History of Costume

Our analysis suggests that the box from Burial Ц-301 contained three garments made from Chinese brocades. Two of them were probably gowns of Chinese manufacture, though they could have been made from Chinese cloth in Iran or the Byzantine Empire, while the third, showing no traces of cutting and tailoring could be a scarf, shawl or veil. There was also a linen shirt-waister gown with a blue skirt in the box. The gown was probably worn beneath a kind of blouse so that only the skirt was visible. It is not clear whether a samite strip is a trim of this gown, but, judging from the treatment of selvedge, if it were so the trim would run along the hem. Since the complete articles were not worn by the deceased but found in the box, it is unknown whether they make up a set. The wool fabric could be a part of a cloak/veil, but this interpretation is not unambiguous as the shape of the article cannot be reconstructed. It is worth noting that the collar of the brocade Dress1 is divided by an inner fold into two parts in theratio 1:2. The same division is recorded for collars from burials in the Dmitrov kremlin dated to the 12-thcentury AD and for trimming of gown collars of the Golden Horde period. It may be due to the influence of Chinese tradition adopted in the north and manifested in the treatment of certain costume details. Griffins and dragons having come from the south could influence the depiction of local mythical beasts. This find demonstrates the complexity of interaction of occidental and oriental, northern and southern cultures.

Ancient Roman female hairstyles were not created by wigs exclusively, as is often asserted.  Elaborate Roman hairstyles  could be created by sewing with needle and thread as fastener. Article examines the nomenclature, literature, artifacts and intellectual history of the topic.  Illustrated with hairstyle recreations using real hair.

The paper looks at dandyism in Europe of the Nineteenth century and aims to offer a structural description of dandyism as a cultural semiotic system encompassing fashion, techniques of the body, emotional discipline and behavioral strategies. Special attention is paid to the aesthetic principle of Minimalism, and to the further development of theory of dandyism in mid-nineteenth-century treatises. The paper is focused around structural correspondences between different aspects of dandyism from dress and canons of elegance, to code of conduct, speech patterns and personal hygiene.

The aim of this study is to collect evidence for textile recycling from a prehistoric and historic perspective. The basis are original textile finds and not, as might be expected, written or pictorial sources. The material presented here focuses on archaeological finds, especially on prehistoric to early medieval evidence from Central Europe, also mentioning some interesting examples from medieval and Early Modern times.
This is not a comprehensive study of all possible secondary uses of textiles, but it shall demonstrate different interesting case studies such as re-use and recycling of garments with examples from Bronze Age till early modern period. We also learn from Early Medieval evidence that textile rags have been employed for production processes e.g. of ceramic vessels, clay figurines or for thin bronze objects. In the salt-mines Hallstatt and Dürrnberg in Austria, hundreds of textile scraps have been found, left back in the mines after secondary use as make-shift binding material or sanitary items.
Worn-out textiles were used for caulking wooden ships, as sealing for water-management in prehistoric copper mines and as insulation material for medieval castles. At least, textile scraps also ended in medieval and early modern latrinae – after they have been used as “toilet-paper”. The evidence collected demonstrates a careful resource-management.

Les taillades, vaste gamme d’incisions opérées sur les étoffes, sont un reflet de l’impact de la réglementation protocolaire et somptuaire sur la créativité des tailleurs pour garantir l’originalité de paraître de leur noble clientèle. Alors, quand Christoph Amberger portraiture Charles Quint en 1532 avec une paire de gants dont un seul est entaillé, il crée une iconographie qui pose la question des frontières entre image de mode et illusion picturale et interroge les enjeux de cette effigie pour présenter l’empereur à la société de cour.

This edited volume examines the historical, political, cultural, and aesthetic implications of re-visiting Restoration Spain (1874-1931) in television costume dramas produced since 2000. Contributors analyze, from different theoretical approaches and disciplinary perspectives, the appeal that the late nineteenth and early twentieth centuries hold for twenty-first-century Spanish audiences, as well as for international viewers who consume these programs through new media platforms. Themes and issues explored include: the production of televisual heritage, representations of period technologies, evolving constructions of gender, hybridization of television genres, and television as historian. Expanding the scope of inquiry in Spanish media studies, this collection seeks to bring Spain into wider discussions of media and historical representation and visual and material culture in Europe, the Americas, and beyond.

Étude approfondie de l’iconographie textile et vestimentaire du portrait de François Ier peint par Jean Clouet afin de proposer une relecture d’une herméneutique plus complexe que ne l’ont laissé penser les recherches fondamentales de Cécile Scailliérez. Riche de découvertes inédites quant à l’habillement du portrait, c’est à la fois sa fonction, son commanditaire et sa datation qui ont pu être précisés.

ABSTRACT: This lecture provides a broader background for the New Kingdom regarding Egyptian society --particularly in the New Kingdom. It starts with an overview of the hierarchical, "pyramidal" structure of Ancient Egyptian society (including gender roles), and proceeds with an examination of the elite through lower classes: The king, chief queen, secondary queens, princes, princesses, upper officials, mid-range officials, lower officials, crafts persons, peasant farmers, and others (including POWs and slaves), plus administration, control, organization and payment of labour.  The lecture incorporates a wide range of approaches and aspects, including iconography, symbolism, costumes, titulary, education and training (e.g., tutors), and other components within many of the above categories --especially for kings, queens, princes, and princesses in Ancient Egypt UPDATED: Feb., 6, 2021: Some editing, formatting, new images, and text.

archive photos by Paola Ghirotti Jidai Matsuri / 1990-2020 * Festival of the Ages (時代祭)​​​​​​​ The festival celebrates the anniversary of the founding of the antique capital of Kyoto, Heian-kyo, ‘The City of Peace and Tranquility’. It was celebrated from the time it was founded by Emperor Kanmu on the 22nd of October in 794 until the year 1868. Paola Ghirotti ( born February 2, 1955), is an italian photographer unGiappone® is the trademark, which maintains Paola Ghirotti pictorial archive, her writings and, her ongoing photographic exploration of traditional cultures Paola Ghirotti explores traditional roots of Japanese cultures for more than thirty years (love for the land of Japan). Her work had been published -in Italy and abroad - in books and magazines, some of them becoming images of reference. Paola Ghirotti has had exhibited at the Goethe Institut Kyōto, American Academy and Institute of Japanese Culture Rome (introduction of the exhibition by the anthropologist Fosco Maraini), Minamisoma Shimin Bunka Kaikan, the Museum of Fine Art and Seiryu Cultural Plaza in Gifu, . The photographer Paola Ghirotti started the projecy Watashi wa wasurenai on april 2011 a few weeks after the tragic events, cyclically she goes to the area and documents the situation.

Le chapitre part d'une réflexion sur la relation qu'entretiennent le vêtement et le temps dans notre culture visuelle. Une iconographie vestimentaire spécifiquement dédiée à l'habit apparaît en effet à la Renaissance. Petit à petit, dans la représentation par l'image, l'habit passe du statut d'emblème identifiant l'espace à celui d'identifiant du temps, temps historique et temps de la mode. Intégré à un discours historique au XIXe siècle, l'habit se fait costume et intègre l'échelle du temps dont il se fait le marqueur visuel dans les ouvrages illustrés consacrés à son histoire propre et à l'instruction à l'histoire nationale. Le cinéma s'empare au XXe siècle de la narration historique et use de l'apparence des personnages comme un marqueur de temporalités dans le genre du « film à costumes ».

Comment éviter les pièges de la binarité lorsqu'on est un costumier trans ? Je traverse dans cette recherche les liens entre les textiles et les binarités structurelles (homme/femme, hétérosexuel/homosexuel, sain/malade). Il s'agit en premier lieu de comprendre en quoi l'histoire de la médecine a construit ces binarités. Ensuite, j'explore les solutions que les théories féministes des sciences et des techniques apportent, pour les mettre à l'épreuve de ma pratique textile.

Коллективная монография: Албазинский острог: История, археология, антропология народов Приамурья / отв. ред. А.П. Забияко, А.Н. Черкасов., 2019. Albazin fortress: History, archeology, anthropology of the peoples of the Amur region. Chapter 2.7.

Based on untapped archival material in the National Archives (London) and the National Records of Scotland (Edinburgh), and supplemented by a new analysis of the portraits of Anna of Denmark (1574-1619), this article provides information about the fabrics, fashions and costs of clothing worn by the consort of James VI during her early years in Scotland. It sheds light on the Queen’s trousseau, her strategic use of clothing to demonstrate territorial, political and/or factional allegiance, and the artificers involved in the construction of the royal wardrobe. Providing details of the Stuarts’ high level of expenditure on clothing, this article highlights the political currency of the Queen’s sartorial display, and it contributes to our growing understanding of clothing at the Scottish court at the turn of the seventeenth century.

This paper examines descriptions of Romani costume in travel narratives written by predominantly British writers visiting Hungary, believed to be the site of especially "pure" Romani culture, during the long nineteenth century. Gypsiologists, engaging in little participant observation, drew on travel writers' descriptions for material from which to support Gypsylorist scholarship. Travel writers provided rich descriptions of Romani appearance, especially clothing. However, as travel writers rarely socialised with Roma, they relied on Gypsylorist texts for material to interpret their observations. Travellers enthnologized Romani costume, asserting tropes of poverty, Orientalism, indolence, child neglect, licentiousness, vanity, and essentialism, that owed more to Gypsylorist discourse than to a thorough understanding of Romani social and material circumstances. Consequently, travel writing and Gypsylorism reinforced each other, as travel writers drew on scholarship to interpret their observations, and scholars drew on travel writing to support their theories.

Author’s Original Manuscript (AOM)/Preprint. This article has been accepted for publication in Patterns of Prejudice, published by Taylor & Francis. The final version includes substantial revisions.

Ownership of wild animal furs in Renaissance Italy was a sign of wealth and elevated status. Contrary to modern expectations of conspicuous display, these valuable skins were used as linings for clothing, that is, with the fur on the inside, in contact with the body. Wearing fur on the outside of the garment raised a series of moral issues concerned with the animal basis of fur and its wearer’s relationship to the animal world. For a society that portrayed creatures at the mercy of the basest carnal instincts, such as satyrs, wild men, and the devil, with their bodies covered in hair, the sight of a man wearing fur on his exterior would have triggered analogous mental images. This paper will investigate the complex meanings attributed to fur: its status as a luxury good as well as the visual and symbolic associations to eroticism that inhibited its open display.

This article explores the ways in which identity politics and women’s political activism directly influenced the development of the female Irish dancing costume between 1917 and 1937, focusing particularly on the emergence and brief adoption of the “kilt and coatee,” a male Celtic Revival costume adapted to the female dancing body. As will be argued, the revival of Irish dance at the turn-of-the-century, coterminous with a period of escalating political tension, militarization, and ultimately, revolution and civil war, resulted in the politicization of dance as a cultural embodiment of Irish Republican Nationalism. Subsequently, the first dancing costume, a style of dress bred to promote a conservative sexual and racial identity, was abandoned in favor of a mode of dress that embodied and commemorated martyred republicans. The article touches upon the influence of “revolutionary women” on Irish dance culture and costuming, suggesting also that the suppression of republican women in the immediate post-revolution period contributed to the decline of the kilt and coatee and the return to heteronormative stability in dancing dress. Further, this paper seeks to contribute to the growing body of material culture scholarship, illustrating the potential of material culture analysis to illuminate marginalized lives and hidden histories.

Ein auf die Minderbrüder beschränkter Entwurf basierend auf "Die frühe Ordenskleidung der Franziskaner und Dominikaner" mit neueren Überlegungen.
Was trugen die frühen Minderbrüder - und warum? Beantwortet mit Quellenarbeit, der gleichberechtigten Zusammenschau von Bild-, Text- und Sachquellen und Wissen um zeitgenössische Kleidung.

For centuries artists, diplomats, and merchants served as cultural intermediaries in the Mediterranean. Stationed in port cities and other entrepôts of the Mediterranean, these go-betweens forged intercultural connections even as they negotiated and sometimes promoted cultural misunderstandings. They also moved objects of all kinds across time and space. This volume considers how the mobility of art and material culture is intertwined with greater Mediterranean networks from 1580 to 1880. Contributors see the movement of people and objects as transformational, emphasizing the trajectory of objects over single points of origin, multiplicity over unity, and mutability over stasis.

This article examines the destabilizing efficacy of costuming in contemporary theatre in relation to naturalized genders. It focuses on selected portions of Suzan-Lori Parks’ Venus, In the Blood and Topdog/Underdog that are noteworthy within the context of costuming, illuminated by Judith Butler’s theories on gender performativity. The article places at the centre of its investigation subversive images that Parks’ dramaturgy promotes for the stage, and argues for the important role that directors and designers play in executing the dramatist’s interrogation of abiding genders. I argue that, in the work of this playwright, intersecting gendered, racial and social categorizations can all be shown to encompass layers of cultural meaning that fossilize over time to give the appearance of fixity. Parks’ plays have the potential, through costuming opportunities, to make these layers visible, revealing their cultural and historical materialization and showing that they are, in fact, divisible.

Film costume is essential as it fully takes part in cinematographic aesthetic, yet it remains quite unstudied in French academic research. After the Second World War, French cinema entered a new golden age with films shot in the studio by famous directors such as Max Ophuls, Jean Cocteau, Henri-Georges Clouzot, Claude Autant-Lara and Jacques Becker. Those films were popular domestically and abroad. The post-war period marks a climax in costume design. Therefore a question arises : « How were film costumes made in the French cinema between 1945 and 1959 ? » By way of production history, I aim at relating the numerous steps of costume creation, from inspiration to dressing, including accessories, hairstyles and skin ornaments. By being aware of both history of fashion and clothing and cinematographic issues, one can analyse manuscript and printed archives (such as professional directories, contracts, correspondences, notes, daily call sheets, estimates or production accounts), as well as the graphic styles and personal methods of the designers, the working conditions of technicians revealed by production stills, and the sewing techniques identifiable on preserved pieces. By answering practical questions about temporality, process or even cost, to reconstruct the technical history of costume allows us to have a better understanding of its aesthetic development. It is interesting to look into the relationships of various costume professionals with each other, with the other members of the crew and with the cast, in order to distinguish the cogs of the collaborative art that cinema is.

Este trabalho aponta o uso de signos para facilitar a compreensão de universos fictícios. Utilizando elementos históricos e culturais como forma de inserir o espectador no mundo fantástico. O objetivo é apontar essas referencias e sua relevância para a construção do personagem. Foi escolhido para exemplificar esse método a analise critica e comparativa de figurinos cinematográficos, através de analise bibliográfica e de filmes. Trata-se de um estudo de caso, que analisa os figurinos da personagem Padmé Amidala, da nova trilogia Star Wars.

Women in portraits, such as those in this exhibition, are generally depicted as isolated figures, shown in profile; 1 their eyes do not meet the gaze of the spectator, in order to convey their modesty and reserve, the prime virtues sought by men in search of a suitable bride. 2 The artists show the upper part of their body, highlighting the jewellery, finery and textiles that, on close inspection, emerge as the true subjects of these artworks. 3 Portraits of this type, particularly common in the Florentine area and linked perhaps to the traditions of coin and medal production of Imperial antiquity, were probably designed to commemorate a wedding. 4 They visually encapsulate a whole environment and the female figures portrayed offer an insight into urban society between the end of the Middle Ages and the beginning of the Modern Age. To the contemporary eye, the women depicted have not lost their function of medium, originated centuries ago from the need to convey and communicate the prestige of their families of origin. The role of women In the patriarchal Italian society of the early Middle Ages women served to strengthen alliances and assure the continuation of lineage through children born in wedlock: male children inherited the family fortune while female ones received a dowry, a portion of goods and money which some scholars consider an unjust compensation for the renunciation of their inheritance. 5 Both men and women played their roles in pacts and exchanges decided by their respective families: alliances were cemented through a series of legal negotiations and a number of rituals , survivals of ancient customs adapted to the new requirements. The first official nuptial event took place in the presence of a notary, who drew up a public act in which the family of the future bride promised to supply the dowry; its value and components would have been fully discussed by both parties before the legal document was drafted. 6 The union was considered complete when the bride was publicly escorted to the groom's house by her relatives and welcomed there by the women of his family. This procession was followed the next day by the removal of the chests containing her corredo (or trousseau) to her new house. 7 Additional private rituals of potent symbolic value, such as the exchange of rings on the groom's side and the nuptial feast offered by the bride's family , were the last in this succession of events and hugely increased the expense of the nuptials. 8 Men were the main players in this political and business transaction; women's role was more passive. Both, however, were instrumental in preserving the honour