The design and execution of period costumes and accessories for acting styles through filmed demonstrations
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Authors Damron, William Nathan, 1944-
Publisher The University of Arizona.
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Link to Item http://hdl.handle.net/10150/317840 THE DESIGN .AND -EXECUTION OF PERIOD COSTUMES AND ACCESSORIES
FOR ACTING STYLES THROUGH FILMED DEMONSTRATIONS
by
William Nathan Damron, Jr„
A Thesis Submitted to the Faculty of the
DEPARTMENT OF DRAMA
In Partial Fulfillment of the Requirements For the Degree of
MASTER OF ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
19 6 9 STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author.
APPROVAL BY THESIS.DIRECTOR
This thesis has been approved on the date shown below:
Helen ¥. Currie' Assistant Professor of Drama ACKNOWLEDGMENTS
The writer wishes to express, his gratitude to Helen W. Currie,
Assistant Professor of Drama and Costume Director, for her guidance and encouragement in the preparation of this thesis. Gratitude is also ex pressed to Irene F. Comer, Associate Professor of Drama, for the oppor tunity to design costumes for the films she is directing. And to Rose mary Gipson, Instructor in Drama, for her advice in all of the details on format in a thesis. A note of thanks to Polly Mikkelson for the many hours of hard work spent in the execution of the costumes. TABLE OF CONTENTS
. Page
J~)TSX OF ILLUSTil.&TIONSe eoooooooooeooeeeeoeeooeeeeeeoeeeeoeeoeeo "X?"
ABSTRACT...... -rti
1. COSTUME- AND ACCESSORY REQUIREMENTS FOR FILMS ON PERIOD ' STILE IN AOTUJG TECHNIQUES...... I
2. COSTUME DESIGNS FOR SERIES I; RESTORATION COMEDY.. 3
General Characteristics of Costume for Men...... 3 General.Charaeteristics of Costume for Women...... 6
C o stume _ -De sr gzi s...... o...... S
3. COSTUME DESIGNS FOR SERIES II: LATE GOTHIC...... 17
General Characteristics of Costume for Men...... 18 General Characteristics of Costume for Women...... 21 Costume Designs...... e...... 2^#
4. COSTUME DESIGNS FOR SERIES III: ELIZABETHAN...... 32
General Characteristics of Costume for Men...... JZ General Characteristics of Costume for Women...... 35 Costume Designs. 3 7
5. THE PURPOSE OF THE SERIES OF FILMS...... 46
APPENDIX A: PICTURES OF COSTUMES...... 47
A SELECTED BIBLIOGRAPHY...... 54
iv :a LIST OF ILLUSTMTIOETS
Figure • Page
10 English Restoration Court Gentleman,11
20 English Restoration Country Gentleman, 12
3, English Restoration Servant to the Country Gentleman,,,,,, 13
4, English Restoration Court Lady,.,...... 14
5, English Restoration Country Gentlewoman,15
6, ' English Restoration Servant to the Court L a d y , 16
7, Late Gothic Couirt Gentleman,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, . ^6
S, late Gothic Phddle™Class R h n , 21^
0, Late Gothic Soldier,, , , , , , , , , , , , , , 2S
10, Late Gothic Court Lady,,,,,,,,,,,,«,,«»,«,SO
11, Late Gothic Middle-Class Gentlewoman,30
12, Late Gothic Camp-Followero,,,,*,,,,,,,,,31
13, Elizabethan Court Gentleman...... v 40
14, Elizabethan Middle—Class Man..e,,,,,,.,,,,,41
15, Elizabethan Lower-Class M a n . 4^
16, Eli zabethan Oour u Lady o..,.,,,,.,,.,-,,,.,,.,,,.,,..,,.,,., 43
17, Elizabethan Middle-Class Gentlewoman...... 44
IS. Elizabethan Lower-Class Woman...... 45
A-l, English Restoration Court Gentleman (Vernon Statler)...... o...... 4*S
A-2. English Restoration Country Gentleman (Robin L e e 40
A-3. English Restoration Servant to the Country Gentleman (l3i!l Damron, J r . . . . e , ...... 50
v vi
LIST OF ILLUSTRAT IONS— Continued
Figure Page
A-4« English Restoration Court Lady (Pamela Dudley )eooeeooeoeeeeoeeee'e6eoeeeeeoe»eo6®»o 51
A - 5 o English Restoration Country Gentlewoman (Clatldaa Dee ts )e.o A-6e English Restoration Servant to the Court Lady (P Oi l y PhldkielS On ^ q. @ e oeeASreeeoee e e o. o e o e "e o 53 ABSTRACT This thesis is concerned with the costume designs for a series of educational films demonstrating period style in acting techniques0 Within it may be found the brief historical background, characteristic features of the mode of dress, description and costume designs for the following periods; Restoration (1660-1700), Late Gothic (1350-1450), and Elizabethan (1550-1625), .CHAPTER I COSTUME AND ACCESSORY REQUIREMENTS FOR FILMS ON PERIOD STYLE IN ACTING TECHNIQUES The project for this thesis was to design costumes and acces sories for three filmed demonstrations on period acting styles„ The director of the series is Miss Irene F. Corner, Associate Professor at the University of Arizona Department of Drama. The films are to be used as a teaching aid to show the manners, customs and movement for period plays. The pertinent eras are; Restoration, Late Gothic and Elizabethan. The accessories were selected and the costumes de signed for each specific period were to present the styles (mode of dress) worn during those eras. Miss Comer requested that each set of designs represent three levels of society. For instance, in the Restoration Comedy film, the following were required: 1. The Court, and/or city bred gentry (male and female). 2. Country-bred gentry (male and female). 3. Servant class (male and female). This format was followed on the other two periods. The requirements of the designs were that the costumes be simple to construct, to allow for a minimum of expense, and that the finished costume allow the actor freedom of movement. The accessories selected by Miss Comer were those most frequently encountered in these particular his torical periods. 2 After many consultations with Miss Comer and Mrs. Helen W. CurrieAssistant Professor and Costume Director at the University of Arizona Department of Drama, the author designed each set of six costumes for the three different periods. The author had to keep in mind, while designing, the practical reproduction of the cos tumes and that film would show the quality of the materials and the details of construction. All of the costumes were designed to illustrate the most outstanding features of the styles worn during each period by all levels of society. Each set of designs is preceded by a short historical back ground, a discussion of the general characteristics of the dress of the period, and a description of the designs. Since the film on Restoration Comedy was the first of the series to be produced an appendix is included. This contains pictures of the costumes as they will appear in the film. CHAPTER 2 COSTUME DESIGNS FOR SERIES Is RESTORATION COMEDY English fashion underwent a radical change when Charles II, in 1660, was restored to the English Throne. He brought with him all of the latest fashions in manners and dress which he had.learned during his stay in France. The English courtiers immediately broke from the drab, unadorned dress of Cromwell’s Puritans and plunged into the extravagant, sparkling world inspired by the French. The nobles of Louis XTF’s court in France and those of Charles I P s court in England were constantly trying to out-do each other with dazzling costumes. However, the French court always seemed to lead the way in the over-abundant use of ribbons, curls, puffs, flounces and feathers. From 1660 to about 1670 the fashion able look was one of studied casualness. For instance, although a fashion able person looked as though he had hurriedly dressed, actually, he had spent hours carefully selecting, puffing, and draping each beribboned article he was wearing. However, this fashion was soon done away with and replaced with a stiffer, more artificial appearance. By the time James II ascended to the English throne this new style had become firmly established and was retained through the reign of William and Mary. General Characteristics df Costume for Men The costume for men in England, from about 1666 to 1690, was one of elegance and formality. The court gentleman always tried to stay in the height.of fashion and all other men, to the lowest servant, followed that fashion. The variations in class were marked by the types or richness of materials used and in the tailoring of the clothes. A gentleman's suit of clothes consisted of a hat, wig, cravat, shirt, vest, coat, breeches, hose and shoes. At this time almost every well-bred gentleman wore a wig. These wigs were full-bottomed and of natural colors and called a "periwig." Among the lower classes the long hair was most often their own and could be curled or left hanging straight. Atop the wig was worn a low-crowned, wide-brimmed hat. These hats could be turned up on one, two or three . sides, which brought in the very popular tricorn hat (For example, Figs. 1 and 3 at the end of the chapter). The edges of the brim of the hat could be trimmed in braid, metallic lace, or ostrich fringe. "Hats were 1 made of felt or beaver, and almost always black." The hat could either be carried tucked under the arm or worn in the usual manner. A cravat was worn about the neck. This was a long piece of lawn wrapped around the throat from front to back and folded one end over the other (Figs. 2, 4). The ends were very often edged with fine lace. Sometimes a very stiff black or red ribbon-bow was tied under the cravat and extended beyond the width of the face, framing it (Fig. 1). The coat was long, reaching to just above the knees, and slightly flaired with three-quarter length sleeves ending in a large turned-back cuff. The cuff was usually lined with the same material as the vest and often held in place by buttons. The coat, with its row of buttons and buttonholes down the front, could be left buttoned or unbuttoned and was 1. Lucy Barton, Historic Costume for the Stage (Boston, 1961), P. 273= triimned with fancy braid. Pockets on the coat moved from the hem to the waist and finally settled at a natural height. They were usually hori zontal and closed by buttons (Pigs. 1, 3). Buttons were used in profusion. On the shoulder of the coat a knot of ribbons was often added to enhance the beauty of the costume (Pig. 1). The vest was long, stopping just above the hem of the coat, and buttoned all the way down the front. It usually contrasted with the coat in color and material (Pigs. 1, 2, 3)« It could have a pocket in it if the wearer so desired. Under this was worn a fine linen shirt with long, full sleeves. The ends of the sleeves were finished with lace and some times knots of ribbons, another freely used item of trim (Pig. l). The lace from this era is among the finest in the world and was used for trim with great abandon. The breeches were full-bottomed and came to the knee where they were often finished with loops of ribbons (Pig. 1). During the early part of the period these breeches usually matched the color of the coat. How ever, later the breeches were nearly always black (Figs. 1, 2, 3). Prom the knee down the leg was covered with light colored hose. The shoes worn at this time had long, squared-off toes and high tongues. The tongues often had a cupid bow cut and were painted red on the back side. The heels could either be low or high or narrow or wide, depending bn the activity of the wearer. A wired, colored bow was often attached.at the instep (Pig. 1). The width of this bow was frequently so wide that walking was impeded. High boots were also worn (Pig. 2). Gapes were still worn as well as the new great coat or overcoat. This loose fitting overcoat, made similar to the doublet, came well below the kneeSo It had long sleeves with turned back cuffs. Braid with loops and buttons were used to close it (Fig. 2). Accessories used most often were lace-edged handkerchiefs, muffs strung on ribbon hanging about the neck or waist, swords, walking sticks, fancy gloves, and stocking purses made of silk. Of course one of the most important accessories carried by any truly well-bred gentleman was the snuff-box, the use of which became an art in itself. Matches on chains, rings, pins, brooches, and ”orders" (such as the HOrder of the Garter”) on wide ribbons were also worn. An amusing fad developed in the court was that of combing the hair in public and was followed hy men of all classes. Men, especially the dandies, took up the make-up practices of the ladies by painting their faces and wearing the small, black velvet dots of material called "patches", used by fashionable ladies to cover the facial soars left by the plague.^ Materials used to make these creations varied from velvets and brocades to broadcloths and cottons in numerous combinations. Strik ing effects were often achieved by the fearless combining of unsuitable colors. General Characteristics of Costume for Women The costume for English' women during this period followed that of the men in elegance and stiffness. The court lady set the fashion followed slavishly by all of her sex, both great and small. The vari ations in class were again marked by the materials used and fit of the gowns. A lady’s wardrobe was a rich and heavy one topped with a prim hair-do. 2. For more information see Neville Williams, Powder and Paint (London, 1957). 7 The hair style at this time was simple and flattering to most women. The hair was pulled up into a knot on the head, "The hair oyer the fore head was frizzed and c u r l e d , The headdress worn with this style was a series of stiffly starched or wired lace or lawn fans backed with a cap of the same materials. Side lappets often hung down the back of the wearer or were pinned to the top of the cap. Ribbons and ribbon loops were added to the back of this "tower", as it was often called. The entire affair tilted slightly forward (Fig, 4) • Variations on this style were worn by almost all women (Fig. 6). Caps and hoods of all kinds were also very popular (Fig, 5), The bodice of the gowns of this era were tight and stiff, a steel or whalebone corset encasing the wearer made this a necessity. The waists were usually pointed but could be rounded at the natural waistline (Figs. 4, 5), A variety of stomachers were used with the bodice, the type used was left to the discretion or activity of the wearer (Figs, 4? 5, 6). Many women wore underdresses with the bodice allowing it to show at the top or down the front. The sleeves of the bodice were quite often just the sleeves of the underdress showing (Fig. 5), The full sleeve was gathered or pleated into the dropped armhole (Figs. 4? 5). Necklines were high in the back and low and wide in the front with either a round or square cut (Figs. 4? 5). Little shoulder capes (F ig. 5) and scarfs were worn by women of all classes. The skirts were full and gathered at the top hanging in straight folds (Fig. 4). Over this skirt another was usually worn „ This skirt was split down 3. Fairfax Proudfit Walkup, Dressing the Part (New York, 1938), p. 201. 8 the front and draped back into a bustle effect held in place by ribbons, chains, brooches or just s e w in place (Figs. A, 5, 6). The overskirt usually contrasted in color and/or material with the underskirt and was frequently longer than the underskirt. The bodice and overskirt were usually of the same color and material. The length of these gowns, from floor to instep, depended on the activity of the wearer. Aprons were worn by all classes and were made of almost any material the wearer could afford (Fig, 6), silk and lace being the favorites of the wealthy. Gapes or great shawls were worn out-of-doors. Women’s shoes were high-heeled with pointed toes and looked much like the men's. Satin, brocade, and embroidered silk, .as well as leather, were used to make these shoes. Bows, buttons and buckles were an added elegant touch to the shoe. ■ Pearl chokers and drop pearl earrings were the favorite types of jewelry worn. Brooches were also worn. The most important single acces sory for a woman was her fan, the use of which became an art and language all its own. • Muffs, elbow-length gloves, handkerchiefs, masks and patches added to the grandeur of a lady. Materials used were much the same as those used by the men with the addition of all-over printed cottons (Fig. 5). The prints were styl ized flowers, stripes, and vertical arrangements of flowers (Figs. 4? 5, 6). Richness in material was the main point of the day. Gostume Designs The materials and colors used in the following designs were chosen because they most clearly represented those materials and colors used during the English Restoration. The writer believes when these costumes are seen on film they will convey to the audience the look and feel of the era being presented. A The Court Gentleman (Fig. l) is wearing a black suede cloth tri corne hat trimmed with ostrich fringe. He also wears a full-bottomed periwig. About his neck is a white cotton cravat trimmed with lace. A red velvet bow protrudes from under the cravat. His "shirt is white cot ton and full-sleeved. The ends of the sleeves are edged with lace and knots of blue ribbons. The vest is made of pink brocade with black but tons. The coat and breeches are made of deep wine velvet. The coat is trimmed with gold buttons and gold braid. The cuffs of the coat are lined with the same pink brocade of the vest. Ribbon loops trim the bot tom outside edge of the breeches. The hose are a pale pink. The shoes are black with red high heels, large tongues and red bows. He has a muff suspended on a blue ribbon about his neck. A sword protrudes from the vents in his coat and is suspended from the waist. The hilt of the sword is adorned with blue ribbons. In his pocket he carries a white silk, lace-edged handkerchief. The Country Gentleman (Fig. 2) wears a black suede cloth hat turned up on two sides and edged with ostrich fringe. The hair is his own and dressed in an attempt to copy the court styles. He wears a plain cotton cravat. His shirt is white cotton. The vest is a grey and bronze brocade with gold buttons. His great coat is made of a dark, chodolate brown velvet with black braid loops and black buttons. He wears black' suede cloth breeches, brown hose, and black boots. He carries a plain wooden walking stick. 10 The Country Servant (Fig. 3) has his hair long and it is his own. He wears a plain white cotton shirt and white cotton cravat. His coat is dark blue cotton with black buttons. The vest is made of green and blue coarse weave cotton with black buttons. The breeches are of black suede cloth. He wears white hose and black low-heeled shoes with long tongues. The Court Lady (Fig. 4) wears a gown of red velvet, with a gold taffeta1lining, split down the front and looped back exposing an under skirt of red and gold brocade. The overskirt is held in place with red velvet bows. The stomacher is made of the same red and gold brocade as the underskirt. The sleeves and ruffles are made of gold lace and trimmed with red velvet bows. The hair is frizzed and curled on the forehead with a foutage of gold lace and red velvet ribbons. The lap pets are of gold lace also. She wears a pearl choker and pearl drop earrings and carries a.fan. Her shoes are black with jeweled buckles. The Country Gentlewoman (Fig. 5) wears an orange cotton back suede cloth gown, lined with taffeta, split down the front and looped back exposing an underskirt of yellow, orange and brown printed cotton. The underskirt has a ruffle around the bottom of it. The bodice is trimmed with brown velvet ribbon. White cotton is used to make the sleeves, ruffles and hood. The shoulder cape is made of soft, pale yellow cotton and trimmed with white lace. She wears plain borwn shoes with gold buckles. The City Servant (Fig. 6) wears a turquoise-blue cotton dress split down the front and looped back to expose a nulti-colbred, striped underskirt. The sleeves, apron and stomacher are made of pale aqua cot ton. The bodice is laced with black and white braid. The apron is edged in white cotton lace. Fig. 1. English Restoration Court Gentleman Fig. 2. English Restoration Country Gentleman * * 1 f « • Fig. 3. English Restoration Servant to the Country Gentleman Fig. 4. English Restoration Court Lady Fig. 5. English Restoration Country Gentlewoman 0H6.PTER 3 COSTUME DESIGNS FOR SERIES II; LATE GOTHIC The Late Gothic period, about 1350 to 1450, was a period of ex treme opulence. In spite of the high cost of the wars raging between France and England, the courtiers of these two countries were wearing costumes of a lavishness never quite equalled in history. With the in fluence of the Orient and Middle-East came an awareness of color and design in materials that leaves one dazzled. The nobility were begin ning to lose some of the feudal power they had long held to a new and powerful middle-class. The ancient heritage of the nobility and the new found luxury of the middle-class caused a rivalry in costume be tween the two classes. At the head of this highly fashion conscious world was the House of Burgundy in France. This group of courtiers, feeding off the taxes paid by the French people, spread their gorgeous peacock feathers and strutted before the rest of the world. The abun dant use of velvets, furs, brocades and cloths of gold and silver be came such a problem that laws, known as Sumptuary Laws, were passed allowing only certain classes of people to wear the more expensive items of clothing.^ However, Many ways were found to bypass these laws. The main fashion features were those of long slim lines from the top of a lady’s headdress to the tip of a lord’s shoes and materials rich in color and fabric. 1. Frank Alvah Parsons, The Psychology of Dress (New York, 1921), pp. 31 and 87. 17 18 General Characteristics of Costume for Men . The late Gothic fashions reached their peak about 144-0 to 14-50„ The court gentleman was the leader in fashion and was followed by all men who could afford to follow the trend. As always the lower class costume was a practical and serviceable version of the court style, A gentle man’s suit of clothes consisted of a hat, chemise, undergarment (short), over-gown (long or short), hose and shoes, ' A gentleman’s hair was cut to about ear level with straight bangs over the forehead (see Figs. 7 and 8 at the end of the chapter). The lower classes wore their hair cut in a crude imitation of the courtiers. Beards were seldomc worn except by the working people. A wide variety of hats were worn, but the most popular were the chaperon and roundlet. The chaperon was formerly a hood with a cape and a long tail, called a liri- pipe, extending from the hood. The face opening of this hood was placed on the head so that it became the head band. This allowed the cape part to fall down one side of the head and the liripipe on the other side (Fig. 8). The liripipe grew longer, as much as six feet, and accordingly it could be draped in a Variety of ways to suit the wearer. Sometimes the head opening was turned or rolled up to give an added flair (Fig. 8). Men soon tired of draping the chaperon each time it was worn so the rolled head opening was fixed over a padded ring. The cape part was then draped and sewn in place and the liripipe was left to be arranged at the whim of the wearer (Fig. 7). A brooch was often attached to the roundlet over the wearer’s right or left eye, but was never centered (Fig. 7). The dhaperon and roundlet could be made of almost any rich material and could either match or contrast with the gown being worn. The chemise was a long sleeved, round necked, white linen gar ment worn next to the body. Over the chemise an under-garment was worn. This garment had a high neck, long tight sleeves and.could vary in length from waist to knee. It was usually made of rich material and con trasted with the over-gown (Figs. 7, 8)„ The full over-gown could either be long or short and open down the front or slip over the head and was called a houppelande(Figs„ 7, 8)„ If the houppelande slipped over the head the collar was high in the back and tapered down and around to the front exposing the throat (Fig. 7). If it opened down the front and was closed at the waist the neckline was folded back with the collar turned down thus forming lapels (Fig. 8). The bottom of the houppelande could be slit up the front and back and/or both sides for ease in walking and riding. The sleeves could be a bagpipe type, long and full and gathered in at the wrist (Fig. 8), or the more popular bell-shape. This sleeve was neatly fitted at the armhole but grew progressively larger with its greatest width at the wrist (Fig. 7). It was then lined with some ma terial either matching or contrasting with the houppeland. These sleeves often became so wide and long that they dragged on the floor. Another most outstanding feature of these sleeves, and of this period, was that of "dagging" the edges. This was a series of petal shapes, squares, points or scallops at the bottom of the hem, sleeves, and chaperone (Fig.7). The houppelande could be made of almost any heavy rich material and was usually trimmed in fur or a contrasting material (Figs. 7, 8). It was pulled in at the waist' by a belt of plain leather or gold squares linked together and bejeweled, according to the wealth and preference of the wearer (Figs. 20 The legs were covered with hose that went all the way up to the waist. The color could either match or be in contrast with the over-gown,, Sometimes they were "parti-colored", that is, each leg of a different color. Shoes had a natural shape with a slightly elongated pointed toe. They were high and laced outside (Tigs. 7, 8, 9) or fastened with buttons or buckles O on top of the foot and had a single or double leather sole. • These shoes could be made of leather, velvety of any heavy cloth. The hose worn could also have the shoe built into it with a thick sole so the hose wouldn't wear out. Accessories used were rings, brooches, jewel encrusted necklaces and belts, chivalric order necklaces (such as Order of the Golden Fleece and badges of honor), daggers, gloves, and little envelope shaped purses Figs. 7, 8). Materials used were velvet, tapestry, satin, taffeta, soft wool, brocade and fur. Fur was used freely. The popular materials were pat terned with stylized flowers, geometric figures, animals and fruits. These motifs were stamped, cut, brocaded, or embroidered on the materials. Many patterns were further embellished with precious and semi-precious jewels. Color combinations were striking and brilliant, Jewel-like hues were especially favored but the earth colors, sush as dull browns and greens and greys, were also popular. This was a time of many long costly wars> Any good costume book furnishes us with detailed information concerning plate armour worn by the nobility, but knowledge of the protective clothing of the common soldier,j 2. Francois Boucher, 20,000 Years of Fashion (New York, 1965), p. 198. 21 is limited. We do know he wore a chain mail hood either attached to a metal helmet or worn separately. In addition he wore two pieces of met al attached to the helmet to protect the cheeks, chin and throat (Fig.. 9)»3 The body was covered with a knee length, long sleeved, padded leather tunic. The legs were covered with either wrappings of firm flex ible cloth or loose fitting woolen hose. The feet were covered with leather shoes much like those of the upper classes but without the elong ated toe (Fig. 9). His armament consisted of one or more of the follow ing; a sword, pike, spear, bow and arrows or cross-bow. Most common soldiers, due to the lack of equipment, picked up bits and pieces of ma terial on the battlefield and therefore did not present a standard appearance.^ General Characteristics of Costume for Women The world of the Late Gothic court lady was one of pomp and vanity. The headdresses of this time were not to be equalled again until the time of Marie Antoinette. Of course, all other women follow ed the styles set by the court ladies. The peasant class followed the styles in their own humble and practical ways. My lady of fashion’s wardrobe consisted of a large headdress, chemise, long under-dress, very long over-dress, hose and shoes. The headdresses worn by the ladies of this period dictated the way the hair was worn. A high forehead was considered a great mark of beauty. Therefore, the head was shaved or plucked so that no hair could be seen peeking from under the headdress. Eyebrows were plucked to a 3. Charles Henry Ashdown, British and Foreign Arms and Armour (London, 1909), pp. 166-213. 4. A. V. B. Norman and Don Pottinger, A History of War and Weapons. 449 to 1660 (lew York, 1966), pp. 108-144. 22 fine, barely visible line and sometimes removed altogether* What hair was left on the head was' pulled up into a knot under the headdress. The headdresses worn were very exaggerated, There were so many variations that only three will be discussed in detail here„^ The most popular headdress of the court ladies was the hennin or steeple style, headdress. This headdress was made of stiffened fabric covered with rich material and then draped with a circular veil. The whole affair was worn at a tilted angle of about forty-five degrees. The hennin had a small vel vet covered wire loop on the front to help keep it on (Tig, 10), A headdress in general use among women of the middle-class was the so- called "horned" headdress (Fig, 11). This headdress was made of two pieces of stiffened linen. One piece of linen was used to form a pair of "horns", one horn on each side of the head, and then pinned in place. The other piece of linen was intricately draped and pinned to emphasize these two horns.& The hair of the lady was dressed in such a fashion as to support the amazing creation. A wimple, which was a simple drapery surrounding the face and falling over the neck and chest, was often worn with this headdress (Fig, 11). Hoods, made of black cloth and lined with a contrasting colored material, were worn by the lower classes (Fig. 12). When a lady got dressed she wore many layers of clothes. First she put on a chemise. This was a long sleeved, floor length under-gar ment of soft linen. Over this a floor length under-gown with long tight sleeves was worn. .(It must be remembered that during this period a lady’s bare arm was considered indecent.) The under-gown could be made of any 5. For more information see R. Turner Wilcox, The Mode in Hats and Headdress (New York, 1959), pp. 49-64= 6. Herbert Norris, Oostume and Fashion, II (London, 1927), pp. AA2—A4-4'o 23 rich material to contrast with or complement or match the over-gown. The over-gown was very long, often so long in front it had to be held up for walking, and had a train. It had a high waistline frequently accentuated by a jeweled belt (Figs. 10, 11), The skirt fell in ample folds from this waistline and was often trimmed at the hem by fur or some other rich material. The bodice was smooth fitting with the neck line out to a deep V meeting, the waistline. A triangular piece of the under-gown was visible and covered the exposed area where the neckline met the waist. The neckline was then edged with a shawl-eollar of fur, satin or some contrasting material (Tig. 10), split up the arm and left hanging (Fig, 11), or bagpipe type. If the sleeve was very full and the inside of it showed it was often lined and/or edged with fur or satin or any rich material. The dagged edges were very seldom used by women but seemed to have been a purely masculine costume trend. The over-gown was made of costly materials, such as velvet, brocade, satin. The lower class women wore dresses in much the same style as those just described, but in much more practical versions and much less expensive materials. It is difficult to say exactly what types of hose and shoes the ladies wore because their legs and- feet were seldom seen beneath.their long dresses. We can only assume they wore hose and shoes much like those of the men. Accessories used were rings, jeweled belts, necklaces, purses and the pomander, The pomander was a hollow ball of metal filligree, hinged to allow the insertion of a sponge soaked with perfume. It was believed ; 7. Iris Brooke, English Costume of the Later Middle Ages (London, 1935). 24 This little perfumed ball eould protect one from the plague, but this writer is sure it was also used as a welcome relief from unpleasant daily odors„ Materials and colors were rich and brilliant, the same as those used by the men. Costume Designs All materials and colors for these designs were selected be cause they suggested the prevailing mode. The Court Gentleman (Fig. 7) is wearing a roundlet of dark char treuse chiffon velvet. The ends of the draped part of the roundlet are dagged in squares. A brooch is pinned to the padded ring over the gentle man’s right eye. His knee-length houppelande, made of aqua and green tapestry, slips over the head and has a jeweled belt at the waist. The sides of the skirt are slit to thigh level. The neck and hem are trimmed in brown fur. The sleeves are bell-shaped with the edges dagged in squares and lined in dark chartreuse chiffon velvet. The under-gown, high necked and long sleeves, is made of the chartreuse velvet already mentioned. He wears a necklace of gold and jewels with a pendent hanging from it. His hose are pale aqua and his shoes are of black leather. The Middle-Class gentleman (Fig. 8 ) wears a chaperon and a high necked under-gown of olive drab satin. The ankle-length, bagpipe sleeved houppelande is of bright blue suede cloth trimmed with maroon fleece. The houppelande is closed down the front and he wears a black leather belt from which hangs a soft brown purse. He wears his chain of office around his neck. His hose are dark green and his shoes are black leather. The Common Soldier (Fig. 9) wears a steel helmet with a chain Mail 25 hood and cheek guards. His padded brown leather tunis is knee-lengthe His hose are brown and loose fitting. The shoes are of black leather. He wears a sword attached to a black leather, metal studded belt. The Oourt Lady (Fig. 10) wears a hennin headdress of pale blue satin with a blue-grey chiffon veil. The wire frontlet of the hennin is covered with black velvet. Aqua and green tapestry is used for her under-gown and also for the lining of the bell-shaped sleeves. The over-gown is made of dark chartreuse chiffon velvet trimmed with brown fur. She wears a jeweled belt and her necklace is made of rubies, pearls and emeralds. The hose she wears are dark green and her shoes are black velvet. The Middle-Glass Gentlewoman (Fig. 1 1 ) wears a horned head dress of starched white cotton with a soft white cotton wimple. The under-gown and lining of her sleeves are made of olive drab satin. Gold brushed corduroy is used for the over-dress. It is belted and trimmed with maroon fleece. Her hose are dark green and her shoes are black leather. The Camp-Follower (Fig. 12) wears a hood of black suede cloth lined with cream colored cotton. Her rust-red fleece dress is fitted at her natural waistline and laced up the front with black cord. The cream colored chemise is revealed at the low and loosely laced neck line and also under the square dagged sleeve of the dress. She wears a cream colored cotton apron. A purse, with its bottom edge dagged in squares, hangs from the top right side of the apron. If she were to lift her over-skirt, a dark green underskirt would be revealed. Her woolen hose are bright red and her shoes are black leather. Hg. 7. Late Gothic Court Gentleman Fig. 8. Late Gothic Middle-Glass Msin Fig. 9. Late Gothic Soldier Fig. 10. Late Gothic Court Lady Fig. 11. Late Gothic Middle-Class Gentlewoman Fig. 12. Late Gothic Camp-Follower ' . 0E4.PTER 4- COSTUHE DESIGN'S FOR SERIES III: ELIZABETHAN This is an era in history, about 1550 to 1625? dominated by one magnetic personality, Elizabeth Tudor, Queen of England. Although Eliz abeth's reign didn't start until 1 5 5 8 and ended in 1 6 0 3 , her personality dominates those who preceded her (Edward VI, 154-7 to 1553? and Mary, 1553 to 1558). and the man who came after her (James I, 1603 to 1625). During the reign of Elizabeth I, England grew in power and prestige leaving Spain and France and the rest of Europe far behind. England, and this age? provided the world with some of its greatest writers: William Shakespeare, Christopher Marlow, Francis Bacon, and Ben Johson, to name a few. By this time the middle-classes had gained power and in fluence in public affairs. However? it was still the courtiers who set the style of dress worn by all who could afford it. The costumes of this time were rich and gaudy. Materials were sumptuous and freely em bellished with precious and semi-precious jewels. Fashion became more regional with each country adopting the prevailing styles to its own whims. Most countries followed England since she had become the major power. Accordingly, this chapter will be concerned mainly with English Costume. General Characteristics of Costume for Men . From about 1590 to 1600 costume for both men and women reached a peak of exaggeration. The fashion ideal for men was one of slenderness 32 r with long waists and long legs. A fashionable gentleman’s suit of clothes consisted of a hat, ruff, shirt, doublet, breeches, hose, and shoes. Gentlemen wore their hair short, much the way men wear their hair today,'and brushed back from the forehead with no part. Beards and mous taches were worn by men of all classes. These beards were small and trim med to one or two points (Figs. 13, 14)° There were always some men who wore neither beards nor moustaches (Fig. 15). A favorite hat of the time was one with a.high crown and narrow brim made of stiff felt or beaver. The hat was often worn at a jaunty angle with the brim turned up on one side and be-jeweled and be-feathered (Fig. 13). This hat could also be worn sitting straight on the head and over a coif (Fig. 14). A coif was a bonnet that fitted the head and tied under the chin covering the ears. Another popular hat was a beret-style, flat-topped cap with a narrow brim and adorned with ostrich plumes or jewels (Fig. 17). These hats could be made of velvet, felt, or beaver with the choice of color a matter for the wearer, though black was used most often. 'We now come to the most distinguishing feature of this period, the "ruff". A ruff was a pleated and starched collar made of cambric or lawn and sometimes edged with lace (Figs. 13, 14, 15, 17). They were usually white but could also be pale yellow, blue, or pink and tied in front. Some times these ruffs grew to such great proportions that an "underpropper" or "supertasso", a wire framework attached to the costume at the neck, was needed to support and hold the ruff at the admired angle.^ The ad mired angle for a ruff was low in front and high in back thus making a frame for the face. 1. Blanche Payne, History of Costume (New York, 1965), p. 284= % A gentleman’s body was covered first with a full sleeved shirt (Fig, 15) and then a doublet, A doublet was a jacket opening up the front, with a high neckband and shaped peplum or tabs (Figs, 13, 14-)« The waist was cut to a point in front. The doublet had tapering sleeves, full at the top, close fitting at the wrist (Figs. 13, 14)« The end of the sleeve could either have a turned back cuff of white linen, sometimes edged with white lace (Fig. 14), or a ruff similar to the neck ruff (Fig. 13). The doublet sleeves were often detachable, tied into the armhole with metal tipped laces called "points”. The shoulder seam was cohered with a "wing" (Fig. 13) or crescent-shaped roll (Fig. 17). Doublet and sleeves did not necessarily have to match in either color or material (Fig. 17). The doublet and its sleeves were padded and slashed (Figs. 13, 14? 17). Slash ings were horizontal, vertical or diagonal cuts in a garment with the under garment pulled and puffed through the slashes. These openings were then trimmed with fancy braid. Often slashes were faked, that is, puffs of fabric were appliqued to the uncut garment and trimmed with braid thus giving the illusion of slashing without really doing so. Often a short cape, usually hip length, was worn with the doublet (Fig. 13) or an ankle length robe with hanging sleeves might be worn by minor officials. (Fig* 14). Sometimes a short sleeved or unsleeved jerkin was worn with just the shirt by the lower classes (Fig. 15). Three types of breeches were worn by Elizabethan men, "pumpkin’s", "Venetian’s", and "slops". "Pumpkin" or round hose were trunks about the size and shape of two pumpkins (Fig. 13). They were padded to attain the round shape and varied in length from very short to just above the knee. Often these breeches were "pahed", that is, vertical strips of braid . 35 trimmed material were caught in at the top and bottom of the breeches leaving the under-breeches to show between the "panes." This effect was frequently enhanced by using two strikingly contrasting colors. The second type of breeches worn, "Venetian's," were long and fastened below or above the knee (Fig. 14). They were pear-shaped and varied in size. "Slops" were the third type of breeches worn (Fig. 15). These were very full, never padded, and bloused over the band above the knee. The type of breeches worn by an individual depended upon his occupation. The material used varied from satin to coarse wool. Legs were covered with hose, long or short depending upon the type of breeches worn (Figs. 13, 14? 15). These hose could be of any color and made of silk or wool according to the wealth and activity of the wearer. Sometimes the hose were patterned. Shoes were heelless and round toed, looking much like a modern bedroom slipper (Figs. 13 to 18). They could be made of leather, velvet, or satin and were frequent ly embroidered and jeweled. Accessories used were gloves (Often perfumed), handkerchiefs, rings (on one or more fingers), brooches, swords, daggers, earrings, bag-purses, and neck chains of all kinds. Materials were rich in color and fabric. Silk, satin, taffeta, metallic cloth and braid, velvet, and brocade were often embellished with pearls, rubies, emeralds, sapnhires. Buttons were another item freely used on costumes and were often artistic ally made. , General Characteristics of Costume for Women Women of this age were squeezed ip at the waist by corsets and exploded at the hips by wired farthingales. However they sparkled and 36 glittered like no other women in history, A lady’s wardrobe included a wig (sometimes), jewels, ruff, gown, more jewels, farthingale (wired or padded), hose and shoes, A lady’s hair was brushed back from the forehead and dressed . high and curled (Fig. 16). Wigs were used by many women, including Queen Elizabeth, in the most popular shades of blonde and red hair. After the hair was dressed it was adorned with jewels of all kinds, pearls being the most popular. Feathers were sometimes used in a very elaborate coiffure. . The hats worn by women followed the same lines as those already described for men (Fig, 17). Occasionally, among women of the lower class, a wimple and hood was still worn (Fig. 18)„ The hood has been altered slightly by the influence of the ”gable" head dress used in the reign of Henry 7111(1509-154-7).^ Women wore ruffs like those described under the section for men (Fig, 17). Sometimes the large ruff was left open at the neck to outline the low neckline of the dress (Fig, 16). Another structure of wire, gauze and jewels was occasionally worn at the back of the head and shoulders in three or four high loops (Fig. 16). Bodices were tight, flat across the chest, long-waisted, and dame to a point in front (Figs. 16, 17). A stomacher was sometimes added (Fig. 17). Necklines could be low and square (Fig. 16) or the open neckline could be filled in with a material different from the bodice (Fig, 17). The chemise or undergown was still worn but didn't show as often as it 2. For more information see Doreen Yarwood, English Costume (London, 1952), pp. 100-117. 37 had in earlier times. If the under-got-m was exposed it was because of the rolled up sleeve, the tucked up skirt or because lacings were used to close the front of the bodice (Fig. 18). This seemed to be a feature of the lower class woman's costume. Sleeves were the same as those al ready described for men. ¥rist-ruffs or turned-back cuffs were used at the ends of the.sleeves. We now come to that distinctive feature - of women's dress of this era, the farthingale. The farthingale would either be a padded roll (Fig. 17) or a cartwheel of wire with a shelf-like top (Fig. 16). Over the farthingale a huge instep-length skirt was worn. Sometimes the over-skirt was split up the front displaying an elaborate under-skirt (Fig. 17). The overall effect was that of huge hips, small waists, and brseti shoulders. Lower-class women always wore practical^ : versions of the court styles but without the awkward farthingale (Fig. 18). Silk hose were worn by the wealthy ladies while the lower-elasses wore woolen hose. Shoes were like those of the men and made of velvet, brocade, and leather (Figs. 16, 17, 18)„ Accessories used were fans, jeweled necklaces, ropes of pearls, rings, brooches, earrings, pomanders, gloves, and buttons. Materials were the, same as those used by the men and already described. Costume Designs The materials used for the costume designs of this period were picked because they present to the viewer the lavish use of color, fabric, and jewels of the Elizabethans, The Court Gentleman (Fig. 13) wears a black velvet hat adorned with plumes and jewels. His neck and wrist ruffs are made of sheer white 38 undercurrent„ The bright blue suede cloth doublet is quilted with pearls sewn at each of the quilted crossings. The sleeves are slashed and the puffs are emerald green satin. The pumpkin breeches are made of emerald green satin with panes of quilted and pearl encrusted bright blue suede cloth. The cape is made of bright blue suede cloth lined in emerald green satin. The doublet, slashings, panes, and cape are all trimmed with gold braid. He wears a red satin ribbon around his neck with a medallion hang ing from it. He also wears rings on both hands. His hose are bright aqua and his shoes are black leather with red satin ribbon rosettes. The Middle-Glass Gentleman (Fig. 14) wears a deep red velvet hat trimmed with feathers, a brooch and gold braid. Under his hat he wears a black velvet coif. The neck ruff is made of white undercurrent and the lace-edged turned-back cuffs of white cotton. The doublet and Venetians are of dark chartreuse satin with light green brocade puffs showing through the slashings at the top of the sleeves. The doublet is closed by a row of gold buttons down the front and trimmed in gold braid. The over-gown is made of deep red velvet and lined with lavendar satin. He wears a chain with a medallion and carries a handkerchief and walking stick. His hose are pale lavendar and his shoes are of black leather. The Lower-Class Man (Fig. 15) wears a white undercurrent ruff. His full sleeved shirt is made of grey-green cotton and buttons down the front. The jerkin is of burnt orange suede cloth. His camel colored, slops are made of brushed cotton cordurory. The apron is unbleached mus lin. .He wears dark brown hose and black leather shoes. The Court Lady (Fig. 16) wears a wire, four looped, gauze covered and jeweled encrusted ruff on her shoulders. Her open necked ruff is made 39 of gold lace. Her hair is dressed with pearls and jewels. She wears a jeweled necklace, pear-shaped pearl earrings, and two long ropes of pearls. She has rings on her fingers. The sleeves of the gown have white satin t'orned-hack cuffs edged with gold lace. The entire gown is made of gold and white brocade encrusted with topaz and aqua stones.. A cartwheel farth ingale supports the skirt. A series of very large jeweled buttons are used, all the way down the front of the gown to the hem. She carries a feather fan. Her hose are white and her shoes are be-jeweled gold velvet. The Middle-Glass Lady (Fig. 17) wears a gold satin hat trimmed with feathers. Her neck and wrist ruffs are made of white undercurrent. Her over-dress is rust-red suede cloth trimmed with brown braid. The under-dress and stomacher are chartreuse and rust-red brocade. The sleeves are made of gold satin with rust-red taffeta puffs in the slashes, trim med with brown braid. The shoulder rolls are of gold satin and brown braid. The neckline is filled in with cream colored chiffon. The farth ingale used is the padded roll type. Hose are very pale chartreuse and the shoes are black velvet. The Lower-Class Woman (Fig. 18) wears a dark brown brushed cotton hood lined with unbleached muslin. Her wimple is of white cotton. The avocado green over-dress is made of monks cloth, as is the beige apron. The under-dress is bright orange fleece. Her hose are red and her shoes are black leather. 40 Fig. 13. Elizabethan Court Gentleman 42 H i Fig. 15. Elizabethan Lower-Class Man Fig. 16. Elizabethan Court Lady Fig. 17. Elizabethan Middle-Class Gentlewoman Fig. IS. Elizabethan Lower-Class Woman CH&PTEE 5 THE PURPOSE OF THE SERIES OF FILMS' The purpose of thip thesis and the proposed series of films is to fill a neglected area of information on modes and manners as they relate to acting and directing techniques in the production of period plays. Hhile many books are available on manners, customs and costumes, Miss Corner has found only two books devoted to the acting and directing problems involved,-*- a few articles, and other widely- scattered sources. It would appear, after extensive inquiry among film distributors by Miss Comer, that no adequate visual aids are available, at present, which meet the particular needs of acting and directing classes. Actors, directors, and costumers on the educa tional, community and professional levels are in need of such valu able assistance. This series of films should make available the assistance they need in producing period plays. The lecture-demon-■ ' stration format of the films will be easy to follow and the films will be available to anyone who desires to rent them from the Univer sity of Arizona. It has been a pleasure to have participated in this first demonstration of a new teaching tool in the training of actors, directors and costume designers. It is hoped that many more of these films will be made covering as many historical periods as possible. 1. These books are; Joan Wildeblood and Peter Brinson, The Polite World (London, 1965)5 and Lyn Gxenford, Playing Period Plays London, 1958). . APPENDIX A PICTURES OF COSTUMES The following pages contain pictures of the completed costumes worn in the film on modes and manners of Restoration Comedy.. . The cos tumes are modeled by the people who wore them in the film. 47 Gentleman Engl1^. hitler') fig. k (Mernon Fig. A-2. English Restoration Country Gentleman (Robin Lee) Fig. A-3. English Restoration Servant to the Country Gentleman (Bill Damron, Jr.) 51 Fig. A-A. English Restoration Court Lady (Pamela Dudley) Fig. A-5. English Restoration Country Gentlewoman (Claudia Beets) 53 Fig. A-6 . English Restoration Servant to the Court Lady (Polly Ktkkelson) A SELECTED BIBLIOGRAPHY Ashdown, Charles Henry. British and Foreign Arms and Armour. London, 1909. Barton, Lucy. Historic Costume for the Stage. Boston, 1961. Boehn, Max von. Modes and Manners. Vol II: The Sixteenth Century. Trans. Joan Joshua. London, 1932. _____ . Modes and Manners. Vol.. Ills. The Seventeenth Century. Trans. Joan Joshua. London, 1935. Boucher, Francois. 20.000 Years of Fashion. Hew York, 1965. Brooke, Iris. English Costume in the Age of Elizabeth. London, 1933. . English Costume, of the Later Middle Ages. London, 1935. Brooke, Iris and James Laver. English Costume from the Fourteenth Through the Nineteenth Century. Hew York, 1937. Calthrop, Dion Clayton. English Costume. Vol. II: Middle Ages. London, 1906. . English Costume. Vol. IV: Georgian. London, 1906. Contini, Mila. Fashion. Hew York, 1965. •Davenport, Mill a. The Book of Costume. Hew York, 194-8. Doten, Hazel R. and Constance Boulard. r -Costume Drawing. Hew York, 1956. Evans, Joan. Dress in Medieval France. Oxford, 1952. Hansen, Henny Harald. Costumes and Styles. . Hew York, 1956 Kelly, Francis and Randolph Schwabe. Historic Costume. Hew York, 1925. Laver, James. Costume. Hew York, 1963. . Costume Through the Ages. Hew York, 1963. Linthicum, M. Channing. Costume in the Drama of Shakespeare and his Contemporaries. Oxford, 1936. 54 55 Norman, A, V. B. and Don Pottinger. A History of War and Weapons, AZ-9 to I6 6 O0 New York, 1966, Norris, Herbert, Costume and Fashions Vol. II, Senlae. to Bosworth (1066 to U 3 5 ) . ' New York, 1927. o Costume and Fashion, Vol. Ill, Book II; The Tudors (15A7 to 1603). New York, 1938. Grlandi, Dr. Enzo, ed. The Life and Times of. Elizabeth I. Trans. C. J. Richards. London, 1967. Oxenford, Lyn. Playing Period Plays. (London, 1958). Parsons, Frank Alvah. The Psychology of Dress. New York, 1921. Payne, Blanche. History of Costume. New York, 1965. Reynolds, Graham. Elizabethan and Jacobean, 1558 tol625. London, 1951. Walkup, Fairfax Proudfit. Dressing the Part. New York, 1938. Wilcox, R. Turner. The Mode in Costume. New York, 1958. - . The Mode in Hats and Headdress. New York, 1959. . Five Centuries of American Costume. New York, 1963. Wildeblood, Joan and Peter Brinson. The Polite World. (London, 1965). Willett, G. and Phillis Cunnington. Handbook of English Costume in the Seventeenth Century. London, 1955. Williams, Neville. Powder and Paint. London, 1957. Yarwood, Doreen. English Costume From the Second Century B . C. to 1952. London, 1952.