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Difference between pages "ClassesFashiondress12" and "ClassesFashiondress16thcent"

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'''The History of Fashion and DressThe History of Fashion and Dress
+
'''16th Century Europe''' Week 4:
  
'''Grading Information for #12
+
16th Century Europe'''
  
Theatre 355 Online Version
+
'''Step 1:'''
  
[http://www.uaf.edu|University of Alaska Fairbanks]
+
Read the online "lecture" on dress in the 16th Century below and click on any links that interest you. You are not required to read all the material on all the links, however:
  
'''Due DateAssignmentMaximum
+
'''Dress in16th Century Europe'''
  
Points Possible'''Throughout SemesterParticipation in
+
'''Early 16th Century Europe (1500 to 1535ce)'''
  
[http://groups.yahoo.com/group/CostumeHistoryClass| Message Board ] Postings20January 19Report on dress of a social group in your locality in the present day4January 26Links search for Ancient Jewelry4February 2Post reflections on Islamic Dress to message board2February 2Report on
+
Dress in this period covers the transition from the relatively softly constructed linear fashions of the Late Gothic (Northern Europe) and Early Italian Renaissance styles, into the far more rigidly constructed, padded and rather more blocky looking Tudor or Northern European Renaissance style.
  
[[ManifestoClassesLatemedieval#Step 4|Late Medieval Topic]]5February 9Review of Renaissance Costume Movie5February 16Synopsis and reflections on original 17th Century text on fashion5February 23Post reflections on corsets to message board3March 2Report on attempts to tie a Regency Neck cloth.6March 9Preliminary description of study garment2March 9eBay Auction Report6March 16Traditional Dress report5March 23Victorian topic report5April 6Report on Turn of the Century costume suppliers6April 11Post your study garment & neck cloth pictures3April 17Rough draft of final report on study garment5May 9Final report on study garment14Extra CreditPattern, Detail Drawings or Social Background web page on study garment(10)Total Points possibleNormal Assignments100'''0'''Total Points possibleExtra Credit10
+
Because this is one of the major "transition periods" (like the French Revolution or W.W.I eras) where style took a major shift in a short period of time, there are an unusual number of fashion anomalies as people were rapidly rooting about for the new style. Fashion change in this period becomes so rapid that a pejorative expression forms to describe those dressed in outdated fashions: "they look like like figures in Arras". Arras refers to the figured woven tapestries that reached their zenith in this era. A typical tapestry of this type took seven years from design to completion, and so the dress of human figures in a tapestry was seven years out of date even when the tapestry was brand new.
 +
 
 +
[[File:HistoryStibbert188.jpg]] Holbein: Henry VIII, Henry VII, Elizabeth of York, and Jane Seymour ''From
 +
 
 +
[[History100pagesPicturecredits#Stibbert| Stibbert]]''
 +
 
 +
Above one can see an example of the rapid alteration of dress that occurred in this era. This image is a copy of a
 +
 
 +
[http://www.artchive.com/artchive/H/holbein.html| Holbein ] painting originally at Windsor Castle that showed
 +
 
 +
[http://www.englishhistory.net/tudor/monarchs/henry8.html| Henry VIII ] and his third wife along with portraits of Henry's deceased parents, Henry VII and Elizabeth of York, based on earlier portraits. Left to right it shows Henry VIII in dress of 1530's-40's, his father Henry VII and mother Elizabeth of York in dress of about 1500-1520, and his third wife, Jane Seymour in dress of the 1530's. The Father and son's dress could hardly be more different from one another, and the women's dress although similar in overall line, is clearly of much more stiff construction in the later dress.
 +
 
 +
This rapid fashion change is typical in any society which is undergoing rapid social, economic, political or religious change. This era occurs at the point in history when the world was discovered to be round,
 +
 
 +
[http://www.alaska.net/~clund/e_djublonskopf/Flatearthsociety.htm| not flat], when America was "
 +
 
 +
[http://www1.minn.net/~keithp/|discovered]" by Europeans, when guns went into general use in warfare, when
 +
 
 +
[http://www.newgenevacenter.org/west/reformation.htm| Protestantism] ripped apart the previously solid Catholic church in Western Europe, when the printing press very suddenly made ideas spread, when plague level
 +
 
 +
[http://www.allsands.com/Health/Advice/syphilishisto_zkq_gn.htm| syphilis] first ran unchecked through Europe's population, and when a mini ice age weather pattern assailed Europe.
 +
 
 +
When people are undergoing these kinds of changes they tend to rapidly adopt and discard fashions. However when change becomes so rapid that it seems highly threatening, the tendency is to choose more and more conservative fashions: fashions that emphasize class differences, fashions that are physically restrictive, fashions that make the wearer look more formidable than relaxed, fashions that contain and control the appearance of natural female sexuality. 16th Century fashions over the whole of the Century do this to greater and greater degrees, the sharpest shift occurs in the "transition period" of the first third of the Century.
 +
 
 +
Typical features of this transition period are continued linearity in women's dress while stiffening the internal structure, development of the stiffened gabled headdress in England, and the French hood which containerize women's hair, slashing and puffing increasingly popular as decoration, especially in Germany, continuation of parti-colored dress in the beginning of this era, and expansion of the codpiece with extreme padding.
 +
 
 +
'''More images from
 +
 
 +
[[100pagesTimelinepages1500to1535a|Early 16th Century Europe (1500 to 1535ce)]]'''
 +
 
 +
'''Mid 16th Century Europe (1535 to 1570ce)'''
 +
 
 +
[[File:HistoryStibbert179.jpg]]'' Landesknecht (German mercenary soldier) with puffed and slashed clothing in
 +
 
 +
[[History100pagesPicturecredits#Stibbert|Stibbert.]]''
 +
 
 +
Puffing and slashing was the perfect visual metaphor for the 16th Century, because it suggests a society that is literally bursting at the seams with new ideas and problems. By mid Century, clothing is so stiffened and tight with the desire to constrict change that some surviving examples appear as though they could stand up on their own.
 +
 
 +
[[File:HistoryKohler275renaissance.jpg]]'' Spanish Doublet, 1570 (
 +
 
 +
[[History100pagesPicturecredits#Kohler|Kohler]]''
 +
 
 +
Throughout this era clothing gets both tighter and stiffer, while being more and more puffed out with padding and slashings, giving it a dual visual message. Women's dress in this era follows the men's dress into broadness created with stuffing and hoops, so that the wealthy in this era look a bit like walking overstuffed furniture.
 +
 
 +
[[File:RenaissanceNorrisBook3plate26.jpg]]''
 +
 
 +
[http://www.englishhistory.net/tudor/monarchs/mary1.html|Mary I] in a "Spanish Farthingale" (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]''
 +
 
 +
Women mainly wore the "Spanish Farthingale", which was a cone shaped hoop skirt, in this era. It is also in this period that waist cinching undergarments (which in theory existed from around 1450, although no earlier examples survive) became boned or otherwise stiffened to the point that they rightly deserve the name "stays" or corsets. Stays in this period cinch the waist, and flatten the breasts into a perfect cone shape, a trend continued into the following century.
 +
 
 +
'''More images from
 +
 
 +
[[100pagesTimelinepages1535to1570a| Mid 16th Century Europe (1535 to 1570ce)]]'''
 +
 
 +
 
 +
 
 +
[http://pweb.jps.net/~mcmasters1/ruff.html|A Brief History of Ruffs]
 +
 
 +
'''Late 16th Century Europe (1570 to 1600ce)'''
 +
 
 +
The late 16th Century is commonly and rightly associated with Queen Elizabeth I of England, and so is often referred to as the Elizabethan era. Elizabeth herself was highly aware of how dress could be made to manipulate a public political image, and spent her public life as queen in a series of progressively larger, more decorated and more uncomfortable gowns, until she resembled an auto icon of Late Renaissance design and power.  
 +
 
 +
[[File:RenaissanceNorrisBook3plate27.jpg]] Queen Elizabeth I 1559 (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]
 +
 
 +
This too is the era of the ruff, an impressive combination of two under exploited costume inventions of the previous Century: starch and lace. Ruffs had begun very modestly in mid Century on the wealthy, primarily in France and Spain, but spread rapidly, and grew in size to the end of the Century, and into the beginning of the next.
 +
 
 +
[[File:RenaissanceNorrisBook3plate40.jpg]]'' Queen Elizabeth I (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]''
 +
 
 +
Ruffs were made so wide that they often caused eating difficulties for the wearers, so much so that women had the happy thought of splitting the ruff in the front to make meals easier, and frame the cleavage.
 +
 
 +
''
 +
 
 +
[[File:RenaissanceNorrisXlilqueenelizabeth1590.jpg]] Queen Elizabeth I, 1590 (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]''
 +
 
 +
The cone shaped "Spanish Farthingale" of mid Century came to be replaced by the "French Farthingale" which began as a bell shape, and ended up changing into something resembling a mobile tea table.
 +
 
 +
By the end of the 16th Century, upper class European clothing bore not the slightest resemblance to dress of the beginning of the Century, and it stylistically was very far removed from the dress of other cultures. This rapid change, and cultural differentiation through dress happened just as Europe was making it's big push to explore, exploit and colonize the rest of the world. People became so aware of fashion change over time, and national differences in dress that they became very curious about dress in other countries and eras. This therefore is known as the first great era of costume books, when people began to illustrate picture books on dress in other cultures and times. The most notable of these books is Vecellio's
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/048623441X/thecostumersmani|Habits of the Diverse Parts of the World ]1590, which has happily been reprinted in full by Dover.
 +
 
 +
'''A short video for you to watch:
 +
 
 +
[http://www.youtube.com/watch?v=kJgzQmPZUO4|YouTube - Shakespeare's London Elizabethan Fashion]'''
 +
 
 +
'''More pictures from the
 +
 
 +
[[100pagesTimelinepages1570to1600a|Timeline: 1570-1600]]'''
 +
 
 +
'''
 +
 
 +
[[History100pages16thlinks|16th Century Costume Links]]'''
 +
 
 +
'''Step 2'''Most people study the history of fashion in order to better replicate the fashions of the past for reenacting or for drama (theatre/TV/movies). Yet at a certain point in designing and making any replication of past clothing, the designer '' must'' make artistic or practical choices that are at times at variance with historical probability.
 +
 
 +
Go to
 +
 
 +
[[Mwbh100pagesRenaimovies|Men With Big Hair: Renaissance Costume Movies]] and choose a film you can rent, watch and review. Write a review of the film you saw addressing all of the following topics:
 +
 
 +
The basic story
 +
 
 +
The style of the film
 +
 
 +
The extent to which the costumes in the film supported the story
 +
 
 +
The extent to which the costumes appeared to conform to real images from the past
 +
 
 +
Why you thought the costumes were successful or unsuccessful overall.
 +
 
 +
'''Post your review to your web site by midnight Sunday.'''
 +
 
 +
'''Step 3:'''
 +
 
 +
Later this semester you will be doing a report on an antique or vintage garment. Begin now by looking for a suitable garment for you to photograph and study. [Several good examples of the kind of report you will be expected to make by semesters end are listed below ] This garment can be a family heirloom, a garment in a local museum that will give you access & photo OK, or something nifty you have bought on  
 +
 
 +
[http://ebay.com|eBay]. The garment is to be photographed,
 +
 
 +
and studied, but not altered or picked apart. The sole requirement is that'' the garment must be older than you are.'' You will need to have found this garment by March 10th.
 +
 
 +
[http://members.tripod.com/Jes24601/id83.htm|Claire McCardell Dress]
 +
 
 +
[http://www.geocities.com/kakurlander/final.htm|Bustle Era Jacket]
 +
 
 +
[http://ashbaugh.freeservers.com/index.html|A Hawaiian Dress]
 +
 
 +
[http://funfur.freeservers.com/|1960 Fun Fur Stole]
 +
 
 +
Note to all: the garment you choose need not be in great shape. Sometimes one can find out amazing things from stuff that is falling apart. I have bought garments for study that were literally falling apart, because they are very cheap to acquire, I'm not afraid that I might "hurt" a valuable important museum piece, ripped linings show the inner construction of the garment, and everything needed for study reasons, or copying the pattern is still usually there, even when the
 +
 
 +
garment is in shreds.
 +
 
 +
If you are located in a place where there are no reasonably priced vintage dealers (like me, stuck in Fairbanks) you can begin looking at
 +
 
 +
[http://www.ebay.com| eBay] for a bargain. Since you have many weeks to go, you can weed through the expensive stuff, and see if you can pick up something that interests you that is torn, stained, or has some reason most collectors won't pay top dollar for it. Be careful, though, eBay can be addictive!
 +
 
 +
'''This Concludes Week #4's Lesson'''
  
 
'''Return to  
 
'''Return to  
Line 19: Line 161:
 
[[ClassesFashiondressThr355main|Class Index]]'''
 
[[ClassesFashiondressThr355main|Class Index]]'''
  
'''Semester Grade:I'''
+
[[File:HistoryQuicheratGrandseigneureerivant.jpg]]'' Grand seigneur writing letters with serving gentlemen in attendance, 1500 (
 +
 
 +
[[History100pagesPicturecredits#Quicherat|Quicherat]]
 +
 
 +
[[File:RenaissanceBoehnGeorgegisze1532.jpg]] 1532 (
 +
 
 +
[[History100pages16thboehn|Boehn]]''
 +
 
 +
 
 +
 
 +
 
 +
 
 +
[[00pagesUktourUktour_p35|Musée de Cluny Late Medieval & Early Renaissance Tapestries]]''
 +
 
 +
[[File:TourplansImagesLadyandunicornt.jpg]]''
 +
 
 +
[[File:HistoryGreatwomen10340_06.jpg]]
 +
 
 +
[[File:HistoryGreatwomen10340_20.jpg]] Anne of Brittany and Anne Boleyn, royalty, dressed in early 16th Century gowns. ''
 +
 
 +
[[History100pagesFamouswomen|Femmes]]''
 +
 
 +
[[File:RenaissanceHeadressesRenlady3.gif]]
 +
 
 +
[[File:RenaissanceHeadressesRenlady4.gif]]
 +
 
 +
''Two views of the "French hood" as worn in England. (
 +
 
 +
[[History100pagesPicturecredits#Archive Arts|Archive Arts]]''
 +
 
 +
''
 +
 
 +
[[File:RenaissanceBoehn1527sketchwoman.jpg]]Tudor gabled headdress (England)with tails down1527 (
 +
 
 +
[[History100pages16thboehn|Boehn]]''
 +
 
 +
by Norris
 +
 
 +
''
 +
 
 +
[[File:HistoryGreatwomen10340_08.jpg]]Eleanor of Austria, Queen of France, and
 +
 
 +
[[File:HistoryGreatwomen10340_24.jpg]] Princess Elizabeth, daughter of Henri II both in mid century styles. (
 +
 
 +
[[History100pagesFamouswomen|Femmes]]''
 +
 
 +
[[File:RenaissanceNorrisBook3plate19.jpg]]'' Edward VI (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]''
 +
 
 +
''
 +
 
 +
[[File:RenaissanceBoehnHolbeinautoport.jpg]] Hans Holbein Self portrait, (
 +
 
 +
[[History100pages16thboehn|Boehn]]''
 +
 
 +
[[File:AmazonVideoBallerinorendance.jpg]]
 +
 
 +
[[File:RenaissanceNorrisBook3plate36.jpg]]'' Charles IX of France 1561 (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]'
 +
 
 +
[[100pagesTimelinepages1535to1570a]]'''
 +
 
 +
[[File:HistoryQuicheratLouisedevaudemont.jpg]]''Louise de Vaudemont, wife of Henri III, the Duc de Guise, Margurite de Vaudemont and Anne de Joyeuse, from the painting of the wedding of de Joyeuse in the Louvre. (
 +
 
 +
[[History100pagesPicturecredits#Quicherat|Quicherat]]''
 +
 
 +
[[File:RenaissanceNorrisXxxviiqueenelizabeth1587.jpg]] Queen Elizabeth I, 1587 (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]
 +
 
 +
[[File:RenaissanceNorrisXlivmaryfitton1596.jpg]]''Mary Fitton, 1596 (
 +
 
 +
[[History100pages16throyalsnorris|Norris V.3 pt .2]]''
 +
 
 +
''
 +
 
 +
[[File:UafcollectionShoehistMvc-008f.jpg]]
 +
 
 +
Venetian Courtesan''
 +
 
 +
''
 +
 
 +
[[File:MwbhImagesShakespeareinlov_07.jpg]] Image from , costumes by Sandy Powell (Copyright 1998 Miramax)''
 +
 
 +
[[File:MwbhImagesElizabeth2.jpg]]''Image from
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/6305358567/thecostumersmani|Elizabeth], costumes by Alexandra Byrne (Copyright 1998 Gramercy Pictures)''
 +
 
 +
[[File:AmazonVideoLadyjanevhs.gif]]
 +
 
 +
[[File:AmazonVideoMaryqueenscotsvhs.jpg]]
 +
 
 +
==Product Links==
 +
 
 +
[http://www.pbm.com/~lindahl/food.html|Medieval/Renaissance Food Homepage]
 +
 
 +
[[File:AmazonBooksWritersguiderennaissanceeng.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0898797527/thecostumersmani| The Writer's Guide to Everyday Life in Renaissance England : From 1485-1649]]  The Writer's Guide to Everyday Life in Renaissance England : From 1485-1649
 +
 
 +
[[File:AmazonBooksTudorcostumeandfashion.gif|link=http://www.amazon.com/exec/obidos/ASIN/0486298450/thecostumersmani| Tudor Costume and Fashion]]  Tudor Costume and Fashion
 +
 
 +
[[File:AmazonBooksWhatlifewaslikeeliz.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0783554567/thecostumersmani| What Life Was Like in the Realm of Elizabeth : England, Ad 1533-1603]]  What Life Was Like in the Realm of Elizabeth : England, Ad 1533-1603
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/0871271702/thecostumersmani|Amazon.com: buying info: Video: Il Ballarino : The Art of Renaissance Dance]
 +
 
 +
[[File:StoreBookstoreVecellio.gif|link=http://www.amazon.com/exec/obidos/ASIN/048623441X/thecostumersmani| Vecellio's Renaissance Costume Book : All 500 Woodcut Illustrations]]  Vecellio's Renaissance Costume Book : All 500 Woodcut Illustrations
 +
 
 +
[[File:AmazonBooksQueenelizabethswardrobeunlocked.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0901286206/thecostumersmani| Queen Elizabeth's Wardrobe Unlock'd:]]  Queen Elizabeth's Wardrobe Unlock'd:
 +
 
 +
[http://ren.dm.net/sumptuary/index.html|Elizabethan Sumptuary Statutes]
 +
 
 +
[[File:AmazonBooks2Costumesandscriptseliz.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0888642261/thecostumersmani| Costumes and Scripts in the Elizabethan Theatres]]  Costumes and Scripts in the Elizabethan Theatres
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/B0000203YT/thecostumersmani|Shakespeare in Love]
 +
 
 +
[[File:AmazonBooksThemartialartsofrenassanceeurpe.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0300083521/thecostumersmani| The Martial Arts of Renaissance Europe]]  The Martial Arts of Renaissance Europe
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/6300214559/thecostumersmani| Lady Jane]
 +
 
 +
[http://www.amazon.com/exec/obidos/ASIN/B00004REFE/thecostumersmani| Mary, Queen of Scots]
 +
 
 +
[[File:AmazonVideoShakespearesglobetheatrerestored.gif|link=http://www.amazon.com/exec/obidos/ASIN/6304857373/thecostumersmani| Shakespeare's Globe Theatre Restored]]  Shakespeare's Globe Theatre Restored
 +
 
 +
[[File:AmazonDvdShakespeareinlove.jpg|link=http://www.amazon.com/exec/obidos/ASIN/B00001U0E1/thecostumersmani| Shakespeare in Love: Collector's Series]]  Shakespeare in Love: Collector's Series

Revision as of 01:00, 23 January 2014

16th Century Europe Week 4:

16th Century Europe

Step 1:

Read the online "lecture" on dress in the 16th Century below and click on any links that interest you. You are not required to read all the material on all the links, however:

Dress in16th Century Europe

Early 16th Century Europe (1500 to 1535ce)

Dress in this period covers the transition from the relatively softly constructed linear fashions of the Late Gothic (Northern Europe) and Early Italian Renaissance styles, into the far more rigidly constructed, padded and rather more blocky looking Tudor or Northern European Renaissance style.

Because this is one of the major "transition periods" (like the French Revolution or W.W.I eras) where style took a major shift in a short period of time, there are an unusual number of fashion anomalies as people were rapidly rooting about for the new style. Fashion change in this period becomes so rapid that a pejorative expression forms to describe those dressed in outdated fashions: "they look like like figures in Arras". Arras refers to the figured woven tapestries that reached their zenith in this era. A typical tapestry of this type took seven years from design to completion, and so the dress of human figures in a tapestry was seven years out of date even when the tapestry was brand new.

HistoryStibbert188.jpg Holbein: Henry VIII, Henry VII, Elizabeth of York, and Jane Seymour From

Stibbert

Above one can see an example of the rapid alteration of dress that occurred in this era. This image is a copy of a

Holbein painting originally at Windsor Castle that showed

Henry VIII and his third wife along with portraits of Henry's deceased parents, Henry VII and Elizabeth of York, based on earlier portraits. Left to right it shows Henry VIII in dress of 1530's-40's, his father Henry VII and mother Elizabeth of York in dress of about 1500-1520, and his third wife, Jane Seymour in dress of the 1530's. The Father and son's dress could hardly be more different from one another, and the women's dress although similar in overall line, is clearly of much more stiff construction in the later dress.

This rapid fashion change is typical in any society which is undergoing rapid social, economic, political or religious change. This era occurs at the point in history when the world was discovered to be round,

not flat, when America was "

[1]" by Europeans, when guns went into general use in warfare, when

Protestantism ripped apart the previously solid Catholic church in Western Europe, when the printing press very suddenly made ideas spread, when plague level

syphilis first ran unchecked through Europe's population, and when a mini ice age weather pattern assailed Europe.

When people are undergoing these kinds of changes they tend to rapidly adopt and discard fashions. However when change becomes so rapid that it seems highly threatening, the tendency is to choose more and more conservative fashions: fashions that emphasize class differences, fashions that are physically restrictive, fashions that make the wearer look more formidable than relaxed, fashions that contain and control the appearance of natural female sexuality. 16th Century fashions over the whole of the Century do this to greater and greater degrees, the sharpest shift occurs in the "transition period" of the first third of the Century.

Typical features of this transition period are continued linearity in women's dress while stiffening the internal structure, development of the stiffened gabled headdress in England, and the French hood which containerize women's hair, slashing and puffing increasingly popular as decoration, especially in Germany, continuation of parti-colored dress in the beginning of this era, and expansion of the codpiece with extreme padding.

More images from

Early 16th Century Europe (1500 to 1535ce)

Mid 16th Century Europe (1535 to 1570ce)

HistoryStibbert179.jpg Landesknecht (German mercenary soldier) with puffed and slashed clothing in

Stibbert.

Puffing and slashing was the perfect visual metaphor for the 16th Century, because it suggests a society that is literally bursting at the seams with new ideas and problems. By mid Century, clothing is so stiffened and tight with the desire to constrict change that some surviving examples appear as though they could stand up on their own.

HistoryKohler275renaissance.jpg Spanish Doublet, 1570 (

Kohler

Throughout this era clothing gets both tighter and stiffer, while being more and more puffed out with padding and slashings, giving it a dual visual message. Women's dress in this era follows the men's dress into broadness created with stuffing and hoops, so that the wealthy in this era look a bit like walking overstuffed furniture.

RenaissanceNorrisBook3plate26.jpg

I in a "Spanish Farthingale" (

Norris V.3 pt .2

Women mainly wore the "Spanish Farthingale", which was a cone shaped hoop skirt, in this era. It is also in this period that waist cinching undergarments (which in theory existed from around 1450, although no earlier examples survive) became boned or otherwise stiffened to the point that they rightly deserve the name "stays" or corsets. Stays in this period cinch the waist, and flatten the breasts into a perfect cone shape, a trend continued into the following century.

More images from

Mid 16th Century Europe (1535 to 1570ce)


Brief History of Ruffs

Late 16th Century Europe (1570 to 1600ce)

The late 16th Century is commonly and rightly associated with Queen Elizabeth I of England, and so is often referred to as the Elizabethan era. Elizabeth herself was highly aware of how dress could be made to manipulate a public political image, and spent her public life as queen in a series of progressively larger, more decorated and more uncomfortable gowns, until she resembled an auto icon of Late Renaissance design and power.

RenaissanceNorrisBook3plate27.jpg Queen Elizabeth I 1559 (

Norris V.3 pt .2

This too is the era of the ruff, an impressive combination of two under exploited costume inventions of the previous Century: starch and lace. Ruffs had begun very modestly in mid Century on the wealthy, primarily in France and Spain, but spread rapidly, and grew in size to the end of the Century, and into the beginning of the next.

RenaissanceNorrisBook3plate40.jpg Queen Elizabeth I (

Norris V.3 pt .2

Ruffs were made so wide that they often caused eating difficulties for the wearers, so much so that women had the happy thought of splitting the ruff in the front to make meals easier, and frame the cleavage.

RenaissanceNorrisXlilqueenelizabeth1590.jpg Queen Elizabeth I, 1590 (

Norris V.3 pt .2

The cone shaped "Spanish Farthingale" of mid Century came to be replaced by the "French Farthingale" which began as a bell shape, and ended up changing into something resembling a mobile tea table.

By the end of the 16th Century, upper class European clothing bore not the slightest resemblance to dress of the beginning of the Century, and it stylistically was very far removed from the dress of other cultures. This rapid change, and cultural differentiation through dress happened just as Europe was making it's big push to explore, exploit and colonize the rest of the world. People became so aware of fashion change over time, and national differences in dress that they became very curious about dress in other countries and eras. This therefore is known as the first great era of costume books, when people began to illustrate picture books on dress in other cultures and times. The most notable of these books is Vecellio's

of the Diverse Parts of the World 1590, which has happily been reprinted in full by Dover.

A short video for you to watch:

- Shakespeare's London Elizabethan Fashion

More pictures from the

Timeline: 1570-1600

16th Century Costume Links

Step 2Most people study the history of fashion in order to better replicate the fashions of the past for reenacting or for drama (theatre/TV/movies). Yet at a certain point in designing and making any replication of past clothing, the designer must make artistic or practical choices that are at times at variance with historical probability.

Go to

Men With Big Hair: Renaissance Costume Movies and choose a film you can rent, watch and review. Write a review of the film you saw addressing all of the following topics:

The basic story

The style of the film

The extent to which the costumes in the film supported the story

The extent to which the costumes appeared to conform to real images from the past

Why you thought the costumes were successful or unsuccessful overall.

Post your review to your web site by midnight Sunday.

Step 3:

Later this semester you will be doing a report on an antique or vintage garment. Begin now by looking for a suitable garment for you to photograph and study. [Several good examples of the kind of report you will be expected to make by semesters end are listed below ] This garment can be a family heirloom, a garment in a local museum that will give you access & photo OK, or something nifty you have bought on

[2]. The garment is to be photographed,

and studied, but not altered or picked apart. The sole requirement is that the garment must be older than you are. You will need to have found this garment by March 10th.

McCardell Dress

Era Jacket

Hawaiian Dress

Fun Fur Stole

Note to all: the garment you choose need not be in great shape. Sometimes one can find out amazing things from stuff that is falling apart. I have bought garments for study that were literally falling apart, because they are very cheap to acquire, I'm not afraid that I might "hurt" a valuable important museum piece, ripped linings show the inner construction of the garment, and everything needed for study reasons, or copying the pattern is still usually there, even when the

garment is in shreds.

If you are located in a place where there are no reasonably priced vintage dealers (like me, stuck in Fairbanks) you can begin looking at

eBay for a bargain. Since you have many weeks to go, you can weed through the expensive stuff, and see if you can pick up something that interests you that is torn, stained, or has some reason most collectors won't pay top dollar for it. Be careful, though, eBay can be addictive!

This Concludes Week #4's Lesson

Return to

Class Index

HistoryQuicheratGrandseigneureerivant.jpg Grand seigneur writing letters with serving gentlemen in attendance, 1500 (

Quicherat

RenaissanceBoehnGeorgegisze1532.jpg 1532 (

Boehn



Musée de Cluny Late Medieval & Early Renaissance Tapestries

TourplansImagesLadyandunicornt.jpg

HistoryGreatwomen10340 06.jpg

HistoryGreatwomen10340 20.jpg Anne of Brittany and Anne Boleyn, royalty, dressed in early 16th Century gowns.

Femmes

RenaissanceHeadressesRenlady3.gif

RenaissanceHeadressesRenlady4.gif

Two views of the "French hood" as worn in England. (

Archive Arts

RenaissanceBoehn1527sketchwoman.jpgTudor gabled headdress (England)with tails down1527 (

Boehn

by Norris

HistoryGreatwomen10340 08.jpgEleanor of Austria, Queen of France, and

HistoryGreatwomen10340 24.jpg Princess Elizabeth, daughter of Henri II both in mid century styles. (

Femmes

RenaissanceNorrisBook3plate19.jpg Edward VI (

Norris V.3 pt .2

RenaissanceBoehnHolbeinautoport.jpg Hans Holbein Self portrait, (

Boehn

AmazonVideoBallerinorendance.jpg

RenaissanceNorrisBook3plate36.jpg Charles IX of France 1561 (

Norris V.3 pt .2'

100pagesTimelinepages1535to1570a

HistoryQuicheratLouisedevaudemont.jpgLouise de Vaudemont, wife of Henri III, the Duc de Guise, Margurite de Vaudemont and Anne de Joyeuse, from the painting of the wedding of de Joyeuse in the Louvre. (

Quicherat

RenaissanceNorrisXxxviiqueenelizabeth1587.jpg Queen Elizabeth I, 1587 (

Norris V.3 pt .2

RenaissanceNorrisXlivmaryfitton1596.jpgMary Fitton, 1596 (

Norris V.3 pt .2

UafcollectionShoehistMvc-008f.jpg

Venetian Courtesan

File:MwbhImagesShakespeareinlov 07.jpg Image from , costumes by Sandy Powell (Copyright 1998 Miramax)

MwbhImagesElizabeth2.jpgImage from

[3], costumes by Alexandra Byrne (Copyright 1998 Gramercy Pictures)

AmazonVideoLadyjanevhs.gif

AmazonVideoMaryqueenscotsvhs.jpg

Product Links

Food Homepage

The Writer's Guide to Everyday Life in Renaissance England : From 1485-1649 The Writer's Guide to Everyday Life in Renaissance England : From 1485-1649

Tudor Costume and Fashion Tudor Costume and Fashion

What Life Was Like in the Realm of Elizabeth : England, Ad 1533-1603 What Life Was Like in the Realm of Elizabeth : England, Ad 1533-1603

buying info: Video: Il Ballarino : The Art of Renaissance Dance

Vecellio's Renaissance Costume Book : All 500 Woodcut Illustrations Vecellio's Renaissance Costume Book : All 500 Woodcut Illustrations

Queen Elizabeth's Wardrobe Unlock'd: Queen Elizabeth's Wardrobe Unlock'd:

Sumptuary Statutes

Costumes and Scripts in the Elizabethan Theatres Costumes and Scripts in the Elizabethan Theatres

in Love

The Martial Arts of Renaissance Europe The Martial Arts of Renaissance Europe

Lady Jane

Mary, Queen of Scots

Shakespeare's Globe Theatre Restored Shakespeare's Globe Theatre Restored

Shakespeare in Love: Collector's Series Shakespeare in Love: Collector's Series

This Page is part of The Costumer's Manifesto, originally founded by Tara Maginnis, Ph.D. from 1996-2014, now flying free as a wiki for all to edit and contribute. Site maintained, hosted, and wikified by Andrew Kahn. Text is available under the Creative Commons Attribution-Share Alike License; additional terms may apply. See Terms of Use for details. You may print out any of these pages for non-profit educational use such as school papers, teacher handouts, or wall displays. You may link to any page in this site.