MIDDLE AGES BACKGROUND

Values:

• Christianity - God's will

• Chivalry

• Heirarchy 

  

Women

• oppressed and owned

• lacking a soul

• chattel

• objects of chivalry

Resources:

• primarily wool

• velvets, brocades and silks for upper classes

•rough wools and linens for lower classes

• fur for everyone!

Notable Events:

• the dark ages

• Emperor Charlemagne

• feudalism

• 11th century cultural revival

• capture of Constantinople

• emergence of the bourgeoisie - 13th century

• The Black Death - 1348-50

• The Hundred Years war - 1337-1453

• The Printing Press - 1450's

Men

• the rise to kighthood

Costume

• long and flowing

• layered

• warm fabrics

• discovery of buttons

• the rise of the tailor

Jewelry

• simple, gold

Footwear

• Pointy! Rise of the poulaine

Grooming

• less bathing

• paint as rouge

• honey on lips

• thin plucked, arched eyebrow - and hairline!

• long hair for men and women

• women wore hair in plaits, braids or buns, also long and flowing

Headdresses

• hoods, hats and caps for men

• hairnet or crespine for women

• veils and wimples

• high hats with veils (henin)

Gothic Costume History

The costumes of Gothic time are usually divided into two periods: Early Gothic and Late Gothic. The costumes of the Early Gothic (1200-1350) period are more elegant, more sophisticated and simpler in cut than the Romanesque period. Necklines were lower, a little at first and trimming was not so heavy as before. The heavy double-sleeve went out by 1200 and the forearm was revealed because sleeves became tight. 

Shorter tunics emerged and the cote-hardie reached to the knee and a little above it but women's clothing was invariably long. Late Gothic periods that range from 1350-1450 and styles changed relatively quickly during this time. The period changed from the earlier flowing draperies that metamorphosed, finally, into fabrics that became more and more stiff. In the fifteenth century the extremes were in mostly the upper silhouette. There were crisp pleats, tight belts, padded doublets, and increasingly popular leg-o-mutton sleeve, all the items foreshadowing the squareness of the next hundred years.

 

In the early Gothic period men wore hair at a pleasant and sensible length often in a bob to the jaw line with a bang across the forehead. Blond hair was popular so many people bleached their hair. Few men wore beards and if they did they were trimmed into two points. Men in the late Gothic period wore hair bobbed also with neatly curled ends and more men began wearing beards that were neatly trimmed accompanied by a small mustache. Later in the period they would wear their hair cropped much like the modern manner of men's hair.

Women in the both periods wore their hair loose and flowing upon their shoulders until they were married where they hair was confined in a bun at the nape. In the early period women would wear many types of hair pieces to cover it, such as wimple and gorget. The gorget would actually cover the neck while the wimple would cover the head. Later in the period women's necks were exposed but their hair was covered by netting or reticulations like round cages. Nor hair was visible and was plucked to have a high hairline and thin eyebrows.

 

Colors for this period are jewel like hues much like painting from Jan van Eyke's work. The colors were reds, greens, blues and golds, soft but intense. Interspersed with these colors were brown gray and tan of humbler garments. One particular color that you could associate with the earlier period would be vermillion.

  

Notable Gothic Costume Elements

Heraldry—A combination of particoloring, coat of arms and family insignia that would note family lineage in coat of arms or clothing.
Parti-coloring—A multi-colored garment, often with one side embroidered based on the colors and the emblems in a coat of arms.
Chaperon—A caped hood with long tail, or liripipe, worn with the face opening around the head and the liripipe wound about the head and then draped under the chin.  Liripipe—Still remained form the chaperon as a tail of material coming form the donut shape of the roundlet and draping under the chin and over one shoulder.
Doublet—A short jacket or variety of pourpoint sleeved or sleeveless, worn under a closefitting pourpoint, when used as an outer garment it was padded and had a short skirt.
Pourpoint—A short jacket with tight sleeves buttoned from elbow to wrist, worn under the cote-hardie; formerly known as a paltock.
Cote-hardie—A shaped garment, tight-fitting around the shoulder, waist and hips. When worn by a woman it usually ended at the hips or slightly below, often with dagged or scalloped edges. It could be hooked or laced up either the front or the back.
Tippet—A band sewn around the elbow of the cote-hardie sleeve with the end hanging as a streamer.
Houppelande—A loose and comfortable gown of great size introduced during the reign of Charles VI in France which became very fashionable during the reign of Richard II in England. One style worn by men had long, flowing , bell shaped sleeves, a long fitted waist, and floor length or long skirt slit to the knees; another style, known as the bastard houppelande was only to calf length. A high standing collar was usually a part of this flamboyant costume. The woman's version of this robe had a soft, open collar, a short waist, a full skirt, and a long flowing sleeves.
Hennin—A truncated cone or steeple headdress with a veil completely covering the female hairdo.
Points—Metal tipped ribbons or lacings sewed in corresponding pairs to sleeves and armseyes or to doublet and hose.
Poulaines/Crackows—A long-tipped hose and shoe introduced during the reign of Richard II and named after the city of Crackow in Poland; later the length of the toe became so long it had to be tied to the knee.
Reticulation—Decorative metal cages which confined the hair at the side of a woman's head.
Escoffin—As tall, richly brocaded headdress, sometimes shaped like two horns, sometimes like a narrow, tall turban; usually had a veil of fine lawn about a yard wide.
Gorget—A wimple or cover-chief worn under the chin and tucked under the neckline of the gown.
Dagging—Scallops, crosses and points that would decorate the edge of the fabric and functionally would finish the edges.
Pomander—A ball or hollow ornament often made of filigree, containing a sponge of perfume, suspended from a necklace or girdle.
Tabard—Square piece of fabric with a hole in the middle, to be worn over the armor.
Sideless Surcote—A woman's over-gown cut away at the sides from under the arms to the hips to show the cote-hardie or kirtle underneath; it was usually worn with a plastron at the front of the figure. It remained as a ceremonial dress for women during the latter of this period.
Coif—A close fitting cap tied under the chin.
Sugar Loaf - Men's hat. Made of felt in the shape of a sugar loaf.
Homework: Do a plate featuring the costumes of a woman and a man from the Middle Ages. You may choose to do either a mood board, a photograph, or an illustration. It should be accompanied by a paragraph about clothing from the middle ages.

MIDDLE AGES

Please click on Prezi for Middle Ages

Comment below with questions.

Thank you

MIDDLE AGES PREZI

WRITING MOVIE RESPONSE RUBRIC

Please review below writing rubric.

Use clothing names in the writing responses for example, chiton, toga, tunica, clavi, etc.

FASHION HISTORY - ANCIENT ROME & PURPOSE OF FASHION PLATE

ANCIENT ROME PREZI

PLEASE CLICK THE LINK BELOW TO FIND MORE INFORMATION ABOUT ROMAN CULTURE AND CLOTHING.

ANCIENT ROME FASHION PLATE

- ONE STUDENT MODEL'S A ROMAN TOGA, TUNIC, STOLA, ARMOR, ETC
- TAKE A PICTURE OF THE STUDENT
- CREATE A FASHION PLATE WITH SUPPORTING PICTURES
- CREATE A SUMMARY OF INTERESTING FACTS ABOUT ROMAN CULTURE AND CLOTHING

******REMEMBER BOTH THE SUPPORTING FACTS/SUMMARY PLATE AND THE FASHION PLATE MUST BE THE SAME SIZE - THEY ARE GOING TO BE A PART OF THE SAME BOOK.*****

PURPOSE OF FASHION PLATE IN HISTORY

Fashion may be defined as a general style of dress appropriate for a particular person to wear at a certain time of day, on a special occasion, or for a specific purpose.

A fashion plate is a costume portrait, that is to say, a portrait not of an individual but one which shows the sort of clothes that are being worn or that are likely to be worn. It is a generalized portrait, indicating the style of clothes that a tailor, dressmaker, or store can make or supply, or showing how different materials can be made up into clothes. A fashion plate is related to the wear of its epoch and not to the history of dress, except insofar as the dress of a historical personage may be imitated at a later date. A fashion plate is reproduced mechanically, the woodcuts and engravings of earlier dates being succeeded by lithographs and finally by the various photographic processes of our time.

PLEASE LIST YOUR QUESTIONS, CONCERNS AND COMMENTS BELOW

Ancient Rome

Values and History: Founded on the Palatine hill along the river Tiber.  Rome eventually became a republic ruled by Senators.  It became a powerful empire, using its armies to conquer neighboring lands. Eventually became a dictatorship, ruled by a   series of emperors. It spit into two states and fell finally to a series of invasions. Culture and though influenced by the Greeks, but distinct in its strict laws and relentless conquests. Ancient Rome was a man’s world. In politics, society and the family, men held both the power and the purse-strings – they even decided whether a baby would live or die. Families were dominated by men. At the head of Roman family life was the oldest living male, called the "paterfamilias," or "father of the family." He looked after the family's business affairs and property and could perform religious rites on their behalf. Absolute power The paterfamilias had absolute rule over his household and children. If they angered him, he had the legal right to disown his children, sell them into slavery or even kill them. Only the paterfamilias could own property: whatever their age, until their father died, his sons only received an allowance, or peliculum, to manage their own households. Sons were important, because Romans put a lot of value on continuing the family name. If a father had no sons then he could adopt one – often a nephew – to make sure that the family line would not die out. Materfamilias Roman women usually married in their early teenage years, while men waited until they were in their mid-twenties. As a result, the materfamilias (mother of the family) was usually much younger than her husband. As was common in Roman society, while men had the formal power, women exerted influence behind the scenes. It was accepted that the materfamilias was in charge of managing the household. In the upper classes, she was also expected to assist her husband’s career by behaving with modesty, grace and dignity. Baby love? The influence of women only went so far. The paterfamilias had the right to decide whether to keep newborn babies. After birth, the midwife placed babies on the ground: only if the paterfamilias picked it up was the baby formally accepted into the family. If the decision went the other way, the baby was exposed – deliberately abandoned outside. This usually happened to deformed babies, or when the father did not think that the family could support another child. Babies were exposed in specific places and it was assumed that an abandoned baby would be picked up and taken a slave. Infant mortality Even babies accepted into the household by the paterfamilias had a rocky start in life. Around 25 percent of babies in the first century AD did not survive their first year and up to half of all children would die before the age of 10. As a result, the Roman state gave legal rewards to women who had successfully given birth. After three live babies (or four children for former slaves), women were recognized as legally independent. For most women, only at this stage could they choose to shrug off male control and take responsibility for their own lives.    Women: Women had no rights - arranged marriages by the age of 12 or so. Women spent their days on housekeeping and making clothes. Wealthy women had servants or slaves. The paterfamilis had absolute power over the family. Women did not leave the house unaccompanied and spent most of their time in the gynaceum.  Resources: Wool and linen initially, then silks and cottons from India.  Footwear: Sandals and low boots.  Jewelry: Minimal and Greek inspired.  Grooming: Elaborate hair dressing with curls and wigs. Cosmetics and public baths.   Workers hanging up clothing to dry, wall painting from a dye shop (fullonica)at Pompeii   Roman 735 BCE - 330 AD

Roman Costume

Until about 100 BC, Roman costume is hardly different from Greek costume of the same period except for the toga. Roman formality in the Republican periods reflected many of the Greek costume. There was the difference of the construction of the garments for the Greek chiton formed its sleeves from the top of the doubled rectangles, where the tunica and stola opened their sleeves at the sides for armholes.
Men wore the toga, which was as sign of a distinguished Roman citizen. There were many different types of togas for different occasions, from the Toga pura, the ordinary dress of citizens, to the Toga trabea, a parti-colored toga with a purple border which would be a king's toga or a augur's toga. Men wore their hair closely clipped to the head with short locks falling on the forehead and neck. The men wore their face smooth-shaven and if they had a beard it would be one that was close clipped with mustache.
Women wore their hair much like Greek styles at first but as they period matured women wore their hair in elaborate coiffures. The women would frizz, intricately braid, coil, and pile false blond or red tresses in to grotesque designs. The would wear decorations and headdresses in their hair as well. The women would wear the stola, which was once called the Greek chiton, most of the days. If a woman who had shamed her honorable estate was deprived the right to wear the stola she would wear the make toga as a sign of her degradation.
There was more cream and white in the Roman times than in the Greek scene because togas were usually white. Rich people would wear purple because it was an expensive dye. Men would have wore blue and crimson too. Important men would wear red shoes. Women would have larger range of colors like scarlet, violet, marigold yellow, crocus yellow, hyacinth-purple, sea-green and blue. The colors were almost pastel but a little stronger. If a women were to marry she would wear flame and white. 

Notable Roman Costuming Elements

Toga—Outer garment, which was the badge of the Roman citizen, rich or poor. Originally the rectangular Greek pallium made into a ellipse, the draping of which developed infinite complications. Of wool, it was characteristically in bleached white.
Tunica—Wide, shirt-like, undergarment, the indoor dress of the Roman; worn outdoors without the toga only by working people. It was not, like the toga, distinctly Roman. Originally sleeveless and woolen, usually white, it acquired sleeves and was later made of linen and cotton as well. The tunic was girded with meticulous care to the exact length considered correct for the rank and the sex of the wearer.
Sinus—The fold of the toga that can be put over the head like a hood.
Umbo—Toga fold on the front of the garment that forms a pocket at the bottom of he sinus.
Paludentum—A purely military mantle, used as the official military mantle of the general in command, or the emperor while in the field. Used particularly in the earlier years, before the first century AD. In cut, it resembled the chalmys or lacerna with two corners truncated to form an elongated, primitive semicircle.
Clavi—Colored bands on the tunica, indicating the wearer's rank. With time the clavus lost distinction, and the by the first century it was worn by every one. The clavi then became more elaborately decorative in character, broke into spots of decoration, and amalgamated with borders at the hem of the garment. Augustus clavus: For equestrian knights: a narrow band running up over each shoulder and down to hem on tunic or ungirded dalmatica. Laus clavus: Single, wide clavus worn by senators.
Stola—Woman's garment. Worn over the tunica intima (which was of similar cut, might or might not have sleeves, and which served as a housedress.) The stola had sleeves like the men's tunica, or was pinned along the shoulder line and down the arms. It was girded once under the breast and often girdled again at the hips.
Lorica - This was a cuirass of brass or bronze, molded to the shape of the body with perfect fit and following the line of the abdomen. Frequently enriched with relief and ornaments in metal work.
Solea - Shoe-like sandal
http://www.vroma.org/~bmcmanus/clothing.html

RUBRIC FOR GRADES

Please review the below Rubrics to assist in the understanding of your grades.

Rubric for Fashion History Sketches

Task Description: Draw a man and a woman from the period. Include elements of clothing from the time. Should be in color and mounted..

DIMENSIONS	DESCRIPTION OF AN EXEMPLARY PERFORMANCE	COMMENTS
KNOWLEDGE: Understanding of Historic Costume as exhibited in the drawing. 33 points	The costume is a great example of the clothing from the period. Color, fabric and styling all look authentic. Accessories and footwear are accurate to the period and are attractive. Make-up and hairstyling is authentic to the period.
AESTHETICS: The attractiveness and quality of the drawing. 33 points	The drawing is well rendered. Looks like actual fabric and jewelry. The composition is attractive – no unused space. Lettering is appropriate to the time. .
PROFESSIONALISM Presentation of the work. 33 points	The presentation of the work is professional and knowledgeable. The student speaks well about the work. The work is clean and professional, not sloppy or rushed..

Rubric for Fashion History Photographs

Task Description: Create and style a photograph in the style of a particular period. You may work alone or in pairs.

DIMENSIONS	DESCRIPTION OF AN EXEMPLARY PERFORMANCE	COMMENTS
KNOWLEDGE: Understanding of Historic Costume as exhibited in the photograph. 33 points	The costume is a great example of the clothing from the period. Color, fabric and styling all look authentic. Accessories and footwear are accurate to the period and are attractive. Make-up and hairstyling is authentic to the period.
AESTHETICS: The attractiveness and quality of the photograph. 33 points	The background is suitable to the period. The lighting and composition are well considered. There are no modern distractions.
UNDERSTANDING: The supporting paragraph 33 points	The supporting paragraph displays a thorough knowledge of the fashion of the period.

Rubric for Fashion History Collage

Task Description: Create a collage/mood board that illustrates the period.

DIMENSIONS	DESCRIPTION OF AN EXEMPLARY PERFORMANCE	COMMENTS
KNOWLEDGE: Understanding of Historic Costume as exhibited in the collage 33 points	The majority of the images are all from Primary Sources (actual images from the period. If there are other images, they are accurate Accessories, footwear, make-up and hairstyling is displayed. There is a good range of garments and images.
AESTHETICS: The attractiveness and quality of the collage. 33 points	The background and font is suitable to the period. The layout is attractive. The images are in color and of good quality. (not blurry or pixelated, printed at Staples) Images are cut neatly, and glued completely and cleanly.
UNDERSTANDING: The supporting paragraph 33 points	The supporting paragraph displays a thorough knowledge of the fashion of the period.