the year 1685, Then, and for many years thereafter