Italian Fashion History of The 14th and 15th Century PDF

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Italian fashion his-

tory of the 14th
and 15th century.
1/27/14∙ by world4
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Italian fashion of the 14th century
Top row le : Dress of the Viktor

Pisani, Supreme Commander,
Admiral of the Venetian fleet in
1380. Clothing of an Italian
pages and Neapolitan knight in
full armor with
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Bottom row le : Dresses of a

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young Italian woman, Italian
nobles and women of Siena.
Right: Clothing of a young man,
Senator of Rome and noble
Venetians.
Italian fashion history.

Middle ages to
Renaissance.
The angel Raphael with the young

Tobias by Filippino Lippi (1457-1504).
In the fi eenth century Italian

dress exhibited the same
variety as that of France,
England, and Germany. Still, in
spite of foreign influences, it
preserved
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national character, and was
distinguished
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dress by far more lavish Close and accept

adornment and by the richness
of the materials used.
In Italy, as in other countries,

numerous enactments were
promulgated with the object of
restraining the ever-increasing
luxury in attire, but these were
just as unsuccessful in Italy as
elsewhere.
Italian 14th century. Italienne au XIV Lady of Florence, 1450. Dame de

Siècle Florence.
Men’s Dress.
For the&short
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styles that prevailed in the
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fourteenth century
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into the fi eenth. These were
either close-fitting all the way Close and accept
down, or widened from the
shoulders down, but changes in
shape and finish greatly altered
their appearance. Fur trimming
was still in favor, and was
displaced only for a brief period
by points, which appealed to
Italian taste also.

Italian Lords. Mid-14th century.
agree to their use. Century. Fresco by Andrea Orcagna, at
the Campo Santo in Pisa. Original by A.
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XIV. Siecle. Fresque d’Andrea Orcagna,
au Campo Santo de Pise. D’Ap.
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L’Original par A. Bachelin.
The greatest change was in the
sleeves. Fashion prescribed no
special styles, and every one
was le free to follow his own
taste. The first changes in the
shape of the coat that the
fi eenth century saw were
unimportant. The coat was
much shorter. Although the
high neck remained
fashionable for a time, the neck
was now mostly low, cut in a
deep V-shape both back and
front, allowing the underdress
to be seen. Thus the slit at the
breast, which came down to
the waist, and could be
buttoned, became
unnecessary.

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Young man from Italy in 1450
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During the first half of the
fi eenth century close-fitting
coats went entirely out of
fashion. Coats were cut away
above the hips and a pleated
skirt sewn on, the seam being
hidden by a girdle buckled over
it. Even with the coats that
widened gradually the girdle
was now worn higher up, to
keep in place the pleats of the
coat. In most cases, however,
these pleats were sewn down
when the coat was made.
This last style of coat, the

sleeves of which were long and
full, or tight and half-length, or
long, wide, and pendent, was
mostly open at both sides from
the foot to the hips, and had all
the edges trimmed with fur.
These coats (Fig. 1.), widening
downward, were made to fit
the body closely; the skirt was
sewn on in such a manner that
the pleats in it reached into the
upper part in the shape of
thick, pointed scallops (Fig. 2.).

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Fig. 1.,2. Italian men’s dress, 15th
century
The skirt was sewn to the body

of the coat as follows. In the
bottom edge of the upper part
was cut a long, narrow gusset
for each pointed scallop. The
upper edge of the skirt, which
was straight and wide, was
shaped into an equal number
of scallops, as long as the
gussets, but much broader.
These were sewn to the top of
the skirt so that each formed a
roll that increased in width
downward. Each of these rolls
represented a pleat whose size
varied with to
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scallops.
The coat was then arranged for Close and accept

buttoning down to the
abdomen. Besides these
somewhat long coats, the
Italians also wore the short,
close-fitting German jacket, but
with wide, slashed sleeves. In
ceremonial dress or dress
indicating distinction the long
over-garments continued
almost exactly as they had
been in the fourteenth century.
Italian Captain 1490
They were, if anything, even

longer, and open all down the
front. The increase in width
began only at the breast, and if
twice or fourtotimes
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the material
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was
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gussets at the sides. The
sleeves of the long over-coats
were of all kinds. They were
mostly long and, especially in
front, very wide. Sack sleeves
were also worn, the opening for
the hand being at the wrist and
as tight as possible.
Fur trimming continued in the

15th century. When, during the
second half of the 15th century,
long, wide over-coats again
became the universal fashion in
Italy, as elsewhere, they
showed a great variety of
shape, due more to small
changes of detail than to any
great change of general cut.
The cut of the tunic was, strictly
speaking, the same as before.

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Italian costumes 1460 – 1500.
Usually it reached to the feet,

sometimes to the ankles, and
sometimes only half way down
the calf. The width showed
similar variation, but the coats
were never so tight that the
wearing of a girdle did not
cause numerous folds round
the body. A girdle was not
always worn,
agree to their use.but when it was
used it was a richly ornamented
leather belt worn obliquely, or
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a thick cord, or a long shot silk
sash. Sometimes the coat was
fitted with a small strap,
through which the cord or belt
was passed and tied according
to taste.
There were other changes in

these long over-garments. They
were either closed all down the
front or had merely a long
opening at the breast. The neck
was high or low, round, oval, or
square, and the coat was fitted
either with an erect collar or
with a hood. Toward the end of
the century the practice came
in of omitting sleeves
altogether (Fig. 3. 4.) or of
making them like those of the
German Tappert — i.e., open
down both sides from the
shoulder—or they were more or
less tight instead of wide as
hitherto.

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Fig. 3. 4. Italian men`s dress, 15th
century
When the fashion of tight

sleeves for the long coats came
in the cut of the coat also was
slightly changed. Instead of
gradually widening from the
breast down, it fitted closely
down to the hips, the widening
beginning there. This style
usually had a long opening at
the breast, which could be
buttoned, but it was sometimes
preferred to have it open all
down the front, with a
drawstring by means of which it
could be open or closed at will.

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14th century. Lordship costumes. Italy.
Cavalcade Visiting a Lord. Taken from a
painting by Michele Mattei da Bologna,
at the Venice Picture Gallery.
Unpublished drawing. – XIVe SIÈCLE.
Costumes Seigneuriaux. Italie.
Cavalcade Visitant un Seigneur. Tiree
d’un peinture de Michele Mattei da
Bologna, à la Pinacothèque de Venise.
Dessin inédit.
Beneath this long over-garment

was worn either a long or a
short coat, or even a kind of
jacket. The trimming was
usually a narrow edging of fur
or colored material; very o en
the entire jacket was lined in
the same way. This jacket was
wide and open in front, and
both sides of the front were
very wide, so
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thrown back. This extra width
atcookies,
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a wrap by being continued

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round the neck as a fall-over
collar. Mi-parti was sometimes
introduced into the long
overcoats.
The under-coat usually worn

beneath the overcoat was of
the same shape, except that it
was much shorter and tighter,
and in particular had short
sleeves. Speaking generally, the
under-coats were closefitting,
the skirt gradually widening
from the hips down. The neck
was in most cases high rather
than low, and usually had a
low, upright collar. The breast
was made to button.

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Hose were still close-fitting.
They were not very di erent
from what they had been at the
end of the fourteenth century.
Made of elastic material, the
hose (which now had feet)
came up to the hips and were
sewn together both between
the legs and down back and
front, so that they completely
covered the lower part of the
body all round.
They were fastened either with

a belt or with a cord drawn
through the top hem, or were
connected with the foot of the
jacket by strings or buttons.
Hose made of less elastic
material could not be joined in
this fashion unless they were
first widened greatly at the
seat, for the wearer could
neither have stooped nor sat
down in them.
At the end of the fourteenth

century a beginning had
already been made with this
widening i.e., the wearer’s seat
was covered by a broad gore.
This was not, however, sewn to
the hose. During
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to use this second you
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half of the fi eenth century a
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was found—the
gore and the hose were cut Close and accept
much wider, even somewhat
convex.
When the hose were sewn

together there was produced
an enlargement which
prevented actual strain, but still
le an uncomfortable
tightness. In front the hose
were joined, as in former times,
by a pouch-shaped flap which
closed them. These hose, made
of coarse material, were
fastened at the top in exactly
the same way as the elastic
variety, except that no cord was
needed, as they were made to
fit better above the hips than
those made of elastic material
and were not so likely to slip
down. (See Figs. 5.-7.)

Fig.5.-7. Hose pattern 15th century
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wide cape
over back and shoulders, Close and accept
without either sleeves or
armholes, went entirely out of
fashion in Italy in the first half
of the fi eenth century. On the
other hand, the coatshaped,
wide plaids were in general use
in rough weather. Some of
them were more like a cloak
than a coat.
They were simply square pieces

of material hanging over both
shoulders down to the knees,
with elongated armholes at the
sides. They could be worn
either like a Roman toga or
down the back like a cloak. The
voluminous folds gave them a
handsome appearance.
Fig.8.
9.
Italian
men’s
dress,
15th
century
There was another kind of

wrap, which, although similar
to that just described, was
really more like the sleeveless
over-coats, only much wider
(Fig. 8.).
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dark material, lined with
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brighter
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more,. They were
semicircular, and had
armholes. The great width Close and accept
across the breast was disposed
of by being turned back and
outward at both sides.
Sometimes flaps of this kind
were added to wraps of a
di erent shape; they were
connected by means of a collar
that reached some way down
the back. To wraps of this kind
a shoulder-collar (or real cape)
was added, completely hiding
the armholes. This garment
was something like a close-
fitting tunic across the breast,
but was much wider behind.
These collars were variously
shaped, and many of them
were very peculiar. (See Figs. 9.
and 10.)

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Fig. 10. Collar of Fig. 9.
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Not content with these wraps,
dandies sometimes decked
themselves out in the various
short and close-fitting
shoulder-capes then current in
France and Germany. The
toghe, a shoulder-cape
reaching to the feet and
gathered at the breast, was
worn during the fi eenth
century only as part of
ceremonial dress. Footwear
underwent little change during
the fi eenth century, and only
the tops, shape, and trimming
of shoes were altered. Of all the
various styles of shoes, the
wide, ankle-high variety was
the most popular. These were
made of some so leather, and
ornamented with a broad strap,
usually white. Low-cut shoes of
this kind were usually kept in
position by means of a strap
across the instep.
Women’s Dress.
Women’s over-dresses
underwent some very
important alterations during
the second
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century. Thetofirst
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aToected
find outthose garments
more, including howwhich
to control
began to widen from the bust
down. These were made still Close and accept
more voluminous by the
insertion of larger and more
numerous gores or gussets. The
height or lowness at the neck
continued to be a matter of
individual choice. Older ladies
wore high-necked dresses, and
younger ones favoured a low
neck or an open, V-shaped
front. The sleeves lost their
amplitude, and were either
quite close-fitting or of a
moderate and equal width
throughout, but they were now
so long that they extended
beyond the hands and had to
be thrown back.

Elisabeth Freschi 1464. Tuscan and
Venetian Ladies 1460-80. Unpublished
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paintings from the Libraries of Trieste,
Venice etc.
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These dresses were usually
worn without a girdle, but one
was sometimes worn to assist
in tucking up the dress and
thus to correct its extreme
length. Something quite new
was the use of thick patterned
silks and velvets, interwoven at
times with silver or gold. As
these materials were very
heavy, and could be draped
only in large folds, the cut of
the dress had to be altered so
that the sti ness of the material
should not unduly interfere
with freedom of movement.
Fig. 11.
Pattern
of close-
fitting
brocaded
dress of
Italian
women,
15th
century
Previous to any change in the

cut, however, the long train was
abandoned with these sti
dresses. Trains were worn only
on great occasions, and were
then borne by attendants. On
the whole, the
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the same
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out more, as before.
including how toThey
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were see here:
either Cookie Policyor wide
close-fitting
all the way down. But both Close and accept
styles su ered some change in
cut. The style that was close-
fitting down to the hips was
made open down the whole
front; the two front wings were
laced across the breast. The
dress was usually le open
from the waist down, although
buttons and buttonholes were
provided. The sleeves were as
tight as possible, but very long
—down to the tips of the fingers
— and slashed longitudinally or
across at the elbows, revealing
a pu made of some delicate
tissue disposed in folds.
There was also a change in the

back. It was divided
longitudinally, and shaped at
the waist somewhat a er the
manner that had previously
been restricted to the sides.
The two edges were then sewn
together, a perfectly close fit
being thus produced. The
gussets at the sides extended
up to the hips; they were not
now pointed at the top, but
were blunted or rounded.
Fig. 12.
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agree to their use. dresses
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the
15th Close and accept
century.
In order to secure a perfectly
close fit at the back, the back
was separated from the skirt.
Both were shaped to some
extent at the sides and again
sewn together. The longitudinal
folds that appeared in the
dresses made of sti material
were ironed in with a warm
rounded iron. Dresses that were
wide from the shoulders down
were cut in the same way as
those made of thinner
materials, but in their case the
neck was low and the front slit
extended to below the breast
(Fig. 12.).
Other di erences were due to

the manner of making rather
than to the cut. The back and
front (each being made of
suitable width by the insertion
of gussets) were sewn together
only on the shoulders. The
sides were le open, either all
the way or at least from the
hips down. In both cases the
unjoined parts were loosely
laced together. If the dress was
open
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sewn
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Italian
noblewoman
1520
This, however, was not always

done with a continuous seam—
the sleeves were sometimes
attached to the dress by small
buttons sewn on short
distances apart, so as to reveal
pu s of delicate tissue
disposed in folds. The same
delicate material peeped out
from all the slashes—at the
elbows, at the back of the
upper arm and forearm, and
sometimes also at the front of
the upper sleeve. These slashes
were held in place by small
buttons or by loose lacing.
Fig. 14.
Italian
women’s
dress
second
half of
the 15th
century.
The sleeves were close-fitting

on the forearm and gradually
widened from the elbow to the
shoulder. Sometimes, too,
these dresses were worn with
short sleeves
agree to their use.reaching only to
the elbows, and occasionally
they had no sleeves at all. In
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both cases the similarly slashed
sleeves of the dress worn
beneath were visible. In these
under-dresses the bodice and
the skirt and sometimes even
the sleeves were not
infrequently made of di erent
materials.
By Carl Kohler
Source:
– A history of costume by Carl

Köhler. EDITED AND
AUGMENTED BY Edited and
augmented by Emma von
Sichart. New York, G. H. Watt
1930.
– On the history of costumes.
Münchener Bilderbogen. Edited
by Braun and Schneider 1860.
– Iconographie générale et
méthodique du costume du IVe
au XIXe siècle. Collection
gravée à forte d’après des
documents authentiques &
inédits par Raphaël Jacquemin.
Paris 1869.
Related:
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Italy. Fashion of the Venetian
nobility in the 16th century.
Fashion under the Reign of Francis

I. 1515 to 1545. French Renaissance. Close and accept
Fashion under the Reign of Henry II.
1547 to 1558.
Fashion under the Reign of Francis

II. 1559 to 1560.
Fashion in the Reigns of Henri IV.

and Louis XIII. 1590 to 1614.
Italian Lace History. Reference List

of Italian Laces.
The Society of La Calza, Venetia

14th century
Soldiers from Lombardy and Venice

in the 16th century.
Isabella d’Este with the famous

Capigliari headdress.
Costume Milan Italie médiévale.
Venetian seigneurs. Nobles of

France and Italy. 16th c.
The Venetian
gondola and
gondolier in the 15th
century.
Costumes historiques des XIIIe,
XIVe et XVe siècles. Gondole
Vénitienne. The Venetian gondola
and gondolier in the 15th century.
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Two ladies of Siena. Italy 13th

century fashion.
Antonio Tebaldeo. Italian poet of

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Italian fashion his-

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Top row le : Dress of the Viktor

Bottom row le : Dresses of a

Italian fashion history.

The angel Raphael with the young

In the fi eenth century Italian

dress by far more lavish Close and accept

In Italy, as in other countries,

Italian 14th century. Italienne au XIV Lady of Florence, 1450. Dame de

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This last style of coat, the

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The skirt was sewn to the body

The coat was then arranged for Close and accept

Italian Captain 1490

They were, if anything, even

Fur trimming continued in the

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Usually it reached to the feet,

There were other changes in

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When the fashion of tight

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Beneath this long over-garment

a wrap by being continued

The under-coat usually worn

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They were fastened either with

At the end of the fourteenth

When the hose were sewn

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They were simply square pieces

There was another kind of

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Previous to any change in the

There was also a change in the

Other di erences were due to

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This, however, was not always

The sleeves were close-fitting

– A history of costume by Carl

Fashion under the Reign of Francis

Fashion under the Reign of Francis

Fashion in the Reigns of Henri IV.

Italian Lace History. Reference List

The Society of La Calza, Venetia

Soldiers from Lombardy and Venice

Isabella d’Este with the famous

Costume Milan Italie médiévale.

Venetian seigneurs. Nobles of