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Costumes and Styles the Evolution of Fashion from Early Egypt to the Present

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Costumes and Styles the Evolution of Fashion from Early Egypt to the Present HftRIN COUNTY FREE LIBRARY ><4 lllllillllilllllllillllllilllllllliilllllllillill ^ 31111Q01864Q06 W <^\ é COSTUMES AND STYLES THE EVOLUTION OF FASHION FROM EARLY EGYPT TO THE PRESENT . WITH 700 INDIVIDUAL FIGURES IN FULL COLOUR BY HENNY HARALD HANSEN . 8 5^05 COSTl ^- S AND STYLES T 'Jii of Fashion from ' : ,pf to the Present, with 700 "..lal Figures in Full Colour. BY HEKNY HARALD HANSEN 'T-'His magnificent story of fasliion, in -*- pictures and text, is the most up-to- date available today. Rich and rewarding in colour and design, COSTUMES AND STYLES shows the clothes of the different periods as they were worn. It is an art gal- lery of the fashion world, at once essential to the trade and fascinating to the style con- scious. These hundreds of illustrations in full and accurate colour, plus the illumina- ting text, tell the complete story of the evo- lution of fashion. They clarify the simi- larities within a period and the marked differences between style eras, and, in many cases, show the reasons for these differences. This is an invaluable reference book for anyone needing accurate information on costume — whether it be in clothes, paint- ing, advertising, the theatre, or any other creative field — from the simple garments of Egypt, through the magnificent draping of the Middle Ages, the baroque extremes of the 17tb-'^ ntury, the Victorian distor- tions, th;" - .' waists of the/« de siede., u , on Flap 11) ^«i,?=:xn,,?v*=:xri<r5xpn)<ri<r:^^ HENNY HARALD HANSEN 685 examples of Historie Costume in color E. P. DUTTON & CO., INC. PUBLISHERS NEW YORK Texi copjrigir 1956 by E. P. Dutton & Co., Inc. 'Library of Congress Catalog Card No. §6-6296 8&805 4 CONTENTS Colour- plates Text Introduction 5 Egypt, c. 3000-500 B.C. 9 105 Egypt's neighbours, r. 1900-1400 b.c. 12 107 The Aegean, c. 2000-1 100 b.c. 15 107 Scandinavia, c. 1 500-1200 B.C. — 109 Greece, c. 700-150 b.c. 14 no Italy: The Etruscans, c. 1000-300 b.c. 20 113 Rome, c. 700 b.c.-a.d. 476 22 114 Byzantium, c\ 300-1450 24 116 The Middle Ages: Romanesque Period, c. 800-1200 30 118 The Gothic Middle Ages, c. 1 200-1480 34 120 The Renaissance: 1480-1620 44 124 Baroque, c. 1620-1715 58 130 French Regency, c. 171 5-1730 66 135 Rococo, c. 1730-1770 68 136 Louis ir. XVI, 1770-179 5 72- 138 Directoire, r. 1 795-1 804 76 141 Empire, c. 1 804-1 820 78 143 The Nineteenth Century, c. 1 820-1900 82 144 The Twentieth Century, 1900-195 97 151 List of Sources 7 List of Books on Costume 155 Index 157 INTRODUCTION the jacket of this book are On two rows of have always tried to conform in appearance with figures. The upper row shows the people of the great period styles of their day. In other words, the Middle Ages, with their swaying, stylized pos- we are here concerned with the history of fashion. tures. Men and women are dressed almost iden- A fashion is always created by the upper classes tically in long, loose garments. The colours are and not by the man in the street, just as a style is dull greens, browns and blues. always created by a country which has achieved a The figures in the lower row represent the certain pre-eminence. In Europe the centres of period of the French Revolution. The women's fashion have moved from country to country, hair is powdered, they are tightly corseted, and following any new concentration of political and they wear long skirts and large hats; the men are economic power. slim and are clad in closely fitting breeches and Europe cannot, however, be considered in iso- buttoned coats. Here the colours are light and lation. The civilizations of antiquity developed clear, with contrasting notes of black and white. round the Mediterranean, and as in those days it There is a great similarity between the figures in was usually much easier to travel by sea than by the same row, and a great dissimilarity between land, there was a mingling of cultures, an exchange the two rows. of influences. It would therefore be too much of a Why are the lines and colours of people's cloth- simplification to begin with the costumes of ing so similar in any given period, and what makes Greece and Rome. To understand the develop- fashion change so that costumes of different ment of European costume, we must examine the periods are so unlike each other? The answer lies costume of ancient Egypt, and we must also know in what is called period style, which finds expres- something of the costume of Crete, Asia Minor and sion in the whole mode of life of an era, and is Syria. All these countries reached a high level of particularly apparent in its art and architecture. civihzation earlier than Europe; their style of dress Since period style influences furniture, painting, influenced Greece and Rome and hence became sculpture and all the inanimate objects which sur- the basis of European costume. round it is us, natural that people should try to Contemporary fashion designers are often given adapt their appearance to their environment, and the credit for creating a new mode, although this is they do so through the clothes they wear. not strictly true. For fashion is never initiated by The builders of the towering cathedrals of the the designers. It is a manifestation of the prevailing Middle Ages had such feeling for vertical lines period style which, although sometimes difficult that they extended their dress by means of tall to define, influences costume as well as most other head-dresses and sharply pointed shoes. products of human skill. The style of a period has In the Renaissance houses and furniture were a life of its own, and therefore its own life cycle. square and solid, and both men and women wore It is born, develops to maturity, and, when its ample garments to harmonize with the rooms in possibilities are exhausted, declines, to be suc- which they lived. ceeded by something young, vigorous and new. In the nineteenth century, when furniture was The particular talent of fashion designers lies in heavily upholstered and the architectural frame- their sensitivity to what is characteristic of the work of rooms was smothered in thickly draped style of their age. They notice variations of taste curtains and portieres, women's clothes became so the moment they appear, keep their fingers on the voluminous that it was difficult to discern the out- pulse of the period, and express themselves in line of the human form underneath. There are their own medium—dress. many other examples illustrating this principle. A cavalcade of costume must show costumes as This book attempts to show how from the ear- they were worn by contemporaries, for alone they liest times up to the present the leaders of a society are empty husks. The arrangement of clothing INTRODUCTION paintings, cos- only in works of art (Egyptian tomb implies a certain mental outlook which, in the Greek vases, illuminated manuscripts of the tumes of the past, can only be conveyed by show- Middle Ages, Renaissance paintings, etc.). were worn and how they were re- ing how they taken has The illustrations of this book have been by their wearers. This is a point which garded are not of from all these different sources. They been borne carefully in mind in the planning copies of the originals, but they are freely adapted this book. from them. Thus, while they exemplify the various Costumes and Styles contains nearly 700 illus- they are not There are types of costume in different periods, trations in colour spread over 96 pages. considered as art reproductions. to a page, and each page to be about eight illustrations notes list of illustrations on page gives been planned as a whole. The 7 has, as far as possible, of on the originals and, where possible, the names illustrations are based on contemporary All the is the artists. This will enable the reader who designs. himself when interested to find further illustrations for to the end of the eighteenth century, Up knowledge of the costume journals began which may widen his first fashion plates and then fashion can be found of a particular period. to appear, illustrations of costume Henny Harald Hansen SOURCES USED FOR THE ILLUSTRATIONS The drawings of the figures in this book have been based on the following works by anonymous or known artists. (Dates are given in the captions to each figure.) 1-30: Egyptian wall paintings 218: Jan van Eyck 31-36: Cretan-Mycenaean wall paintings 219-220: Jaime Huguet 37: Cretan statuette 221-222: Hans Memling 38-73: Greek vase paintings 223-232: Miniatures from illuminated manu- 74-87: Etruscan wall paintings script 88: Pre-Roman wall paintings 233: Paolo Uccello 89-91: Wall paintings in Pompeii 234-235: Fra Angelico 92: Etruscan-Roman statue 236: Masaccio 93: Roman statue 237: Pisanello 94: Roman figure in relief 238-239: Masolino or Masaccio 95: Roman statue 240: Piero della Francesca 96-99: Wall paintings in Pompeii 241: Antonio del Pollaiuolo loo-ioi: Mosaics, Ravenna 242-243: Piero della Francesca 102: Mosaic, Rome 244: Domenico Veneziano 103-114: Mosaics, Ravenna 245-252: Piero della Francesca 1 5-1 Mosaics, 1 17: Rome 253: Paolo Uccello 118: Wall picture, Rome 254: Unknown Florentine artist 119: Miniature from illuminated manu- 255-260: Domenico Ghirlandaio script 261-268: Vittore Carpaccio 120: Wall paintings, Rome 269: Sandro Botticelli 121-124: Illuminated miniatures 270-276: Bernardino Pintoricchio 125-126: Wall paintings, Rome 277-285: Tapestries 127: Mosaic, Palermo 286-287: Miniatures from illuminated manu- 128-129: Mosaic, Venice script 130-131: Mosaic, Palermo 288-292: Tapestries Russian 132-159: icons 293-294: Miniatures from illuminated manu^ 140-150: Miniatures from illuminated manu- script script 295-296: Albrecht Dvirer Embroidery 151-154: 297-299: Miniatures from illuminated manu- 155-163: Miniatures from ill.
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