A short history

of costume
• The Tunic or Chiton was the principal vestment both of men and of women,
that was worn next to the skin was the tunic. It was in a light fabric; in earliest ANCIENT GREEK
times made of wool, of fax, of fax mixed with silk, or even of pure silk. Its body
was in general composed of two square pieces sewed together on the sides. It
could be sleeveless, or have very long and wide sleeves. Most usually, however,
CLOTHING
the body of the tunic branched out into a pair of tight sleeves reaching to near
the elbow. The tunic was worn by females quite loose, or confned by a girdle.
From Greek vases and paintings we learn that the tunic was often richly
adorned with sprigs, spots, stars, and that it was frequently worn without any
other more external garment.
• The peplum constituted the outermost covering of the body. It was worn by
both sexes, but was chiefy reserved for occasions of ceremony or of public
appearance; in its texture as in its shape it was similar to our shawl. In rainy or
cold-weather it was drawn over the head. At other times, it was adopted by
men and women when in mourning, or when performing sacred rites. The
peplum was never fastened by clasps or buttons, but prevented from slipping
off only thanks to the intricacy of its own involutions. All the goddesses of the
highest class, Aphrodites excepted, wore the peplum; among the Greeks the
peplum never had, as among the barbarians, its whole circumference adorned
by a separate fringe, but only its corners loaded with little metal weights or
drops, in order to make them hang down more straight and even.
Roman men generally wore two garments, the tunic ANCIENT ROMAN
and the toga. The tunic was a short woolen under CLOTHING
garment with short sleeves. It was originally worn
mainly by the working class plebs and slaves, though its
function as an undergarment for any class of people is
attested. While the toga was specifcally meant as a
public display garment, the tunic was also worn by any
people within their own homes.
The tunic worn by patrician men was made of white
wool or expensive linen, while the poor used to wear
cheaper fabrics.
The classic toga was a garment that only actual citizens
were allowed to wear. Its purpose was to indicate a
peaceful attitude, as opposed to the sagum cloak,worn
during times ofwar. During the time of Augustus he
implemented a strict moral code requiring the toga to
be worn on all occasions of public life. As time passed
and Roman tradition absorbed new cultures, these
rules became less strict.
The more comfortable tunic, covered by a cloak,
became commonplace.
Togas were not all the same and each type was used to
indicate a well-determined status or title.
 The history of medieval clothing is strictly connected to the
MEDIEVAL CLOTHING Sumptuary Laws. The word sumptuary comes from the Latin word
which means expenditure. Sumptuary Laws, which dated back to
the Romans, were imposed by rulers on people in order to limit
their expenditure, to control their behaviour and to ensure that a
specifc class structure was maintained. They might apply to food,
beverages, furniture, jewelry and clothing.
Sumptuary Laws of the Middle Ages. According to the Sumptuary
Laws of the Middle Ages only wealthy people could dress in
fashionable clothes. The penalties for violating Sumptuary Laws
could be harsh - fines, the loss of property, title and even life.
Since medieval society was organised according to the feudal
system, medieval clothing followed its pyramid of power. The frst
record of sumptuary legislation is an ordinance of the City of
London in 1281 which regulated the clothing of workmen. These
laws related to workers who had working clothes supplied by their
employer as a part of their wages.
There were other numerous sumptuary laws in England during the
following centuries, among which some are to be remembered:
1. The English Sumptuary Law of 1337, that was designed to
promote English garments and restrict the wearing of furs.
2. The English Sumptuary Law of 1363 that established more rules
to distinguish people from different social classes.
• The Renaissance was a cultural movement that began in Italy in the late RENAISSANCE CLOTHING
Middle Ages and then spread to the rest of Europe between the 14th
and the 17th century. It encompassed the revival of learning based on
classical sources, the development of perspective in painting, and
advancements in science. The Renaissance had wide-ranging
consequences in all intellectual pursuits, but is perhaps best known for
its artistic aspect and the contributions of such polymaths as Leonardo
da Vinci and Michelangelo, who have inspired the term “Renaissance
men”.
• Renaissance fashion and costumes mirrored the advancing culture.
Nobility dressed themselves in elaborate and brightly coloured robes,
gowns and other vestments [Both gowns and robes are long garments.
Robes are loose garments such as bathrobes or the black robes that
court judges wear. Gowns can be tight and fancy such as women's
wedding gowns, girls' prom dresses, and what female celebrities wear
at the Golden Globes. There are loose-fitting gowns such as doctors'
white gowns, graduation gowns, and your nightgowns] .
• The upper class reserved silk for themselves, and in some areas,
peasants were forbidden to possess it. Embroidery of gold and silver
thread were sewn to draw and depict scenes from legends, nature or
religion. Rich people adorned themselves in jewelry, furs, and elaborate
belts. Fashion represented a status symbol, in fact it was usually the
wealthy or ruling class that drove Renaissance fashion. However, one
very popular fashion trend, the technique of “slashing” was originated
within the lower classes.The beret was also invented during these
times, it could be highly decorated by either jewels or embroidery.
Fashion in Stuart Times
King Charles I
The King elegantly rests his right hand on a stick, the Riband and
badge of the Order of the Garter across his breast. The design must
have pleased the King since he gives for the artist the nomination of
Pictor Regius (King’spainter). The portrait may be the picture for
which in 1628 Mytens received £40. Mytens’ portraits were not
retained by the King, but despatched to friends, servants and officials
overseas.
Charles wears a doublet(1) of brownish plum-coloured silk with a
sharply pointed V shaped waistline. Below the waist at the front are
four stiffened laps(2) decorated with silver braid and gold silk satin.
The doublet is paned across the chest, revealing a gold coloured silk
lining, and the sleeves(3) are constructed in stiffened strips of the
same fabric. Tightly spaced buttons(4) stretch from neck to waist.
Around the waist line are ribbon bows(5) tipped with meta laglets
The gentleman represents the “cavalier”
fashion; the waistcoat replaced the Men’s attire to 1640
doublet. The sleeves were open at the
seam revealing the full sleevers of the
shirt. A large falling band, which spread
from shoulder to shoulder, hid the
necklines of the jerkin. The long-legged
breeches fell to just below the knees. The
short cloak hung from one shoulder. A
shoulder belt, supporting the sword, was
slung across the body. The hat, slightly
cocked on one side, was trimmed with
feathers. Short leather boots with tops
of soft leather added the finishing touch.
 Women’s dresses about 1640
Women’s dresses consisted of the bodice, the petticoat and the
gown. The low décolletage was covered by a broad bertha collar
and a neckerchief. The characteristic skirt of the period was in fact
two skirts, the overskirt being gathered up to reveal the skirt
underneath. Hair was generally worn rather flat on the top of the
head, with thick curls at the sides. The hood or chaperone was
often silk lined and worn only for outdoors. A half-mask of black
velvet covered the upper part of the face: masks were very popular
and used to protect skin from the sun. A fur stole was worn around
the neck and shoulders, and a large matching fur muff was carried
in the hand
Puritan women’s clothes were very
simple, severe and dark in colour.
Puritans
Most forms of decoration were
banned during the Commonwealth,
even the invention of starch was
denounced as a new vanity. A linen
apron over a dark simple woollen
dress, with wide turned-back linen
cuffs and a deep linen collar was the
distinctive Puritan costume.
The hairstyle was very simple too:
only a linen cap covered the head.
Puritan men wore a wide brimmed
hat, a short coat and knee-length
trousers always in plain dark colours
Re-read
Puritan Men

Noblemen
Renaissance in England Henry VIII Elizabeth 1st
• The Elizabethan Era, that is the period associated with the reign of Queen Elizabeth I (15581603) is often considered to be a golden age in English
history. This was the time during which the Elizabethan theatre fourished and William Shakespeare, among others, composed plays that broke away
from England’s past style of plays and theatre.
• Elizabethan clothes were gorgeous and elaborate, mirroring the prosperity and energy of the age. Queen Elizabeth herself provided an extravagant
fashion model. Elizabethan dresses were characterised by puffy sleeves, tight fitting bodices of dresses, and ruffes which showed status in society.
Elizabethan women wanted their clothing to have broad shoulders, wide hips, and slim waists. During this period the decorative techniques of dagging
and slashing were used to distinguish and beautify garments. Both dagging and slashing illustrated the growing importance of intricate, unique details
in fashion in the Renaissance. Dagging was commonly used to distinguish and beautify the fifteenth-century clothing. It involved cutting a series of
patterns in the edges of fabric. Those patterns, or dagges, could be long U or V shapes, or complex leaf-like designs. Beginning in the fourteenth
century and proceeding well into the ffteenth century, daggeswere cut into the edges ofsleeves andhemsofbothmen’s andwomen’s garments.
• The decorative technique known as slashing involved making small cuts in the outer fabric of a garment so as to reveal the inner lining. The practice of
slashing was introduced by Swiss army troops in Burgundy (France) in 1477. As with dagging, slashing was performed on all varieties of garments;
coloured pieces offabric poked out from underneath an outer garment , and it remained popular in Europe through the 1500s. These techniques have
been seen in various fashion trends throughout human history, from Roman togas and tunics to the use of fringe on shirts in the twentieth century.
Fashion in Tudor Times: BAROQUE AND THE 17th CENTURY

• Baroque roughly corresponds to the 17th century.This style started around 1600 in Rome and
spread to most of Europe. It is a style that expresses drama, tension, exuberance, and grandeur
in sculpture, painting, literature, dance, and music. Fashion is characterized by the
disappearance of the ruff in favor of broad lace or linen collars. Waistlines rose through the
period for both men and women. The silhouette, which was essentially close to the body with
tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened.
Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the
voluminous sleeves of the shirt or chemise beneath. Other notable fashions included tall or
broad hats with brims for men, while hose disappeared in favour of breeches. In the period
1650-1700 clothing was characterised by rapid change, men’s clothing sobered into the coat,
waistcoat and breeches costume that would reign for the next century and a half. For women,
the wide, high-waisted look of the previous period was gradually superseded by a long vertical
line, with horizontal emphasis at the shoulder. Full, loose sleeves ended just below the elbow at
mid century and became longer and tighter in keeping with the new trend.The body was tightly
corseted, with a low, broad neckline and dropped shoulder.
BAROQUE AND THE 17th CENTURY

Baroque roughly corresponds to the 17th century. This style started

around 1600 in Rome and spread to most of Europe. It is a style that
expresses drama, tension, exuberance, and grandeur in sculpture,
painting, literature, dance, and music. Fashion is characterized by
the disappearance of the ruff in favor of broad lace or linen collars.
Waistlines rose through the period for both men and women. The
silhouette, which was essentially close to the body with tight sleeves
and a low, pointed waist to around 1615, gradually softened and
broadened. Sleeves became very full, and in the 1620s and 1630s
were often paned or slashed to show the voluminous sleeves of the
shirt or chemise beneath. Other notable fashions included tall or
broad hats with brims for men, while hose disappeared in favour of
breeches. In the period 1650-1700 clothing was characterised by
rapid change, men’s clothing sobered into the coat, waistcoat and
breeches costume that would reign for the next century and a half.
For women, the wide, high-waisted look of the previous period was
gradually superseded by a long vertical line, with horizontal
emphasis at the shoulder. Full, loose sleeves ended just below the
elbow at mid century and became longer and tighter in keeping with
the new trend. The body was tightly corseted, with a low, broad
neckline and dropped shoulder.
 Man fashion in Georgian times
Male dress consisted of a coat, a waistcoat and
breeches. The coat(1) was collarless, close-
fitting to the waist, and flared out in skirts of
varying length. There was one vent at the back
and one at each side with a row of buttons
from neck to hem. The sleeves(2) were turned
back and buttoned at the elbow to show the
ruffle of the shirt. A waistcoat(3) generally as
long as the coat and buttoned all the way
down the front, was worn beneath the coat.
The back was generally made of less expensive
material. The uppers of the shoes finished in
square tongues, the sides were closed and
they were fastened by straps and buckles over
the instep. The wig(4) was sometimes black,
but it was generally covered with white
powder. Thethree-cornered hat was commonly
used and the usual colour was black
 Women’sdresses
The most popular style of this period was the open robe
style. It consisted of a bodice joined to an open-fronted
skirt, in the shape of an inverted V, to show the petticoat.
The bodice was stiffened with whalebone and ended
slightly below the normal waistline, which was also open
in front, with decorative robings. The opening of the
bodice revealed a stomacher, decorated with ribbon bows.
The skirt was distended sideways by means of an oblong
hoop made of whalebone or rods of osier. Hence the word
‘panier’, French for basket. The sleeves, which ended just
above the elbow, were close-fitting and decorated with
ruffles of lace. The petticoat was flounced. The sack gown,
typical of this century, was a comfortable dress, rather
shapeless, with box pleats in the back
THE EFFECTS OF THE FRENCH REVOLUTION ON COSTUME...

The French Revolution was a period of political and social

upheaval in the history of France, which resulted in a major
change from absolute monarchy to nationalism, citizenship
and inalienable rights. The country saw the rise of people
against the monarchs, who were beheaded, together with a
large number of people belonging to the high classes. It was
a time of social unrest and of pursuit of liberty.
Men and women expressed this change through their
costume, which moved from being bound to being free. This
was also a period of strictest simplicity in fashion. Everybody
wanted to look like a commoner and not a nobleman.
Cotton was preferred to silk, velvets, lace and ribbons.
Colours were darker and no extravagance was admitted. As
women’s clothes became simpler, any famboyance was
avoided and became a subject of satire. Men’s costume
became more practical. Clean simple cuts of jackets and
trousers came into fashion. Trousers (pantaloons) worn by
common men became the fashion statement of the day. The
changes in public feelings and thought processes were based
on the political events of the period. It is really interesting to
see the political effects on fashion.
Empire style
during last years
of Georgian times
THE VICTORIAN AGE: fashion in the 19th century
This age was characterised by a great social disparity;
on one side, great advances in technology and
industrial processes in Europe and America created
great prosperity, while the colonial expansion was
encouraged by the need for imported raw materials
and overseas markets. On the other hand, poor people
lived in slums, deprived of education, sanitation and
civil rights. The luxury and splendour of the French
court established Paris as the centre of feminine
fashion; in England,Victorian clothing was bound by the
growth of rigid conventions which dictated the ‘correct’
dress for every occasion; from around the 1850s good
cloth in sober colours and immaculate tailoring became
increasingly important. It was left to lively members of
the working and lower-middle classes or the nouveau
riche to indulge in more extravagant garments
An enormous variety ofstyleswasworn bywomen during this half-century.The invention ofthe
sewingmachine encouraged over-elaborate decoration, and the introduction of aniline dyes
produced some garish colours. The invention of the steel-framed crinoline in 1856 provided some
relief from the enormous weight of stiffened petticoats and ever-widening skirts. By the 1860s the
shape ofthe framebecame fattened at the front, spreading and widening at the back and evolving
into the bustle by the 1870s. In the 1860s Charles FrederickWorth, an Englishman, became chief
dressmaker to the French court, opening the way for the eventual development of Parisian Haute
Couture, so that the name Worth became synonymous with Paris fashion. Wealthy and fashionable
ladies considered it necessary to have a different outft for mornings at home, visiting, taking tea,
dinner or garden parties, the opera or balls, not to mention special gowns for weddings,
presentation at court, and sporting costumes. Itwasa livelyperiod in the
theatre,andactorsbegantobeaccepted in respectable society; Sarah Bernhardt and Eleonora Duse
were admired for their style of dress as well as for their histrionic ability. Famous beauties and
actresses began to exert more infuence on fashion. The American style of dress, easier and rather
sporty, was typifed in the 1890s by the illustrations of Charles Dana Gibson and known as the
‘Gibson Girl’ look; and it was during this period that the American fashion magazines Harper’s
Bazaar (1867) and Vogue (1893) were launched, both notable for their high standard of
presentation, and extending into English and French editions during the next century. This period
also saw the opening of fashion stores such as Macey’s (1858) and Nieman Marcus (1897) in
NewYork and Liberty’s (1875) in London. There was a great increase of sporting activities, for
women as well as men (particularly between 1870 and 1900) which required special clothing - riding
habits, tailored suits for golf, shorter skirts for tennis; and from the late 1860s bathing costumes
Women’s dresses about 1840
• Low-waisted skirts(1) were long, full and
gathered at the waist. They were supported by
means of a number of petticoats. The bodice(2)
was close-fitting with a V-shaped necked pelerine.
The sleeves(3) could be tight or with a swelling
over the lower arm; shawls were also popular.
Hair(4) was usually parted in the middle with
ringlets; the bonnet(5) was trimmed with lace.
• Men’s garments: Trousers(6) were close fitting
and fastened under the shoes. Men wore a
redingote(7) orfrock-coat with a velvet collar and
revers. A small cravat(8) kept the shirt collar
against the cheeks. It was fashionable to carry a
cane. The male fashion of this period was
whiskers and a moustache(9)
In 1856 skirts expanded even further, creating a
1850s 1860s dress
domeshape, due to the invention of the first
artificial cage crinoline. The purpose of the
style
crinoline was to create an artificial hourglass
silhouette by accentuating the hips, and
fashioning an illusion of a small waist, along with
the corset. The cage crinoline was constructed by
joining thin metal strips together to form a
circular structure that could solely support the
large width of the skirt. This was made possible
by technology which allowed iron to be turned
into steel, which could then be drawn into fine
wires. Although often ridiculed by journalists and
cartoonists of the time as the crinoline swelled in
size, this innovation freed women from the heavy
weight of petticoats and was a much more
hygienic option
The changing about acceptable activities for
women also made sportswear popular, as the
bicycling dress and the tennis dress. Tailored
The birth of sports wear
clothes, adapted from the men’s tailoring,
were worn for outdoor activities and traveling.
The shirtwaist, a costume with a bodice or
waisttailored like a man’s shirt with a high
collar, was adopted for informal daywear of
working women. Walking suits featured ankle-
length skirts with matching jackets. The notion
of “rationaldress” for women’s health was a
topic in 1891, which led to the development of
sports dress. This included ampleskirts with a
belted blouse. In addition, cycling became very
popular and led to the development of “cycling
costumes”, which were shorter skirts or
“bloomers” which were Turkish trouser style
outfits. By the 1890s, women bicyclists
increasingly wore bloomers in public and in the
company of men as well as other women
THE EDWARDIAN AGE
The Edwardian Era lasted from 1901 to 1910, during which
Edward VII reigned. However, in its broader interpretation,
the spirit of the Edwardians stretched from 1880 until the
outbreak of the Great War in 1914 (The French called the
era from 1895 to 1914 La Belle Époque). It was a period of
beautiful clothes and it was considered as the peak of
luxury, but just for a small minority of people.
The attitudes and lifestyles of these two decades were
swept away by war, after which, the masses started to
reject the concept of privilege.
The bustle disappeared from day dresses and the new day
skirt style was fared over the hips from the waist and then
graduallywidenedatthehemline.
By 1895 the leg-of-mutton sleeves swelled to gigantic
proportions and were also used on décolleté evening
dresses. The size of the sleeves was highlighted by the
comparison of the tiny waist against the simple gored skirt
that fared out all round to balance the massive sleeve
The fashionable hour-glass silhouette belonged to
the mature woman of ample curves and full bosom.
The S-bend corset was tightly laced at the waist and
so forced the hips back while the bosom was thrust
forward, creating an S shape. During this time it
was still usual to make dresses in two pieces. The
bodice was heavily boned and was almost like a
mini corset itself worn over the S-bend corset. By
1905 press fasteners were used in Britain to hold
the bodice or blouse to a skirt, but America had
dress fasteners as early as 1901. The high collar, S
bend corset, trained skirt and lavish hat all had an
effect on the posture of an Edwardian lady and it
gave her a certain swaying grandeur. Between 1906
and 1909 the silhouette began to show gradual
changes and skirts lost fullness and the silhouette
straightened. Feet showed again. Within a decade,
anyway, clothes becamemuch more versatile;
women whowere entering a changing,more
commercial workplace found it useful to have a
simpler outft.
Clothing styles have always mirrored the main attitudes of the times and FASHION IN THE 1960s
this is certainly true of fashion in the 1960s. The decade was marked by
a great social change and by the domination of youth culture and
designers responded with a new daring approach, offering colourful
fabrics and bold designs. Mod, short for ‘modern’, refers to a youth
lifestyle that emerged from London during the 1960s, and quickly spread
to America, Europe and Australia. The fashion ofthe 1960s saw the
rejection ofconventions ofthe previous eras. In the past, attire had been
divided into ‘formal’ and ‘casual’ wear, and distinct separations were
made between the styles of clothing worn by men and women. In the
1960s clothing broke with social traditions that dictated what could be
worn when and by whom. Unisex clothing appeared, for example denim
jeans, which could be worn by both sexes. Mod fashion was slim ftting
and featured bold geometric shapes.
Colour was also a key concern; the conservative greys, browns and
pastels of the 1950s were replaced by bright, wild hues. In contrast to
fashion trends of the past, these garments were mass-produced and
affordable. The 1960s saw the appearance of the mini-skirt. Up until that
time, skirts and dresses fnished at the knee. New soaring hemlines
created huge controversy when they frst appeared, exposing
centimetres of thigh never before seen in public. Mini-skirts represent
more than just a fashion landmark of the decade; they became an icon
of the general culture of rebellion that characterised the 1960s. Many
followers of the feminist movement of the 1960s also saw the mini-skirt
as a claim to the right of women to proudly display their bodies as they
wished. Throughout the 1960s, a number offamous people sported
distinct fashion styles that were copied all over the world.
 The Hippie Movement
Towards the end of the 1960s, the hippie movement appeared. Many
young people had become dissatisfed with the prevailing social values,
while others strongly opposed American involvement in the VietnamWar.
Many people embraced communal living and a nomadic lifestyle,
explored Eastern religions, experimented with drugs and adopted a
rebellious style of dress.
Clothing styles and fabrics were inspired by non-Western cultures, such
as Indian and African. Natural fabrics and tie-dyed and paisley prints
were also popular. Many people handcrafted their own clothes and
accessories, while personal items were often decorated with beads and
fringes. Bare feet or leather sandals were typical hippie fashion and
fowers and peace signs became symbols of the movement.
The hippie movement also infuenced other clothing styles. Denim jeans,
which had remained a staple item for many young people throughout
the decade, were inspired by hippie fashion. New styles of denim jeans
emerged, such as the bell-bottomed, tie-dyed, marbled and painted
jeans. Innovative synthetic materials like polyester, plastic, PVC and vinyl
enjoyed huge popularity throughout the decade.
New blended fabrics were also developed, mixing man-made fbres with
natural materials like cotton and wool. Prompted by the animal rights
movement, new fabric technology also produced the frst artifcial fur and
leather fabrics.
Fashion from the Windsors to the 2000s
Technology, science, and inventions progressed at an accelerated rate
during the hundred years of the 20th century, more so than during any
other century. The 20th century began with the infancy of airplanes,
automobiles and radio, when those inventions dazzled people with their
novelty and wonder, and ended with spaceships, computers, cellphones,
and the wireless Internet all being technologies that today we take
forgranted. The 50s have always been described as a conservative period
socially, however, advancements in technology were about to change all
that. During the 50s, television became the dominant media. Television
broadcasts became our number one source of news, information, and
entertainment. This has changed our world forever
 Fashion from the Windsors to the 2000s
• The 60s have been described by historians as the ten years having
the most significant changes in history. By the end of the 60s
humanity had entered the space age by putting a man on the
moon. The 60s were influenced by the youth of the post- war baby
boom, a generation with afondness for change and far out
gadgets.
• The 70s began the age of the practical computer made possible by
the invention of the floppy disk and the microprocessor that
occurred during the 70s.
• Many of the most popular consumer products still around today
were invented in the 80s, for example: cellphones and home
computers.
• The 90s saw the invention of the Internet and the rise of
Microsoft. The 90s saw the invention of genetic engineering, as
well as cloning, and stem-cell research
• Womenabout1903Thefashionableladie
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