Gothic Costume Author Kenneth Clark described the Gothic period: “a world of chivalry, courtesy and Virginia S. Wimberley romance, a world in which serious things CTD 448: History of were done with a sense of play.” Costume Clothing Textiles and Interior Design Romance Dates Power of love can enlist and subdue all the forces of nature Period can be divided into Early and Late Two emblems of lust and ferocity - or High Gothic unicorn and lion Dates vary among sources: Russell Chapter 8 – A. D. 1150-1325 Notion of ideal love - irresistible power of Russell Chapter 9 – A. D. 1325-1425 gentleness and beauty Others Utter subjection to an almost Early Gothic 1200 – 1350 unapproachable woman; belief that no Late Gothic 1350 - 1485 sacrifice was too great; whole lifetime devoted to paying court or suffering for her Courtship Stages with colors Cult of the Virgin Green- secretly languishing - (Feignaire) One hardly knows if a medieval love lyric White - declared his love but pays is addressed to the poet’s mistress or the attention to another in hopeful longing Virgin Mary (Preiaire) Madonnas of the 13th Century are Red - favorable hearing and services ravishingly beautiful and delicate accepted - as vassal of love (Entendaire) Yellow -Returned favors from the lady to what extent concerns no one 1 Marriage Courtly Love Love match is the invention of the 18th Subject of lyrics and long, long stories in Century prose and verse Medieval marriage was entirely a matter Gothic literature added to European of property consciousness that cluster of ideas and Manual on how to treat women or bring sentiments which surround the words up daughters by the Knight of the Tower “romantic” and “romance” Landry was written in 1370 and was read as a sort of textbook till the 16th C. Patrons of the Arts and Learning Sumptuary Legislation Laws during reign of English King Edward III made quite clear that a man could Four brothers were the greatest patrons decorate his person only according to his Builders, bibliophiles, collectors status Charles V - King of France “all esquires and every gentleman under Duke of Burgundy - slyest and most the estate of knighthood, and not ambitious possessed of lands or tenements to the Louis d’Anjou yearly amount of 200 marks, shall use in Duke du Berry - arts were his life their dress such cloths as does not exceed the value of 4marks and a half the whole cloth; Sumptuary Legislation - Cont.. Sumptuary Legislation They shall not wear any cloth of gold, of Simple folk had to be content with silk, or of silver, not any sort of homespun such as fustian - a twilled embroidered garment, nor any ring, mixture of cotton and linen or sackcloth of buckle, rouche, riban or girdle, nor any natural grey or cheap dyes of russet and indigo ornaments of precious stones, nor furs of any kind; their wives and children shall be Merchants were allowed a long robe bordered with fur to accentuate his subject to the same regulations dignity but he was limited to only fox, coney or cat fur 2 Sumptuary Legislation Sumptuary Legislation In France Philippe le Bel prohibited the In Italy coloured silks were reserved for wearing of miniver, grey fox or ermine to upper classes and middle class had to bourgeoise and they had one year to rid wear black silk their wardrobes of it. In France the imported black silks were Dukes, counts and barons with 6,000 livre perceived as something new without the per year could have 4 pairs of gown per stigma and upper class individuals are year-their wives too seen wearing them Tuchman – A Distant Mirror Crusades First crusade was called by Pope Urban II Read pages 18 -21 in 1095 Reading from journal: Dufresne, Laura R. Ninth crusade ended in failure in 1272 (1990). A Woman of Excellent Character: A Many kings, barons, and knights case study of dress, reputation and the squandered their wealth to mount and changing costume of Christine de Pizan in finance these crusades the fifteenth century. Dress, Volume 17, pp. 104-117. Power which rested with nobility - temporal and ecclesiastical-disappeared with their wealth Effect of the Crusades Effect of Crusades New standards in intellectual endeavors, religious concepts, personal heroism and Previously put down rushes on the floor honor and removed in the spring; now wealthy used carpets following the Moorish New trade routes custom Money system replaced barter Rooms better furnished Architecturally the pointed arch came Chimneys replaced the hole in the roof from East Four poster bed with canopies, valances Power of papacy contested by rulers and curtains Rulers and tradesmen formed alliances 3 Crusades’ influence on Costume Guilds Eastern pomp and splendor increased Guilds and corporations formed in trading circles Europeans’ taste for opulent and In 13th C guilds were well established sumptuous personal adornment Guilds had written set of rules and regulations- Art of stitchery and its extensive use on number of pattern books and pattern blocks clothing outgrowth of long days while have been preserved men away at crusades Guild production allowed the development of Rich fabrics special event clothing, marked differences Family colors on clothing between secular and clerical dress married women from singles by variations in clothing Military garments move to civilian garb Women’s Costume- Inner Women’s Costume - Outer Chemise Cotehardie - long Hose gartered at the knee flowing gown, oval neckline, tiny buttons along forearm and center front fichets - slits at hip level Tippets - hanging portions from elbows, wrists or shoulders Cotehardie with tippets Detail of buttons on sleeve and hands in fichets Cotehardie with tippets at elbows and two fichets through which the woman has inserted her hands Headdress has two side wire cages holding braids on each side of the face- nebule headdress 4 Surcote derived from Women’s Costume - Outer cyclas Surcote - sleeveless, side-less gown worn Poncho style with on top of the open side seams cotehardie has two characterized the parts: cyclas plastron - center section often decorated with non- functioning buttons skirt - divided at upper hip; skirt may be divided at center and multicolored Women’s Costume - outer wraps Women’s Headdress Pelicon - fur lined Hair in plaits or coils cloak over the ears or suckeny - same across the head or length as garment, low chignon slits instead of Young girls - hanging sleeves loose Women’s Headcoverings Early Gothic Braided hair was Headcoverings for Women coiled at sides of the head Barbette - chin band Coffer, Reticulated, under jaw and Nebule -all refer to fastened near top of netting structures head with widest part covering the hair covering the ears Ramshorn - length of If pleated called a fabric laid across top barbe and back of head and ends wrapped round coils of hair on each side 5 Early Gothic Veil and Whimple Headcoverings for Women compared to Barbe Whimple - piece of linen or silk draped around throat and pinned to hair above the ears Whimple Whimple Whimple Worn from late 12th C with kerchief expanded to mid-14th C. or veil over the Became part of nun’s temple habit hair curls Gorget Women’s Headcoverings Gorget - variant of Barbette combined the whimple pulled with turban down to uncover the Sideless gown or top of the head and surcote fastened to coils of long sleeved hair over the ears cotehardie Women’s Dress - Women’s Headcoverings LateGothic Nebule - stiff wire Houppelande-long cages on each side of pleated at front gown the head, joined by Padded roll for decorative band headcovering called a across forehead, bourrelet, evolves confining hair in these into heart-shaped cages headcovering 6 Late Gothic Head Late Gothic Headcoverings Coverings for Women for Women Hennins Steeple Hennin- tall Escoffin - heart shaped cone with or without veiling falling from Steeple - tall cone with frontlet point. Butterfly - transparent veil wired at one edge Frequently worn with and bent into M shape frontelet at forehead ⌧Flower pot Liripipe - like a tippet, long, narrow length of fabric attached to hennins Steeple Hennins/ houppelandes Gothic Castle Scene Note central female in escoffion hennin, ermine trimmed gold surcote and green cotehardie The women behind have steeple hennins Women’s Headcoverings - Truncated steeple hennin Late with veil-flowerpot hennin Hennins Butterfly - transparent veil wired at one edge and bent into M shape 7 Hennins- butterfly and Neckline with modesty piece escoffion/heart- shaped/bourrelet Flowerpot hennin without veiling Color version of Christine presenting Wife of Jean Juvenal des book to Queen Isabelle Ursins French version of horned headdress circa 1445 stiff, jeweled structure Isabella of Portugal, 1445, Wife of Philip the Good of Burgundy Women’s Accessories Bourrelet- padded roll Jeweled girdles is sharply angled to loose cords/gloves rounded point on rings forehead, velvet- patterned cloth of aumonieres gold handkerchiefs Fur trimmed neckline scissors- hanging of houppelande from girdle pomanders 8 Pomanders Men’s Costume 12 and 13th C simplicity or men with bliaud or cotehardie ungirdled till 1340 Edges of skirts and hanging sleeve flaps were cut into pointed or squared scallops called dagging Dagging in wool broadcloth Dagged Sleeve Treatments which does not ravel easily Women’s houppelandes with wide sleeves decorated by dagging as were men’s Men’s Costume Men’s Costume Surcote/cyclas - first introduced as cloth Cotehardie - became poncho worn over shortened, tight- armor to protect fitting garment against glare of the sun; no sleeves or side seams later surcote - closed side seams, deep armholes, hem trimmed with fur 9 Cotehardie with castellated edges Pourpoint Chaperone hood Padded undergarment to protect body from armour; points ot ties on inside for attaching hose. Worn from 14th th 17th C.