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Twelfth- and thirteenth-century medieval French texts reveal the presence of a developed fashion system long before the previously accepted birth of Western fashion in the mid-fourteenth century. How are we to distinguish between a culture organized around fashion, and one where the desire for novel adornment is latent, intermittent, or prohibited? How do fashion systems organize social hierarchies, individual psychology, creativity, and production? Medieval French culture offers a case study of "systematic fashion", demonstrating desire for novelty, rejection of the old in favor of the new, and criticism of outrageous display. Texts from the twelfth and thirteenth centuries describe how cleverly-cut garments or unique possessions make a character distinctive, and even offer advice on how to look attractive on a budget or gain enough spending money to shop for oneself. Suchdescriptions suggest fashion's presence, yet accepted notions date the birth of Western fashion to the mid-fourteenth-century revolution in men's clothing styles. A fashion system must have been present prior to this 'revolution'in styles to facilitate such changes, and abundant evidence for the existence of such a system is cogently set out in this study. Ultimately, fashion is a conceptual system expressed by words evaluating a style's ephemeral worth, and changes in visual details are symptomatic, rather than determinative. SARAH-GRACE HELLER is an associate professor in Medieval French at Ohio State University.
A comprehensive study of dress in Northern Europe from the early fourteenth century to the beginning of the Renaissance,Illuminating Fashion is the first thorough study of the history of fashion in this period based solely on firmly dated or datable works of art. It draws on illuminated manuscripts, early printed books, tapestries, paintings, and sculpture from museums and libraries around the world. "Symbolism and metaphors are buried in the art of fashion," says Roger Wieck, the editor ofIlluminating Fashion. Examining the role of social customs and politics in influencing dress, at a time of rapid change in fashion, this fully illustrated volume demonstrates the richness of such symbolism in medieval art and how artists used clothing and costume to help viewers interpret an image. At the heart of the work isA Pictorial History of Fashion, 1325 to 1515, an album of over 300 illustrations with commentary. This is followed by a comprehensive glossary of medieval English and French clothing terms and an extensive list of dated and datable works of art. Not only can this fully illustrated volume be used as guide to a fuller understanding of the works of art, it can also help date an undated work; reveal the shape and structure of actual garments; and open up a picture's iconographic and social content. It is invaluable for costume designers, students and scholars of the history of dress and history of art, as well as those who need to date works of art.
Meticulously researched text and nearly 700 illustrations depict wide range of apparel -- from fur-trimmed cloaks and brocaded robes worn by courtiers and the nobility to simpler mantles, tunics, gowns, and more.
Precisely rendered to dazzle the eye with their botanical accuracy, the sumptuous arrays of fruit and flowers by Dutch painter Jan van Huysum (1682-1749) were among the most avidly collected paintings of the 18th century. This little book explores two of Van Huysum's most important still-life paintings, Vase of Flowers and Fruit Piece.
These color plates by Hippolyte Pauquet and his brother Polydore, reproduced directly from a rare and valuable nineteenth-century publication, magnificently depict 500 years of French fashion. Starting with the flamboyant headgear and voluminous robes of fifteenth-century royalty, the artfully rendered illustrations progress chronologically to the high-waisted Empire styles of the Napoleonic era. Members of the nobility and upper classes are well represented here. Portraits of lavishly garbed court ladies and gentlemen--many in fur-trimmed robes--appear next to dapper pages and handsome knights. Bourgeois fashions (including lace-trimmed garments for both sexes) are presented as well, along with the more modest attire of chamber maids, milkmaids, and shepherdesses. Images of such historic figures as King Henri IV, Madame de Pompadour, Madame du Barry, and Marie Antoinette complete a splendid collection. A valuable reference for costume designers and fashion historians, this beautifully reproduced volume will also serve as a grand treat for fashion enthusiasts.
Ranging from the elegant garments worn by citizens of ancient Egypt, Greece, and Rome to the dramatic clothing of nineteenth-century French, English, and German societies, this stunning pictorial encyclopedia chronicles the full sweep of historic dress through the centuries. Carefully gathered from a rare portfolio originally published in 1906, over one thousand detailed engravings are presented here in a continuous chronological format. An unparalleled history of costume design, this collection includes the garb of kings and laborers ... ladies and warriors ... peasants and priests. Scores of accessories are also illustrated, including shoes, jewelry, wigs, and hair ornaments, along with furniture, musical instruments, and weaponry from a fascinating array of time periods. Exquisitely rendered and magnificent in scope, the Pictorial Encyclopedia of Historic Costume is a visual delight for designers, artists, historians, and everyone captivated by fashion's timeless allure.
"[The authors] provide a visual snap shot of the courtly elegance and common wear the [medieval] period. Filled with hundreds of sketches taken from original sources, mechanical drawings, and detailed 'layer drawings' demonstrating how the clothing was worn, this entrée both introduces the period and helps newcomers find their way forward in the study of primary and secondary sources."--Back cover.
The best new research on medieval clothing and textiles, drawing from a range of disciplines. Topics in this volume range widely throughout the European middle ages. Three contributions concern terminology for dress. Two deal with multicultural medieval Apulia: an examination of clothing terms in surviving marriage contracts from the tenth to the fourteenth century, and a close focus on an illuminated document made for a prestigious wedding. Turning to Scandinavia, there is an analysis of clothing materials from Norway and Sweden according to gender and social distribution. Further papers consider the economic uses of cloth and clothing: wool production and the dress of the Cistercian community at Beaulieu Abbey based on its 1269-1270 account book, and the use of clothing as pledge or payment in medieval Ireland. In addition, there is a consideration of the history of dagged clothing and its negative significance to moralists, and of the painted hangings that were common in homes of all classes in the sixteenth century. ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Emerita Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Antonietta Amati, Eva I. Andersson, John Block Friedman, Susan James, John Oldland, Lucia Sinisi, Mark Zumbuhl
This illustrated study displays a detailed gallery of costumes worn in the 11th through the 15th centuries. The 120 full-color plates exhibit apparel worn by nobility, knights, soldiers, the bourgeois, ecclesiastics, and citizens of all classes.