Costume, Number 42, 2008
Quye, Anita; Cheape, Hugh
The stereotype of 'traditional' Highland dress is the kilted male figure. The National Museums Scotland (NMS) and other museums have long included a category 'Arisaids' in their collections; research reveals that this was a female version of 'traditional' Highland dress, a finely-made and high status garment which was going out of fashion in the eighteenth century, though leaving some material evidence. This essay looks at evidence within the textiles themselves, using results from dye analysis, and places the results against sparse but telling historical and literary evidence to rediscover a 'lost' fashion. In the Highlands and Islands of Scotland, this was high colour, high quality and high fashion.
'And her black satin gown must be new-bodied': The Twenty-First-Century Body in Pursuit of the Holbein Look
Malcolm-Davies, Jane; Johnson, Caroline; Mikhaila, Ninya
Understanding the precise construction of early sixteenth-century women's dress presents considerable difficulties. Satisfactorily reconstructing it is an even greater challenge. The study reported here used contemporary archaeological, pictorial and documentary evidence to inform alternative experimental approaches to constructing the garments worn on a woman's torso in the 1540s. The results showed that stiffening the kirtle was more successful than stiffening the petticoat or gown in achieving the characteristic body shape portrayed in Holbein's work.
In June 2003, the remains of Margaretha Franziska de Lobkowitz, n?e von Dietrichstein (1597?1617), were discovered in the crypt of the parish church of Saint Wenceslas in Mikulov, Czech Republic. The coffin contained the skeleton of Margaretha Franziska and her clothes which were exceptionally well preserved. The costume is an outstanding example of early seventeenth-century women's clothing. The short life of the wearer suggests that the garments were made around 1616. The set of textiles comprises an elaborate formal gown, referred to as 'ropa' in Spanish, an exquisitely tailored doublet and a precious velvet skirt. The burial outfit includes a bonnet, a lace collar, cuffs, knitted stockings and costly garters.
Marriage à la Mode, An Eighteenth-Century Wedding Dress, Hat and Shoes Set from the Olive Matthews Collection, Chertsey Museum
A rare and important group of items, a set consisting of a wedding dress, hat and shoes, form part of the Olive Matthews Collection at Chertsey Museum. This paper looks in detail at the construction of each of these garments. It also provides an account of how key aspects of provenance were uncovered. Other examples of contemporary wedding dresses are discussed. Finally it goes on to demonstrate how the newly uncovered facts about these garments, reviewed alongside contemporary social and economic contextual details, can further enhance our understanding of these and similar surviving pieces.
This paper focuses on livery purchased for Sir William Heathcote's menservants during the first half of the eighteenth century. Sir William, who resided in London and Hursley Park, Winchester, left documented evidence of his menservants' clothing allowances and, by comparing this data with his expenses and other extant archival sources, such as textile swatches, the author builds up an image of what the Heathcote livery might have consisted of and looked like. Consideration is also given to the cost of the livery, and who purchased it. In order to explore what it could have meant during the eighteenth century, some of the theoretical models of consumption are used, and an appendix of livery allowances supports the paper.
Alexandra Kajdanska was granted the Doreen Yarwood Award in 2003. The award was eventually taken up in 2005 and a preliminary report was published in the Costume Society's Newsletter in 2007. This paper places Daniel Chodowiecki in historical content and comments on a number of his drawings which present the lifestyle of his friends and countrymen in and around the Polish city of Gdansk in 1773.
The History of the Dress Code at the University of Zagreb — From Jesuit Talers to Newly Designed Academic Gowns
Potocic Matkovic, Vesna Marija; Soljacic, Ivo; Bajs, Zlatka Mencl
At the foundation of the Academy (University) in 1669, every person who achieved an academic degree earned the right to wear academic dress and other insignia. However, the Jesuit professors preferred to wear the garments of their order. Academic dress was not developed afterwards because the Empress Maria Theresia did not approve of it. At a later date the deans wore a gold chain with a pendant medal. There was a tradition in which a beadle carried the university mace on ceremonial occasions. There were official students' garments at the university from 1895 to 1942. New ceremonial academic robes were designed in 1998 based on historical research.
Japonisme and Femininity: A Study of Japanese Dress in British and French Art and Society, c. 1860-c. 1899
Kirk, Anna Marie
Artworks of the second half of the nineteenth century offer substantial evidence of the differing ways in which the 'Japanese craze' of this period was disseminated in dress. A discussion of the availability of garments in Paris and London, and the evidence for ownership of garments, takes place in this article. This study shows that Whistler was reflecting and informing the usage of Japanese attire by aesthetic women such as Ellen Terry. These garments offered a freer, looser, artistic style. The immense popularity of Japanese accessories is explored, as is the kimono's adaptation as a dressing gown. Alfred Stevens' artworks reflect this usage in France during the 1870s and 1880s. An examination of fancy dress books provides evidence of a growing familiarity with Japanese dress towards the end of the nineteenth century. This article is informed by nineteenth-century writings on Japan, fancy dress books, Liberty's catalogues, photographs and surviving garments.
This paper examines the influence that the costume designers of the Ballets Russes, many of whom were important artists from significant art movements of the day, had on contemporaneous fashion. It looks at why in particular the 'Ballets Russes' artists Leon Bakst and Natalia Goncharova went on to involve themselves in actual fashion production and the similarities between their work and the fashion designers producing work at the same time, principally Paul Poiret, Mariano Fortuny and Coco Chanel. Overall, this paper investigates the significance of the cultural times and of the distinct characteristics of the separate art forms, that may have encouraged avant-garde art and fashion to crossover and collaborate so unreservedly.
John Redfern's name appears frequently in the history of couture and late nineteenth- and early twentieth-century fashion, but information on his business is limited. The following is based on research done for the author's MA in the history of dress at the Courtauld Institute in 1993. It examines John Redfern's early years as a draper and how by 1892, he had become the leading ladies' tailor in Britain and France.
School uniforms are dynamic cultural forms and as such have meanings specific to the cultures in which they are worn. In New Zealand the history of their development is also a history of changing meanings specific to the New Zealand culture, connected to the status of children and the changing educational and social objectives of the education system. After a relatively slow development in New Zealand, school uniforms came into their own during the 1950s only to undergo radical change and diversification in the 1960s. During the 1970s school uniform as a practice reached a new extreme, allowing expressions of individualism and pluralism, values associated with a democratic ideal. Although such expressions threatened to overturn the sustaining principles of uniforms and uniformity, instead they reinforced uniforms as carriers and protectors of a powerful democratic ideal embedded in the New Zealand education system.
Tregidden, Judy; Robertson, Lindsay Evans
Robertson, Lindsay Evans