The Project Gutenberg eBook, Dress design, by Talbot Hughes This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Dress design An Account of Costume for Artists & Dressmakers Author: Talbot Hughes Release Date: January 10, 2011 [eBook #34903] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN*** E-text prepared by Constanze Hofmann, Suzanne Shell, and the Online Distributed Proofreading Team (http://www.pgdp.net) Transcriber's Note: A number of typographical errors have been corrected. They are shown in the text with mouse-hover popups. Hover the cursor over the marked text and the nature of the correction will appear. All greyscale images have been provided as thumbnails. A larger version of those images is available by clicking on the link below the image. The numerous full page images have been moved to the nearest paragraph break, the page numbers for these pages have been omitted. Where the index links to such a page, the link goes directly to the image in question. THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY DRESS DESIGN See caption larger image A Long-trained Muslin Dress. About 1800. DRESS DESIGN AN ACCOUNT OF COSTUME FOR ARTISTS & DRESSMAKERS BY TALBOT HUGHES · ILLUSTRATED BY THE AUTHOR FROM OLD EXAMPLES · TOGETHER WITH 35 PAGES OF HALF-TONE ILLUSTRATIONS LONDON SIR ISAAC PITMAN & SONS, LTD. Bath, Melbourne, Toronto, and New York Reprinted 1920 GENERAL PREFACE TO THE SERIES In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims. In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of appearance. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool. In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success. In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour, as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship. PREFACE The designing and making of Costume is a craft—sometimes artistic—with which we are all more or less concerned. It is also, in its own way, one of the living arts, that is, it is still carried forward experimentally by experts directly attached to the "business." It has not yet been subjected to rules of good taste formulated by Academies and Universities; but when Inigo Jones, the great architect, was asked to make some designs for fancy dress, he based them on the Five Orders of Architecture, and ponderous fancies they were. If we look for the main stem of principle on which modern Costume develops, we seem to find it in the desire for freshness, for the clean, the uncrushed, and the perfectly fitted and draped. Probably a modern lady's ideal would be to wear a dress once, and then burn it. A correlative of the ideal of freshness is the delight in perfect "cut," and the rapidly changing fashions are doubtless conditioned in part by the desire for the new and unsullied. "Novelty" is a guarantee of newness. In such ephemeral productions it would be vain to seek for certain fine types of excellence which were once common when dresses were not so lightly cast aside. So it is necessary that we should understand what the ruling principle is, for [xi] [xii] [xiii] [xiv] [xv] it is one which will not be set aside at the bidding of well-meaning reformers. I will only venture to say that it would be desirable to make the attempt to separate in some degree the more constant elements of dress from those which are more variable. It will seem a pity to more than outsiders that a "well-dressed" person need wear so little which deserves to have been made by human hands, and nothing which deserves to be preserved. Fine laces and jewels are allowed to be antique—could not the circle of such things be a little broadened? A properly groomed man carries about on him literally nothing worth looking at. We might surely look for a watch-chain with some delicacy of handiwork—something beyond mechanical reductions of iron cables. Fine buttons might conceivably be made to go with the studs, or be made of crystal, amethyst, and silver or gold. Women might allow of the transfer of fine embroidered applications from one dress to another, or make more use of clasps and the like. I am confident that when it is pointed out, it will be felt as a shortcoming that no part of a fine lady's dress need now be too good to throw away. Although the present volume is cast into the form of a history, it is also intended to be a book of suggestions; and the hope is held that modern dressmakers may refer to it as much as, or more than, those who are interested in dress from the historical point of view. In any case the author's accurate knowledge of the facts, and his many bright sketches—which are often drawn from examples in his own remarkable collection—make the present volume an admirable handbook of English Costume. The more technical "patterns" which are included amongst the illustrations will be found most valuable to all who wish to go deeper than the first glance reveals. W. R. LETHABY. 1913. CONTENTS PAGE General Preface to the Series xi Preface xiv List of Plates xxiii Introduction 33 CHAPTER I Prehistoric Dress—Female 40 Prehistoric Dress—Male 41 CHAPTER II The Development of Costume to the Tenth Century—Female 45 The Development of Costume to the Tenth Century—Male 49 CHAPTER III Tenth to the Fifteenth Century—Female 57 Tenth to the Fifteenth Century—Male 71 CHAPTER IV Fifteenth Century—Female 84 Fifteenth Century—Male 92 [xvi] [xvii] [xviii] [xix] [xx] CHAPTER V Sixteenth Century. Character of Trimmings 109 Sixteenth Century. Henry VIII—Female 113 Sixteenth Century. Henry VIII—Male 118 Sixteenth Century. The Reigns of Edward VI and Mary—Female 124 Sixteenth Century. The Reigns of Edward VI and Mary—Male 129 Sixteenth Century. Elizabeth—Female 133 Sixteenth Century. Elizabeth—Male 139 CHAPTER VI The Character of Trimmings through the Seventeenth Century 142 James I 142 Charles I 143 The Commonwealth 145 Charles II 145 James II and William and Mary 146 Seventeenth Century. James I—Female 147 Seventeenth Century. James I—Male 150 Seventeenth Century. Charles I—Female 154 Seventeenth Century. Charles I—Male 160 Seventeenth Century. The Commonwealth—Male and Female 168 Seventeenth Century. Charles II—Female 169 Seventeenth Century. Charles II—Male 174 Seventeenth Century. James II—Female 178 Seventeenth Century. James II—Male 180 Seventeenth Century. William and Mary—Female 184 Seventeenth Century. William and Mary—Male 186 CHAPTER VII The Character of Decoration and Trimmings of the Eighteenth Century 190 Eighteenth Century. Anne—Female 193 Eighteenth Century. Anne—Male 198 Eighteenth Century. George I—Female 201 Eighteenth Century. George I—Male 207 Eighteenth Century. George II—Female 211 Eighteenth Century. George II—Male 214 Eighteenth Century. George III to 1800—Female 217 Eighteenth Century. George III to 1800—Male 231 CHAPTER VIII Character of Trimmings of the Nineteenth Century 237 Nineteenth Century. George III—Female 241 Nineteenth Century. George III—Male 246 Nineteenth Century. George IV—Female 248 Nineteenth Century. George IV, 1820-30—Male 254 Nineteenth Century. William IV—Female 258 Nineteenth Century. William IV—Male 263 Nineteenth Century. Victoria—Female 264 Nineteenth Century. Victoria—Male 273 [xxi] [xxii] Patterns of Various Reigns from Antique Costume 276 Patterns to Scale 283 Patterns to Scale, Detailed List 353 Index 359 LIST OF DESCRIPTIVE LINES TO THE PLATES FRONTISPIECE A Long-trained Muslin Dress, about 1800. PLATE I Boots and Shoes from the Fourteenth to Nineteenth Century. PLATE II A. Elizabethan Robe in Plush, 1585-1605. B. Elizabethan Robe in Silk Brocade, 1565- 85. C. Elizabethan Male Robe in Velvet Brocade, 1580-1615. D. Back-piece of Elizabethan Doublet in Embroidered Linen, 1580-1605. PLATE III A. Elizabethan Jump (or Jacket), about 1600. B. Portrait of Lady in Embroidered Costume, between 1620 and 1640. PLATE IV C. Youth's Jacket of Linen embroidered in Worsted, 1635-65. D. Linen Male Jacket embroidered with Gold and Silk, 1600-40. PLATE V A. Jerkin—Period James I. B. Lady's Bodice of Slashed and Vandyked Satin, 1635-50. C. Jerkin of Embroidered Linen, 1630-60. D. Jerkin of Embroidered Linen, 1580-1635. PLATE VI A. Collar and Cuffs set with Lace, 1600-30. B. Embroidered Leather Jerkin, 1620-1640. C. Top of Stocking, Embroidered Linen, 1625-50. PLATE VII A. Herald's Coat, Embroidered Velvet and Silk, First Half Seventeenth Century. B. Lady's Bodice of Black Velvet, 1630-60. C. Black Silk Jerkin, 1640-50. PLATE VIII A., B., C. Three Suits—Period Charles II. [xxiii] Facing Title Facing p. 39 Facing p. 42 Facing p. 55 [xxiv] Facing p. 58 Facing p. 71 Facing p. 74 Facing p. 87 [xxv] Facing p. 90 PLATE VIIIa A. Suit of Embroidered Silk, 1610-30. B. Three Sword-hangers Embroidered in Gold, Charles II. C. Braided Suit, 1670-90. PLATE IX A. Lady's Embroidered Silk Jacket, 1605-20. B. Lady's Bodice of Silk Brocade, 1680- 1700. PLATE X A. Black Velvet Bodice, 1600-25. B. Five Embroidered Waistcoats, between 1690 and 1800. PLATE XI Sixteen Leather Boots and Shoes, between 1535 and 1850. PLATE XII A. Lady's Outdoor Costume, 1785-95. B. Costume, Early Eighteenth Century. C. Silk Brocade Dress, 1760-80. PLATE XIII A. Silk Coat, 1735-55. B. Brocade Silk Coat, 1745-60. C. Embroidered Cloth Coat, 1770-90. PLATE XIV A. Embroidered Silk Dress with Pannier, 1765-80. B. Brocade Dress and Quilted Petticoat, 1750-65. PLATE XV A. White Cloth Coat, 1775-90. B. Silk Dress, 1740-60. C. Embroidered Velvet Coat, 1753-75. PLATE XVI A. Silk Brocade Dress, 1740-60. B. Silk Brocade Sack-back Dress, 1755- 1775. C. Dress of Striped Material, 1755-85. PLATE XVII A. Silk Suit, 1765-80. B. Quilted Dress, 1700-25. C. Silk Embroidered Suit, 1765-80. PLATE XVIII A. Brocade Bodice, 1770-85. B. Flowered Silk Dress, 1750-70. C. Silk Brocade Bodice, 1780-95. PLATE XIX A. Silk Brocade Dress, 1775-85. B. Embroidered Silk Jacket, 1775-90. C. Brocade Jacket, 1780-95. PLATE XX A. Gold-embroidered Muslin Dress, 1795- 1805. B. Nine Aprons, between 1690 and 1750. C. Dress of Spotted Stockinette, 1795-1808. Facing p. 103 Facing p. 106 Facing p. 119 Facing p. 122 [xxvi] Facing p. 135 Facing p. 138 Facing p. 151 Facing p. 154 Facing p. 167 Facing p. 170 [xxvii] Facing p. 183 Facing p. 186 Facing p. 199 PLATE XXI Twenty-three Boots and Shoes, from 1800 to 1875. PLATE XXII A. Linen Dress, 1795-1808. B. Silk Bodice, 1825-30. C. Silk Bodice, 1818-25. PLATE XXIII A. Muslin Dress with Tinsel Design, 1798- 1810. B. Silk Dress, Period George IV. C. Satin and Gauze Dress, 1820-30. PLATE XXIV A. Outdoor Silk Jacket, 1798-1808. B. Embroidered Muslin Bodice, 1816-1830. C. Embroidered Muslin Bodice, 1824-1825. D. Satin and Gauze Bodice, 1820-30. PLATE XXV A. Silk Dress, 1800-10. B. Cotton Dress, 1800-10. C. Embroidered Muslin Dress, 1820-30. D. Silk Gauze Dress, 1824-30. PLATE XXVI A. Morning Coat of Chintz, 1825-45. B. Cloth Coat, 1808-20. C. Cloth Overcoat, 1820-35. PLATE XXVII Outdoor Silk Dress, 1825-35. PLATE XXVIII A. Silk Pelisse, 1820-30. B. Cotton Dress, 1830-40. C. Silk Spencer and Cape, 1818-27. PLATE XXIX A. Embroidered Silk Gauze Dress, 1820-30. B. Gauze Dress with Appliqued Design, 1825-35. C. Printed Linen Outdoor Dress, 1827-1847. PLATE XXX A. Printed Silk Bodice, 1840-50. B. Gathered Linen Bodice, 1837-47. C. Silk Bodice and Bertha, 1845-55. PLATE XXXI A. Embroidered Muslin Outdoor Dress, 1855-65. B. Riding Habit, 1845-75. C. Gauze Ball Dress, 1840-55. PLATE XXXII A. Silk Dress, 1860-70. B. Gauze Walking Dress, 1850-60. C. Silk Dress, 1848-58. PLATE XXXIII A. Silk Dress with Court Train, 1828-1838. B. Silk Afternoon Dress, 1872-78. C. Silk Coat and Skirt, 1855-56. Facing p. 202 Facing p. 215 Facing p. 218 [xxviii] Facing p. 231 Facing p. 234 Facing p. 247 Facing p. 250 Facing p. 259 [xxix] Facing p. 263 Facing p. 266 Facing p. 270 Facing p. 279 Facing p. 282 [xxx] DRESS DESIGN Plates originally printed in collotype are now produced in half-tone INTRODUCTION The subject of Historical Costume covers such a multitude of detail that a volume on each century could be written, with hundreds of illustrations. Thus it is, most works on costume are expensive and bewildering; but I hope this small practical handbook will be a useful addition to the many beautifully illustrated works which already exist. I have divided the matter into centuries and reigns, as far as possible, in this small work, besides separating male and female attire, thus simplifying reference. A special feature has also been made, of supplying the maker or designer of dress with actual proportions and patterns, gleaned from antique dresses, as far back as they could be obtained; and I am much indebted to the authorities at the Victoria and Albert Museum for the permission given me to examine and measure their unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield, Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their valuable assistance with interesting specimens. I have used outline drawings in the text, as being more clear for purposes of explanation. The dates given to the illustrations are to be taken as approximate to the time in which the style was worn. Many of the photographs have been arranged from my own costume collection, which has made so much of my research simple, reliable, and pleasant. I am also happy to state that before the final revision of this book I have heard that my collection of historical costumes and accessories will, after a preliminary exhibition at Messrs. Harrod's, be presented to the Victoria and Albert Museum as a gift to the nation by the Directors of that firm. Thus the actual dresses shown in these plates will find a permanent home in London, and become valuable examples to students of costume. The coiffures in the collotype plates are not to be judged as examples, for it would have consumed far too much time to set up these figures more perfectly, but all the bonnets, caps, and accessories given are genuine examples. In a book of this size, one cannot go into the designs of materials, &c., which is a study any earnest student would not neglect, but in this connection I would draw attention to the comparative colour density and proportion of designs chosen for various effects. It has been my endeavour to arrange a greater variety of the forms which make up the characters of each period, and also to give a wider knowledge into the footwear, or details of the footwear, than is usual in most costume books. In a review of the styles I would not press any choice for building new designs, as I believe in close individual research and selection, which may utilise many interesting features from costume settings even in periods which are almost scorned. I believe the purest beauty is found in the simple forms of dress and decoration settings from the 12th to the 15th centuries, schemed to the natural proportions of the figure. The grace of line and movement is often aided by the short train, which can be so happily caught up in many ways; the slight drag of the train always keeps the front clear in outline, besides showing the movement of the limbs. Length of fall in the material was desired, the figure creating its own folds with every turn, but a belt was often placed rather high under the breast. There is little reason with nature of fine form to make dress into sections by a corset waist. A long, lithe, complete curve in outline—much happier unbroken, except by the girdle—is certainly the most artistically useful conception, not breaking the rhythm (as does the harder belt), while it also induces much beauty in lifting and arranging the drapery. The long falling sleeve also has the same qualities, giving a greater fullness of shape, a variety of colour (by a difference of lining), with a winglike motion, besides softening the angle of the elbow. I think the next garment for high esteem is the chasuble-shaped tunic (with or without sleeves). Falling cleanly from the shoulders, it stops at a charming length for the skirt to take up the flow of line. The delightful effect of partly-laced or clasped sides was not missed by the ablest designers. How refined, too, was the character of decoration of the old period! The art of concentrating effects is seen to perfection, retaining the breadth of shape and length unbroken. [33] [34] [35] [36] Jewelled embroidery of fine enrichment was wrought on the borders, neck settings, square corners, the girdle, and the clasps. The preciousness of effect was truly appreciated by the enclosing of the face in the purity of white lawn and zephyr-like veilings; the circlet and the long interlaced plaits and charming nettings were all tastefully schemed. Has woman ever looked more supreme through all the centuries of extravagant styles and distortions? I believe not: but I have come to the conclusion that, at whatever period of seeming insanity of style, the woman of fine taste can overcome all obstacles by her individual choice and "set up," and has really always looked fascinating. There was another form of decoration at this period—the cutting of the edges into a variety of simple or foliated shapes, giving a flutter and enrichment to forms in a simple manner, and this, in conjunction with the increasing richness of materials, was a valuable aid to lighten the effects. It was probably initiated by the heraldic characteristics in vogue. The pricked and slashed details had much the same result in enriching surfaces. Later the fan sleeves of the 18th century were enhanced in a similar way by the curved and scalloped shaping, which was used as late as the Victorian sixties with happy effect on the polonaises. Now, as regards the finest corset dress, the palm must be given to the sack-back dress of the eighteenth century (not in the period of its distortion with hoops), and a full setting showed it to greatest advantage. This type of design lent itself to more variety in beauty of arrangement than any other; the looping, reefing, and tying always set gracefully in accord with the back fall. The easy exchange of the stomacher also gave additional chance of effect, and the beauty of the fan-shaped sleeve, with its lace falls at the elbow, was a delightful creation. How rich and refined this character could be, without the monstrous forms and head-dresses which later invaded it and turned it into ornate absurdity! When we examine the period of Charles I, we find much charming dignity in the adaptations of earlier inventions; the collar settings were noble, indeed perfect, in arrangement, and the bodice decoration and proportions most interesting. For the grace of girlhood no dresses are happier than those of the early 19th century to 1830, and the inventions in trimmings through this period were prolific in beauty and lightness of style. Analysis of the many fashion-plates and original dresses of this period will well repay all interested in beautiful needlecraft and dress design. The arrangement of frills, insertions, gathered effects, applied forms, and tasselled or buttoned additions, will be found full of beauty and novelty, especially in the dresses of white embroidery. Plates XXIII and XXIV (see pp. 218-231) give some happy examples of this time. See caption larger image Plate I.—Boots and Shoes from the 14th to the 19th Centuries. 1. Charles II. 2. James II. 3. William and Mary. 4. George II. 5. George III., 1770. 6. George III., 1760. 7. George III., 1780-1800. 8. 1870-1880. 9. William and Mary. 10. 1680-1700. 11. 1680-1702. 12. 1750-1775. 13. 1580-1625. [37] [38] [39] 14. 1710-1730. 15. Henry VIII. 16. Semi-Clog, 1780-1800. 17. Henry VIII. 18. 1778-1795. 19. Late 15th Century or early 16th Century. 20. 1500-1540. 21. Late 14th Century to middle of 15th Century. 22. 1530-1555. 23. 1535-1555. A word on the most condemned flow of fashion during the Victorian era. There are many dresses of real charm to be found amongst the mass of heavy styles which must not be overlooked in studying design and style. Even the crinoline dress, when treated with the exquisite silk gauzes, as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring as any woman could wish, and the original design of the jacket in the latter figure, with its richly embroidered, long-skirted front cut short at the back, arranged itself perfectly on this type of undersetting. There was notable refinement of effect and beauty of proportion in many dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p. 279), the waist being set rather high, and the very full skirt carried back by the crinoline being held thus with its cross ties. CHAPTER I PREHISTORIC DRESS. FEMALE. The woman's attire would have been chiefly a shortish skirt or wrap of coarse linen, wool, or leather, gathered in front or folded at one hip; grass cloth may also have been in use in most primitive tribes. Probably the upper part of the body was kept bare, except for many ornaments and necklaces, but a bodice or jacket cut in the same simple form as the male shirt, with a heavy belt or girdle, would have been used, and certainly a large shawl, which could be wrapped over the head and round the figure during inclement hours. Dyed or painted patterns on the cloths might well have been also in use, their chief designs being stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope patterns and plaited patterns. The hair would have been loose, plaited, or coiled on top, held by bone pins or circlets of bronze. PREHISTORIC DRESS. MALE. We have little description or illustration to certify the actual dress of the early inhabitants of Britain, but we can draw conclusions with pretty certain assurance, from the knowledge of their mode of living. From their attainments in artistic design and handiwork, it is clear they had arrived at a very high state of savage culture before the Roman invasion; and we have only to study the better types of savage life still in progress, to picture how our own primitive race would be likely to dress under the conditions of climate. The thousands of "finds," which accumulate evidence every year, give us a closer acquaintance with their customs and work. The rest we must imagine from our general knowledge of what they had to contend with in climate, forest, cave, and floods. These early people, it is presumed from certain discoveries, had long known the art of coarsely weaving flax and wool, which must soon have been in general use, from its being healthier and cleaner than the garments of skin. And very probably a coarse linen, with simple dyes of red, blue, yellow, and brown, was in use here when the Romans came. The head-dress consisted of a cap of fur or wool, probably decorated with a feather, over loose and most likely very unkempt hair falling to the shoulders. The Gauls cut their locks from the back of the head, often tying up the remainder in a tuft on the top; no doubt the hair was sometimes plaited or pinned up with wood, bone, or bronze ornaments. Bone pins, teeth, and boar tusks were carried in the ears, as well as studs of bone or stone in the underlip, and even the cheek may have been so decorated, as it was amongst the Esquimaux. The face and body were painted with red and [40] [41] [42] white ochre and a blue stain. The neck was adorned with strings of teeth, stones, amber, jet, bronze, and probably beads of glass or baked clay coloured. Amulets and tokens, armlets and bracelets were all in use. Also the torque, a twisted rod of gold flattened or curled together at the ends, was a mark of dignity. A wristlet of wood, bone, or leather was worn when the bow and arrows were used. The arms were a spear of flint or bronze and a dagger of the same, a hatchet or heavy club, a mace studded with flint or bronze spikes, and the sling, which would have necessitated a leather wallet to carry the stones; fish spears and snags. Also the bolas for felling cattle seems to have been known; in fact nearly all the usual implements appertaining to savage life were in use. See caption larger image Plate II. (a) Elizabethan Robe in Plush. 1585-1605. (b) Elizabethan Robe in Silk Brocade. 1565-85. (c) Elizabethan Male Robe in Velvet Brocade. 1580-1615. (d) Back-piece of Elizabethan Doublet in Embroidered Linen. 1580-1605. Measures, see p. 281. Sleeve pattern of C, see p. 300. The first item of male attire was of two skins fastened at the shoulders, and from this we get the early chasuble form (which may be so beautifully treated, even to the present time), girt with a leather thong or strap at the waist. One skin lapped the other, and hardly needed sewing together at the sides, while thus it was easier to throw off; it may also have been tied up between the legs. The fur was worn both inside and out, according to the weather; this large skin wrap would also be worn cross-ways with the right shoulder free, and the simple cloak of various lengths with a hole for the head to pass through was no doubt one of the first discoveries in costume. A loin cloth or skin may have been worn alone, caught up through the legs and fastened at the back of the waist with a heavy belt and set well down the hips. This would hold a number of personal necessities, in the shape of a wallet and dagger. The legs would be wrapped with skins, tied up or crossed by leather or sinew thongs, or with hemp or grass rope. Skins were probably also used on the feet, gathered and tied above the instep and round the ankle. The enumeration of these items will give a pretty definite idea of how the early race would appear in their more or less attired form. In fighting, they cleared for action (as it were) and discarded all clothing, their only protection being a shield of wicker or wood covered with leather; it may have been studded with bronze plates or painted with grotesque characters, as were their own bodies, in true savage style, to strike fear into their enemies; it is even possible feather decorations formed part of their "get up." [43] [44] CHAPTER II THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE. The female head-dress consisted chiefly of flowing hair banded with a circlet of various shapes, but a development of braiding plaits is found very early, and the hair was probably arranged so before the Roman era. These plaits were generally brought over the shoulder to the front, the hair being parted in the centre, thus making an oval forehead. Various caps began to show originality, and jewels were set in the centre of the forehead on the little crown-like hat, which must have been most becoming. Squares of coloured stuffs were draped over the head and shoulders, sometimes upon white linen squares, and many ladies began to bind the face and head, shutting out the hair, in the 8th century. The kerchief draping is very important to study, because it was the general mode amongst the people. Heavy collars of ornament and strings of beads, hanging even to the waist, are noticeable features of these centuries, also large ear-rings. A full cloak, with a large clasp or brooch, opened in front, or was turned to free one shoulder; there was also a long "drape" thrown round over the opposite shoulder or brought picturesquely over the head. The ecclesiastical form of cloak as described in the male attire was also formed about the 6th century; its graceful line was frequently bordered completely with a band of ornament, and it was clasped just across the breasts. The complete circular cloak, with a hole for the head, is seen very early, decorated with a pinked edge, which may also be noted on some of the short dresses of the middle classes. Aprons are no doubt of the earliest origin. A loose tunic falling to the hips was girded rather high up the body, as in the classic dress, and bands passing both outside or crossing between the breasts and going over the shoulder came from the same source; these were with, or without, short sleeves to the elbow. A long loose robe was the chief attire to the 6th century, belted rather high in the waist, and caught up with a girdle at the hips; these girdles gave a great interest to the early centuries, with the art of arranging the fullness of skirt into its hold. Saxon Type—Stephen [45] [46] [48] Fig. 1. From the 6th century the dress became closer fitting, and a short bodice is seen; the neck was cut very low, either square or round in shape, and this style had short tight sleeves or tight sleeves to the wrist. The later tunic of the 9th century marked the beginning of the slit-open upper sleeve, and a greater length of the neck opening, which came to be fastened down the front to the waist. The early skirts (to the 6th century) were hung from the hips, and were often attached to a heavy girdle band, the fullness was gathered mostly at the back and front; other skirts hung from a higher belt and were again caught up in the girdle. A V-shaped neck setting was worn by the Franks, from which probably came the shaped front piece that will interest us in the 13th century. The shoes were similar to the male shapes described later, and the same mode of binding the stockings was sometimes imitated. THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE. In taking the long period from the Roman occupation to the 10th century, we can discover a real development of style in costume, as with the system of vassalage a distinction of class arose. No doubt the Romans introduced a finer tuition of weaving, needlecraft, decoration, and dyeing; and later the various peoples coming from the Continent, when settled under Alfred in the 9th century, produced a solid style of barbaric splendour. Danes—Scandinavian—3 Gauls Fig. 2. [49] Francs—Anglo-Saxons Fig. 3. The male hair dressing, from the rugged mass of hair, soon became well combed and trimmed square across the neck: ear-rings may still have been in use by some nobles till the 11th century, and chaplets were worn upon the hair. The Saxon beard was divided into two points. Small round tight caps of wool, fur, or velvet, and rush or straw hats of a definite shape were in use to the 10th century. Tight caps, with lappets tied under the chin, and hoods appear on the short capes about the 8th century, or probably earlier. The garment was of the simplest form, cut like a plain square loose shirt to the middle of the thigh, and this was put on over the head. The opening to pass the head through was the first part to receive a band of decoration. The sides were sometimes opened to the hips and the front caught between the legs and held at the waist. A garment opened down the front, and another wrapped across to either shoulder is also seen. A belt girt the waist, and the tunic was pulled loosely over it. This also carried the essential requirements in the shape of a pouch, dagger, knife, comb, sword, &c. The neck was ornamented with chains of bronze, gold, beads, and charms, and up to the 8th century a bronze ornamental armlet was worn, besides a wristlet. The men of the ruling class from the 8th century were clothed in a long garment of simple shape, falling to the ankle, richly bordered at the hem and neck. This generally had long tight sleeves, and often over this a shorter tunic, reaching just below the knee, sometimes sleeveless, or with rather full sleeves tightening to the wrist. [52]