4/14 - 20'S FASHION PLATE DUE/GUEST SPEAKER 11 A.M. (EXTRA CREDIT RESPONSES)
4/19 - SECOND HALF OF 19TH CENTURY FASHION PLATES DUE - WITH DESCRIPTION
4/21 - TRIP TO FABRIC WORKSHOP
4/26 - COMPLETE FASHION PLATES IN CLASS
4/28 - FINAL FASHION PLATE BOOK DUE
5/3 - FINAL REVIEW
5/5 - FINAL (REVIEW ALL PREZI'S AND TERMS FOR FINAL)
I ENJOYED TEACHING WITH YOU THIS SEMESTER
Wednesday, April 13, 2016
20's FASHION
Please review below information on fashion from the twenties. Prezi Link is also below
https://prezi.com/wxjht71yzd0r/edit/#0_14406309
I find that there is a distinct difference in style and construction of clothing between the first half of the 1920’s and the second. The former still clinging to the methods and romantic style of the previous decade and the later taking a turn to a straighter line in both design and silhouette. Therefore I have decided to tackle this project in two parts, 1920-1924 and 1925-1929. I am undecided if I will work from the inside to the outside one era at a time, or together by garment type. I’m open to suggestions.
I have a strong aversion to patterns meant to be period accurate that are made with modern drafting tools and techniques. The tools and method one used to draft, the overall posture and shape of the contemporary figure, even the way a person was measured by their dressmaker changed from era to era and greatly effected the cut and fit of the garments to be constructed. How high on the back of the neck the average garment sat, the slope of the shoulder, the position and length of the shoulder seam, the shape of the armscye, and the positioning of the waist should all be observed. Designing for certain historical periods can not be done well or easily using modern computerized drafting programs, or even by hand with a modern dressmakers curve and square.
It takes careful consideration to determine the way in which an article of clothing was constructed, as some contemporary commercial patterns available assumed every woman already knew how to sew and construct her clothing, therefore only the basic pattern pieces were included with little to no information as to how to assemble them or to what type of foundation to attach them to. For that information you must resort to text books of the era. Fortunately there is a wealth of information available on the methods of the 1920’s.
In the early half of the 1920’s for the most part, in keeping with the tradition of the previous decade, dresses were assembled and sewn over a "foundation skirt" or a "foundation waist lining" that according to the particular design, slipped over the head, fastened at the front, the side of the bodice, or a combination of both. Rarely, if ever, did they fasten at the back of the garment.
In her book Harmony in Dress 1924, on page 6 of the section Good Taste in Dress, Mary Brooks Picken gives us some sound, first hand advice; "In studying any fashion magazine, it is a good idea for the beginner to consider each figure separately and to notice what type of foundation pattern is needed for the development of the pattern for the waist portion, the sleeves, and the skirt."
Foundation skirts or drop waist linings, as they are sometimes called, are used when the upper portion of the garment has a tunic shape with skirts made entirely of flounces, ruffles or draped fabrics. Like this example:
A foundation waist lining could be semi-close fitting or close fitting, depending on need, the later typically used for evening gowns was usually at least partially boned. It was used, not only to give a garment structure, but to hold dress shields that protect against perspiration or to attach the sleeves to, as need may be. They were typically made from silk, cotton batiste, or net.
This is a photo of one as pictured in Lippincott’s Home Manuals Clothing for Women by Laura I. Baldt, A.M. 1919 on page 385:
The following link is an extant example of a semi-fitted foundation waist lining being used in a 1920's Navy Blue Maternity Day Dress found at the Detraoit Museums and Historical Society:
Navy Blue Maternity Day Dress 1920
Other dresses of the period, especially the second half of the decade became less complex and were simply a one piece garment that slipped over the head and were belted just below the natural waist.
Here are some links to excellent on-line museum collections of period dress that illustrate such foundations in use.
Detroit Historical Museums and Society
Dorthea June Grossbart (WSU) Historical costume collection
Henry Ford Historic Costume Collection
Be sure to page through all the thumbnails andclick on each one to read the description and see other views of each item.
Enjoy!!
https://prezi.com/wxjht71yzd0r/edit/#0_14406309
1920's clothing construction
I find that there is a distinct difference in style and construction of clothing between the first half of the 1920’s and the second. The former still clinging to the methods and romantic style of the previous decade and the later taking a turn to a straighter line in both design and silhouette. Therefore I have decided to tackle this project in two parts, 1920-1924 and 1925-1929. I am undecided if I will work from the inside to the outside one era at a time, or together by garment type. I’m open to suggestions.
I have a strong aversion to patterns meant to be period accurate that are made with modern drafting tools and techniques. The tools and method one used to draft, the overall posture and shape of the contemporary figure, even the way a person was measured by their dressmaker changed from era to era and greatly effected the cut and fit of the garments to be constructed. How high on the back of the neck the average garment sat, the slope of the shoulder, the position and length of the shoulder seam, the shape of the armscye, and the positioning of the waist should all be observed. Designing for certain historical periods can not be done well or easily using modern computerized drafting programs, or even by hand with a modern dressmakers curve and square.
It takes careful consideration to determine the way in which an article of clothing was constructed, as some contemporary commercial patterns available assumed every woman already knew how to sew and construct her clothing, therefore only the basic pattern pieces were included with little to no information as to how to assemble them or to what type of foundation to attach them to. For that information you must resort to text books of the era. Fortunately there is a wealth of information available on the methods of the 1920’s.
In the early half of the 1920’s for the most part, in keeping with the tradition of the previous decade, dresses were assembled and sewn over a "foundation skirt" or a "foundation waist lining" that according to the particular design, slipped over the head, fastened at the front, the side of the bodice, or a combination of both. Rarely, if ever, did they fasten at the back of the garment.
In her book Harmony in Dress 1924, on page 6 of the section Good Taste in Dress, Mary Brooks Picken gives us some sound, first hand advice; "In studying any fashion magazine, it is a good idea for the beginner to consider each figure separately and to notice what type of foundation pattern is needed for the development of the pattern for the waist portion, the sleeves, and the skirt."
Foundation skirts or drop waist linings, as they are sometimes called, are used when the upper portion of the garment has a tunic shape with skirts made entirely of flounces, ruffles or draped fabrics. Like this example:
A foundation waist lining could be semi-close fitting or close fitting, depending on need, the later typically used for evening gowns was usually at least partially boned. It was used, not only to give a garment structure, but to hold dress shields that protect against perspiration or to attach the sleeves to, as need may be. They were typically made from silk, cotton batiste, or net.
This is a photo of one as pictured in Lippincott’s Home Manuals Clothing for Women by Laura I. Baldt, A.M. 1919 on page 385:
 |
| 1920's foundation waist lining |
The following link is an extant example of a semi-fitted foundation waist lining being used in a 1920's Navy Blue Maternity Day Dress found at the Detraoit Museums and Historical Society:
Navy Blue Maternity Day Dress 1920
Other dresses of the period, especially the second half of the decade became less complex and were simply a one piece garment that slipped over the head and were belted just below the natural waist.
Here are some links to excellent on-line museum collections of period dress that illustrate such foundations in use.
Detroit Historical Museums and Society
Dorthea June Grossbart (WSU) Historical costume collection
Henry Ford Historic Costume Collection
Be sure to page through all the thumbnails andclick on each one to read the description and see other views of each item.
Enjoy!!
Tuesday, March 29, 2016
FAMOUS DESIGNERS - DUE 4/7/2016
http://www.biography.com/people/groups/fashion-designers
CHOOSE A DESIGNER FROM THIS GROUP OF UNIQUE PEOPLE TO CONDUCT YOUR RESEARCH PAPER ON.
- DISCUSS HOW/WHY THEY STARTED DESIGNING
- DESCRIBE IN DETAIL THE TYPE OF DESIGN AESTHETIC AND THE INFLUENCES OF THEIR DESIGNS
- SUPPORT YOUR IDEAS WITH PICTURES THROUGHOUT THE TEXT
- OUTLINE TO BE WORKED ON IN CLASS 3/31/2016
CHOOSE A DESIGNER FROM THIS GROUP OF UNIQUE PEOPLE TO CONDUCT YOUR RESEARCH PAPER ON.
- DISCUSS HOW/WHY THEY STARTED DESIGNING
- DESCRIBE IN DETAIL THE TYPE OF DESIGN AESTHETIC AND THE INFLUENCES OF THEIR DESIGNS
- SUPPORT YOUR IDEAS WITH PICTURES THROUGHOUT THE TEXT
- OUTLINE TO BE WORKED ON IN CLASS 3/31/2016
Tuesday, March 8, 2016
Restoration Clothing (Baroque)
Clothing in the Restoration expressed the suppressed feelings of freedom during the Puritan period. The frivolities of courtiers had been stifled for eleven years and the Restoration is the period that everything that had been stifled is cut loose. Curls, ribbons puff, flounces and feathers returned to clothing wherever they could be attached. Masculine and feminine dress began to take on the stiffness and smart elegance that had been abandoned with James I's death.
Gentlemen wore wigs that had curls all over it and they shaved their heads. The faces were shaved at first then only a thread of a mustache if any. The hat moved to a high-crown, stiffer and a little narrower-brimmed hat and it was cocked to side.
All men tried to wear cravats around the neck rather than the huge collars.
Women wore ringlets clustered in the back of the hair with smaller tendrils waved around the face which replaced the earlier dense frizzle. Rich women would weave pearls into their hair and put nosegays in their buns, however, the common people wore simpler hair. In the Old and New World they continued to wear caps, especially in the Colonial scene.
Collars were higher but wider across the shoulders and necklines were low, wide and dropped on the shoulders. Most women wore under dress with another garment on top and if the she could afford it the bodice and skirt would be attached. If she was poorer the skirts and bodices were of different colors. In this period the apron became very popular and in fact it could be classed with the skirt rather than an accessory. Skirts were a tad bit shorter and peasant women shortened their dresses to the instep, while court women shortened their skirts just to show the toe.
The court used deep-toned velvet and light colored satin and colors at Versailles were subdued. The Colonial fashion was not subdued and bright-hued garments prevailed. Red, blue, yellow and green were popular and fearlessly combined. Men often wore red coats and women's petticoats were also red but in flowered silks. Hats and shoes were black and stockings were light colored.
Notable Cavalier and Puritan Costume Elements - Baroque
Values: Religious beliefs and practices played perhaps the greatest role in the various expressions of baroque art. The Reformation of the mid-1500's divided Europe into Catholic countries and Protestant countries. In most Protestant countries, including Germany and England, art was considered an unnecessary luxury and was suppressed.
Women:
Life in the 1600s was not did not stray far from these traditions, and allotted practically all power in its era to its men. The men received the social rights to full educations, to property, and to vote, and the women were seen as, essentially, second-class citizens, relying on their husbands or fathers for near everything. Accordingly, the 1600s woman was provided with only a minimal education, whether this be at home or at an elementary school; the luckier, upper-class women were sometimes gifted with private tutors.
Resources: Exploration and discovery created new trade routes for a wide variety of fabrics.
Falling Bands—A collar of fine white lawn edged with lace, later developed into the pleated rabat. It is the wide collar spreading out over the shoulders that is seen in the later portraits by Anthony Van Dyck, and in this width is sometimes known as rabatine
Falling Ruff—A neck ruffle related to the ruffs of the Elizabethan period but not stiff or extending upward. They created this look by not starching the ruffs.
Bertha Collar—Large feminine collar almost always made of lace.
Boot Hose—Hose of sheer white linen with wide lace frills at the top worn to protect the gentleman’s costly silk hose when worn with boots. The lace top was usually allowed to fall down over the leather cuff of the boot.
Puritan Hat—Tall conical hat with a large round brim often decorated with a buckle and belt.
Cavalier Hat—A wide brimmed hat often decorated with a large feather and one side either, front, back, left or right cocked up.
Peplum—Flared shirt-like panels or ruffles below the waist that would conceal the top of the skirt under the shirt.
Studied Negligence—To look as though you have spent no time on your appearance but in actuality there was great preparation to look unkempt.
Articulated Shoes—Shoes with heels.
Gentlemen wore wigs that had curls all over it and they shaved their heads. The faces were shaved at first then only a thread of a mustache if any. The hat moved to a high-crown, stiffer and a little narrower-brimmed hat and it was cocked to side.
All men tried to wear cravats around the neck rather than the huge collars.
Women wore ringlets clustered in the back of the hair with smaller tendrils waved around the face which replaced the earlier dense frizzle. Rich women would weave pearls into their hair and put nosegays in their buns, however, the common people wore simpler hair. In the Old and New World they continued to wear caps, especially in the Colonial scene.
Collars were higher but wider across the shoulders and necklines were low, wide and dropped on the shoulders. Most women wore under dress with another garment on top and if the she could afford it the bodice and skirt would be attached. If she was poorer the skirts and bodices were of different colors. In this period the apron became very popular and in fact it could be classed with the skirt rather than an accessory. Skirts were a tad bit shorter and peasant women shortened their dresses to the instep, while court women shortened their skirts just to show the toe.
The court used deep-toned velvet and light colored satin and colors at Versailles were subdued. The Colonial fashion was not subdued and bright-hued garments prevailed. Red, blue, yellow and green were popular and fearlessly combined. Men often wore red coats and women's petticoats were also red but in flowered silks. Hats and shoes were black and stockings were light colored.
Notable Cavalier and Puritan Costume Elements - Baroque
Values: Religious beliefs and practices played perhaps the greatest role in the various expressions of baroque art. The Reformation of the mid-1500's divided Europe into Catholic countries and Protestant countries. In most Protestant countries, including Germany and England, art was considered an unnecessary luxury and was suppressed.
Women:
Life in the 1600s was not did not stray far from these traditions, and allotted practically all power in its era to its men. The men received the social rights to full educations, to property, and to vote, and the women were seen as, essentially, second-class citizens, relying on their husbands or fathers for near everything. Accordingly, the 1600s woman was provided with only a minimal education, whether this be at home or at an elementary school; the luckier, upper-class women were sometimes gifted with private tutors.
Resources: Exploration and discovery created new trade routes for a wide variety of fabrics.
Falling Bands—A collar of fine white lawn edged with lace, later developed into the pleated rabat. It is the wide collar spreading out over the shoulders that is seen in the later portraits by Anthony Van Dyck, and in this width is sometimes known as rabatine
Falling Ruff—A neck ruffle related to the ruffs of the Elizabethan period but not stiff or extending upward. They created this look by not starching the ruffs.
Bertha Collar—Large feminine collar almost always made of lace.
Boot Hose—Hose of sheer white linen with wide lace frills at the top worn to protect the gentleman’s costly silk hose when worn with boots. The lace top was usually allowed to fall down over the leather cuff of the boot.
Puritan Hat—Tall conical hat with a large round brim often decorated with a buckle and belt.
Cavalier Hat—A wide brimmed hat often decorated with a large feather and one side either, front, back, left or right cocked up.
Peplum—Flared shirt-like panels or ruffles below the waist that would conceal the top of the skirt under the shirt.
Studied Negligence—To look as though you have spent no time on your appearance but in actuality there was great preparation to look unkempt.
Articulated Shoes—Shoes with heels.
Tuesday, March 1, 2016
The Renaissance
FASHION HISTORY PRACTICE QUIZ
• Began in the 1300's, lasted until the 1600's.
• Society became more prosperous, with industry and guilds and a strong middle class
• Humanists rediscovered Greek and Roman thought, and art, literature, science and philosophy flourished.
• Italy and Flanders became centers of textile production
• Columbus discovered the New World
• Magellen and Vasco de Gama found sea routes to China and Japan
• The Printing Press made writing available to many more people - spread of thought
• Rich, opulent and layered for men and women
• Advent of slashing
• detachable sleeves
• ruffs
• points
• fans and handkerchiefs
• chopines and pantofles
• diamonds, gems and pearls
• masks
• rings
• paint for cheeks, lips and face
• glue on beauty marks
• plucked eyebrows and hairlines
• elaborate braided updos
• men wore beards and short hair or shoulder length with bangs
• many fancy hats with feathers and jewels
Different countries took the news styles differently. For instance, the northern European countries were distorting the natural figure by padding sleeves, doublets and stockings. Italy did not go as far as the North, and England and France followed Italy's lead while they stuck to more medieval influenced styles. Germans went to the greatest extremes making “improvements” on the natural silhouette. They put large puffs at the head, shoulders, thighs; small puffs, like boils, over chest, back, arms, legs and feet. They put feathers on many on everything from wide-brimmed hats to the knees.
Clothing at this time followed suit with all other types of creative expression at this time—it went over the top into new discoveries.
Permanent characteristics in all countries are summarized as thus: rich heavy materials, in voluminous amount, large sleeves, close body garments, large hip-clothing, wide-toed, heelless shoes and covered heads masculine and feminine.
Most men's hair was bobbed but the length of your hair was chosen by individual taste. The could be straight or curled according to the nature of the wearer. As the sixteenth century advanced men wore their hair shorter almost like modern hair. The men wore variations of the low-crowned, brimmed cap and was often turned up all around or with just one side turned up.
Women wore the low-crowned hat in the same fashion as the men. Women either wore their hair with elaborate structures in their hair like the Germans or with just a kerchief. They had the hair covered with some kind of headdress. Some names of headdresses are: crescent, kennel, gable, transparent half-dome bonnet, or the gorget and wimple. Peasant women wore the cote of the earlier period and handkerchiefs or collars around their neck. They looked like what we associate dress of the Puritans.
Colors of this period are strong, often dark colors. Black velvet was a staple fabric of the period, especially in headdresses. White linen was another accent against colors of gold and burgundy for collars and wrist ruffles.
Notable:
• Means "rebirth"• Began in the 1300's, lasted until the 1600's.
• Society became more prosperous, with industry and guilds and a strong middle class
• Humanists rediscovered Greek and Roman thought, and art, literature, science and philosophy flourished.
• Italy and Flanders became centers of textile production
• Columbus discovered the New World
• Magellen and Vasco de Gama found sea routes to China and Japan
• The Printing Press made writing available to many more people - spread of thought
Values:
classicism, secularism, well-roundedness, individualism, skepticism, and humanism.Women:
Although true equality was several centuries away, women had more power and freedom. Many women were respected writers and thinkers. Not to mention, Queens!Costume:
• The growth of professional tailors and manufactured cloth• Rich, opulent and layered for men and women
• Advent of slashing
• detachable sleeves
• ruffs
• points
• fans and handkerchiefs
Textiles
• silk, cotton, linen, wool, velvets and brocadesShoes
• ox-mouth shape• chopines and pantofles
Jewelry
• elaborate, artistic, gold• diamonds, gems and pearls
• masks
• rings
Grooming
• not so much bathing, so LOTS of perfume• paint for cheeks, lips and face
• glue on beauty marks
• plucked eyebrows and hairlines
Hair and hats
• women wore hair loose until marraige• elaborate braided updos
• men wore beards and short hair or shoulder length with bangs
• many fancy hats with feathers and jewels
Renaissance Costume History
Around the 1490's is when costume historians can agree that the new dress for Renaissance began. This was the period of clothing that could be said that excessiveness in all areas of costume began.Different countries took the news styles differently. For instance, the northern European countries were distorting the natural figure by padding sleeves, doublets and stockings. Italy did not go as far as the North, and England and France followed Italy's lead while they stuck to more medieval influenced styles. Germans went to the greatest extremes making “improvements” on the natural silhouette. They put large puffs at the head, shoulders, thighs; small puffs, like boils, over chest, back, arms, legs and feet. They put feathers on many on everything from wide-brimmed hats to the knees.
Clothing at this time followed suit with all other types of creative expression at this time—it went over the top into new discoveries.
Permanent characteristics in all countries are summarized as thus: rich heavy materials, in voluminous amount, large sleeves, close body garments, large hip-clothing, wide-toed, heelless shoes and covered heads masculine and feminine.
Most men's hair was bobbed but the length of your hair was chosen by individual taste. The could be straight or curled according to the nature of the wearer. As the sixteenth century advanced men wore their hair shorter almost like modern hair. The men wore variations of the low-crowned, brimmed cap and was often turned up all around or with just one side turned up.
Women wore the low-crowned hat in the same fashion as the men. Women either wore their hair with elaborate structures in their hair like the Germans or with just a kerchief. They had the hair covered with some kind of headdress. Some names of headdresses are: crescent, kennel, gable, transparent half-dome bonnet, or the gorget and wimple. Peasant women wore the cote of the earlier period and handkerchiefs or collars around their neck. They looked like what we associate dress of the Puritans.
Colors of this period are strong, often dark colors. Black velvet was a staple fabric of the period, especially in headdresses. White linen was another accent against colors of gold and burgundy for collars and wrist ruffles.
Notable Renaissance Costume Elements
| Flat Cap—A hat that is flat with soft crown and moderately broad brim often associated with Henry VIII. |     |
Jerkin—A short velvet or leather jacket, usually sleeveless, similar to a vest/waistcoat.    |  |
Upper Hose—Upper hose or full trunks that extended from upper thighs to waist.  |  |
Nether Hose—The stockings that covered the lower edges of the leg. They were usually rolled above the knee and secured by garters.  | |
| Kennel/Gable Headdress—Resembles in outline the pediment of a Greek temple. Its essentials were the piece that goes over the front part of the head and covers the ears and the veil or bag cap covering the rest of the head. With the formal styles of this headdress, no hair was visible, that at the forehead being covered with rolls or folds of cloth. There were however, linen coifs shaped in the same outline which left the parted hair visible on the forehead. The front roll was of diagonally striped material or velvet. The kennel consisted of a stiff plane covered with rich material, pieces of which extended down the sides and might be pinned back on themselves. The cap at the back, joining the kennel, was like a bag with a square bottom. One side was turned back and pinned to the other at the back of the head. The bag was generally of black velvet. |    |
| French/Crescent Stuart Cap—A heart shaped cap worn by Mary Stuart. . |    |
Bridged Sleeves—Sleeves created by tying segments together at a bridge often bridged at the shoulder. | |
| Cod Piece—A pouch like appendage made from the same fabric as the jerkin or upper stocks and fastened by ties or buckles; a decorated covering for the opening in the front of the breeches; forerunner of the fly. |  |
| Simar(re)—A robe for men, derived from chimer or chimere, and ecclesiastical garment very much like it in shape. The neck part was somewhat on a double breasted line, with no collar in back, but with wide revers turned back from the front edge of the robe. The robe was worn either ungirded or confined at the waist by a narrow silk scarf, knotted with one loop and two ends. |   |
Slashing and Puffing—Vertical, horizontal or diagonal slits in the fabric of the garment, through which appeared a different fabric. Often the shirt was the garment which puffed through. | |
| Panes—Loose, vertical bands on sleeves, doublets and trunk hose. | |
| Funnel Sleeves—Sleeves that start big and tighten toward the cuff. |   |
| Order of the Garter—An honor bestowed by the King and the person was given a special garter to wear. | |
| Duckbill Shoes—Very wide square-toed, slipper-like shoes, often decorated with jewels, puffs or slashes. |   |
Stomacher—False front or ornamental covering on the front of bodice. |  |
  Clocking—Embroidery on the socks at the ankle and sometimes on boots. |   |
| Chain of Office—A heavy chain worn by a man across the chest and neckline as decoration; often denoted an organization to which he belonged. |   |
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