Midterm Fashion History

where did people begin to focus on dressing

adam and eve

modest vs sinful

dressed vs naked

thorstein veblen

conspicuous consumption- buying expensive clothes to show wealth not for basic need of clothes

Upper- and middle-class display of not working

wasteful change to new fashion

georg simmel

problem for individuals is not losing individuality when trying to fit in

structural social relations (social forms): inherent dualism

dom v sub

fem v masc

j.c. flugel

clothes used for self expression

people dress to be s*xually attractive

the great masculine renunciation

the great masculine renunciation

men dress less flamboyant and decorative and opt for more streamline look

james laver

follow veblen and flugel

hierarchical principle- dress reveal place in society

seduction principle- dress to attract opposite sex

laver’s law- order of words to describe clothes in relation to their age from popularity

trickle-down

fashion go from upper class to lower class

trickle up

from lower class to upper class

street fashion

trickle-across

hit different socio-economic at the same time

subgroups

fashion doesnt move- instead part of specific group

ex. goth

roland barthes

not the object but the name that creates desire

ex. boyfriend tee

fred davis

ambiguity, ambivalence

variability is how clothing is interpreted by diff audiences

why historians of fashion need fashion theory

analyze change and novelty

understand fashion as communication

interpret relationship of fashion to self/body/society

(medieval) elements of culture of fashion

free choice of individuals

fashion not just associated with luxury

trickle-ddown

fashion chance other aspects such as society, economy, culture, politics

giorgio riello

form of distinction, way to differentiate individuals

long robe

(medieval) color and fabric

fur and silk for wealthy

simple, solid colors

few patterns

(medieval) changes between 14th-15th century

tailoring more complex construction (tighter, more form-fitting clothes)

Men: leg revealed in stockings, waist/shoulder emphasized

women: neck, shoulders, arms revealed, higher hairstyles

distinction between male and female fashion

houppelande

long and short, dramatic displays of fabric and trim

pourpoint/doublet

men jacket worn with hose

breeches

loose undergarments like boxer with belt

shirt

linen undergarment

hose/tights/stockings

leather soles so shoes not required

robe/tunic/kirtle

worn over shirt or doublet

cloak

kirtle/hood

cotehardie

long-sleeved, knee length, belted tunic for working class men

pourpoint/doublet

replace knee length tunic/cotehardie for upper-class men

hennin

cone-like headdress

farthingdale

stiffened hoop skirt

bell like shape

dagging

fold, sew, slash, cut edge of fabric into decorative shapes

16th century changes

merchant capitalism: rise in middle class merchants with wealth

contact with americans, explore asia, new colonial products

trend lines 1500-1650

solid black

subtle and not subtle displays of wealth

variations in men’s breeches

triangle shape

stuffed and rigid aristocratic body

lace ruff

boned corset

stomacher

hooped skirt

triangle

bombast

articulated exoskeleton

triangle shaped breastplate, padded sleeves, rigged, flair skirt

bombast

stuffing to emphasize certain part of garment

fur, fabric, etc

ruff

fastening at neck of shirt

codpiece

like underwear, flat to pee

slashing

specific cuts in garment for decorative appeal

(golden age) modern individual

secular, not pious

middle-class

urban

slef-made

(golden age) new vision of home

focus on children and family

middle-class

urban

privacy and affection

cleanliness and comfort

create silk

mulberry leaves + silkworms + lots of human labor

cotton

grown in specific regions

lead to slavery across ocean/globally

indian cotton in europe

new colors and patterns

high quality and fine detail

baroque

louis XIV

versilles

drama and awe

deep colors

complexity

baroque architecture and design

domes

curving facades

sense of movement

renaissance aesthetic

order

rationality

symmetry

classical balannce

louis xiv

king of fashion (baroque)

vest

king charles II of england introduce in court

waistcoat

louis XIV court men fashion

high heels

big wig

slow beginning to three-piece suit

louis XIV court women fashion

stiff boned bodice with lace up back, skirt, separate train, detachable lace sleeves

reveal shoulders and upper chest

mantua

single piece of fabric cut in front and back

informal attire

line of beauty

s shaped curved line in art and fashion

rococo interior design

light colors

matching sets and fabrics

comfort

rocaille (rubble, pebbles, shells)

18th century women’s dress

heavy silk satin, brocade, velvet

dark, somber colors

popularity with lace

powdered hair and hair pieces

robe a la fracaise

morph out of and replace loose sacque dress

square neckline

sleeves end at elbows finished with lace and ruffles

robe a l’anglaise

alt style dress, usually worn without panier/hoops

close fitted in front/back

long points in back

bodice separate from bottom

simple/less decorative

robe a la polonaise

young to middle age women

middle class and wealthy people

natural style of dress, less padded

consumer revolution

consumer make choices in what they buy

shape identity

expansion of euro empires, world trade and plantation slavery in america

king louis XVI

married to marie antoinette

marie antoinette

married to king louis XVI

austrian princess

pouf

thin metal frame

natural and false hair

ribbon, silk, flowers, pearls

rose bertin

minister of fashion

ball gown

enlightenment critique of artifice of french civilization

nature and natural- attack corset as deformation of body, celebrate rural life

child and childhood- condemn wetnurses, praise breastfeeding, elevate role of motherhood

gender roles- women best in domestic roles, women have innate interest in fashion

neoclassicism

inspired by ancient greece/rome

republicanism

classical model for gender roles

directoire style

neoclassical artitecture

inspired by republican roman history

sparse decoration

daybed

little white dress

high waistline (just below bust)

long ankle length skirt

slim columnar shape

low, wide neckline

diamond shaped back, shoulder seams set further back

drawstring around neck and waist

men’s dress 1800-1815

british wool, sudued colors

inspired by fantasy of virtuous life

luxury expressed through tailored fit

importance of tailors

great masculine renunciation

men stop dressing as flamboyant and decorative, instead they dress more streamline and simplistic

beau brummell

military career

socialite

impact fashion and taste

“dandy”- interest in dress, dress outside mainstream

savile row

london center for male tailoring