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A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. -
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. -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar
Early Modern Women: An Interdisciplinary Journal 2011, vol. 6 Before the Odalisque: Renaissance Representations of Elite Ottoman Women Heather Madar he much-mythologized harem of the Ottoman sultans occupied a Tcentral place in European Orientalist thought for centuries.1 The harem, presented as an exotic world of forbidden sexuality inhabited by compliant yet sexually voracious women, appears in literature, art, and travel writing. While the most famous expressions of this harem fixa- tion date from later centuries,2 a focus on the harem as libidinous zone is demonstrably present in written sources from the sixteenth century. Yet an exploration of sixteenth-century European images turns up a surprising dearth of imagery in this vein. While Renaissance art lacks the languid odalisques or detailed views of the physical environment of the sultan’s harem familiar from later works, a series of largely overlooked representa- tions of elite Ottoman women do exist. Dating from the mid-sixteenth century, these images feature imagined portraits of sultanas — elite women such as Ottoman princesses, the sultan’s mother (valide sultan), or the sul- tan’s preferred concubine (haseki).3 Hurrem, the wife of sultan Süleyman, and his daughter Mihrimah appear most frequently in this genre. Yet strik- ing differences are immediately evident between their depiction and later, more familiar, views of the harem and harem women. The women shown in the Renaissance tradition were members of the sultan’s harem, yet they are not shown within a harem setting, nor do the images make reference to it. Although they are visually marked as Other, largely through the atten- tion given to their exotic dress, they are also presented as women who are of interest as individuals, possessing status and political significance. -
Introduction to Costume
Introduction to Costume ~Checklists and Outlines~ Instructor: Lauren Lowell www.lowelldesigns.com How do we categorize “Dress” (Define the following:) TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS Ancient Egypt 4000-30BC TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: MORDANT ATEF CROWN GIRDLE RED WICKER CROWN KOHL PSCHENT CROWN MALACHITE NEMES HEADDRESS HORUS NEFERTITI FILLET HATSHEPSUT PHARAOH WIDE NECKLACE URAEUS VULTURE PECTORALS LOCK OF HORUS POSTICHE Ancient Egypt Ancient Greece 800BC-146BC TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: AEGEANS MINOAN MYCENAEAN CHITON FRESCOS GIRDLED FIBULA/FIBULAE OVERFOLD HIMATION CHLAMYS Ancient Greek Ancient Rome 500BC-476AD TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: TUNICA CLAVUS/CLAVI TOGA PALLA STOLA Ancient Rome Dark Ages & Early Middle Ages (AKA Byzantine/Dark Ages/Romanesque) Fall of Roman Empire-12th Centuries TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: TUNIC BIFURCATED GARMENT CHEMISE BRAIES HOSE GARTERS LEG BANDAGES CHAPERONE Early Medieval (10-12th Centuries) Gothic Period 13-15th Centuries TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY BOURGEOISIE SUMPTUARY LAWS DAGGING PARTICOLOR HERALDRY BUTTONS PIKED SHOES DOUBLET/POURPOINT HOUPPELANDE CODPIECE “WINDOWS -
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. -
The Narrative of Victorian Lady Novelists
International Journal of Social Science and Humanity, Vol. 1, No. 1, May 2011 Patterns of Gendered Constructions of the Self - the Narrative of Victorian Lady Novelists Simona Catrinel Avarvarei poison of illusion and seduction.’ [1]. Abstract—In stories of initiation, any hero has to go through Jung considered Anima to be the archetypal feminine a series of trials that will constantly reshape and broaden his symbolism within a man’s unconscious, whereas the horizons by pouring the light of knowledge and experience archetypal masculine symbolism within a woman’s accomplishing him as a human being, who ultimately reaches unconscious is known as Animus. ‘The whole nature of man the epiphantic moment of self-discovery. By the end of the journey, the protagonist would have descended deep into the presupposes woman, both physically and spiritually. His very core of his being, and would have also travelled the world system is tuned into woman from the start, just as it is of shadows and lights, of noesis and eikasia. Such is the journey prepared for a quite definite world where there is water, light, of women during the Victorian time, in their search for self air, salt, carbohydrates etc.’ [2]. assertion, in their quest for the true light of the sun that would It is precisely the same idea of escape, though this time no longer distort the shape and perception of things. associated with the image of women, that voices Victorian Index Terms—self, otherness, identity, womanhood, women’s taste for beyondness. Women can no longer Victorianism swallow their words and let men’s words express themselves and their dreams. -
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. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
On the Roman Frontier1
Rome and the Worlds Beyond Its Frontiers Impact of Empire Roman Empire, c. 200 B.C.–A.D. 476 Edited by Olivier Hekster (Radboud University, Nijmegen, The Netherlands) Editorial Board Lukas de Blois Angelos Chaniotis Ségolène Demougin Olivier Hekster Gerda de Kleijn Luuk de Ligt Elio Lo Cascio Michael Peachin John Rich Christian Witschel VOLUME 21 The titles published in this series are listed at brill.com/imem Rome and the Worlds Beyond Its Frontiers Edited by Daniëlle Slootjes and Michael Peachin LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2016036673 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 1572-0500 isbn 978-90-04-32561-6 (hardback) isbn 978-90-04-32675-0 (e-book) Copyright 2016 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
Current Research on Roman Dress
CHAPTER 1 Current Research on Roman Dress Clothing and Personal Adornment for this absence should be considered: as a large, all enveloping expanse of un-seamed cloth, the toga was The Toga ideal to be used as a shroud during a time when crema- The toga, probably the most well-known item of Roman tion was the norm.7 It could also very easily have been clothing, is a rounded woollen garment adapted from made into something else; certainly there is consider- the semi-circular Etruscan mantle.1 Literary and art able evidence for the recycling of textiles, as I discuss in historical evidence describes and depicts the toga as later chapters. Furthermore, the majority of extant gar- an expensive and cumbersome garment made from a ments come from a later period when inhumation was voluminous amount of cloth, which was draped across more common, by which time a narrow-sleeved tunic the body in a complicated manner. It was not fastened and cloak was the more usual ensemble of the Roman with a brooch, and so had to be held in place by the official.8 Togas were still worn during this period, but wearer, a clear indication of both his wealth and status were increasingly reserved for ceremonial or official as a member of the ‘leisure class’.2 The many depictions occasions.9 These later togas appear often to have been of togate figures from the Roman period attest to the made with patterned tapestry fabric, fragments of which symbolic importance of this ‘national’ garment, with exist in the archaeological record, but may not be recog- variations in the method of drapery sometimes used to nised for what they are.10 identify specific roles or achievements, both public and private.3 There are references to prostitutes and/or adul- Mantles and Cloaks teresses having to wear a toga as a symbol of their rejec- Like the toga, the Roman mantle was a large cloth that tion of the moral code it represented, however there is was draped across the body; considerably smaller and no evidence that they were legally compelled to do so, straight edged, it was easier both to make and to handle. -
DOMESTIC ARCHITECTURE AS RHETORICAL DEVICE: the GYNAECONITIS in GREEK and ROMAN THOUGHT KELLY I. MCARDLE a Thesis Submitted to T
DOMESTIC ARCHITECTURE AS RHETORICAL DEVICE: THE GYNAECONITIS IN GREEK AND ROMAN THOUGHT KELLY I. MCARDLE A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2018 Approved by: Hérica Valladares Alexander Duncan James O’Hara © 2018 Kelly I. McArdle ALL RIGHTS RESERVED ii ABSTRACT Kelly I. McArdle: Domestic architecture as rhetorical device: The gynaeconitis in Greek and Roman thought (Under the direction of Hérica Valladares) In this thesis, I explore the gap between persistent literary reference to the gynaeconitis, or “women’s quarters,” and its elusive presence in the archaeological record, seeking to understand why it survived as a conceptual space in Roman literature several centuries after it supposedly existed as a physical space in fifth and fourth-century Greek homes. I begin my study by considering the origins of the gynaeconitis as a literary motif and contemplating what classical Greek texts reveal about this space. Reflecting on this information in light of the remains of Greek homes, I then look to Roman primary source material to consider why the gynaeconitis took up a strong presence in Roman thought. I argue that Roman writers, although far-removed from fifth and fourth-century Greek homes, found the gynaeconitis most useful as a mutable and efficient symbol of male control and a conceptual locus of identity formation. iii TABLE OF CONTENTS