FCS 490R Fashion History. Terms and Definitions. Chapter Nine
Chapter Nine
Chapter Nine: The 17th Century 1600-1700
1. Basque- Rebecca Odd
An extension of the bodice that would go below the waistline over the top of the wide skirt.
https://thecolorainbow.wordpress.com/2009/10/31/17-century/
https://ateliernostalgia.wordpress.com/2017/11/20/1660s-bodice-foundations/
2. Biggin- Angel Cooper
"A term for a child’s cap shaped like a coif” "A man’s night-cap worn in bed." From the textbook (page 259), "For an infant in the 17th century a layette would have consisted of swaddling brands, bibs, caps (also called Biggins), shirts, mittens, and sleeves..."
http://www.kipar.org/archive/costume-workshop/part5_1costume-focus.html (Links to an external site.)
https://www.bloomsburyfashioncentral.com/products/berg-fashion-library/dictionary/the-dictionary-of-fashion-history/biggin-biggon
3. Carrying Frock/Going Frock- Amber Davidson
Textbook mentions that infants unable to walk were dressed in long gowns called carrying frocks. Children old enough to walk wore shorter dresses called going frocks. Younger generations wore in their youth the same clothes their parents were wearing–with few alterations for smaller, growing bodies. Boys under the age of 5 wore dresses as well. Since zippers and elastic did not exist at this time, pants were not ideal for parents when dressing their kids. Usually wealthier families decked their children’s gowns with heaps of pearls, coral strands, collars, lace, and flowers regardless of gender.
https://www.magnoliabox.com/products/portrait-of-king-charles-ii-as-a-child-42-41539173
https://thepragmaticcostumer.wordpress.com/2012/10/08/playing-dress-up-kids-clothing-in-the-17th-century/
4. Cravat- Jada Cordon
Cravats were long, narrow, scarflike pieces that were worn in place of the collar on a shirt. They were the original bowtie. Cravats were fairly long and were made up of a lot of fabric. They were made of soft material (linen) and were comfortable to wear which was a change from the stiff ruffs they were wearing previously. The men would wear them in the 17th century but were later adopted by the women as well. “Legend has it that the origins of the cravat lie with an army regiment from Croatia, a country in eastern Europe, that was fighting with the French during the Thirty Years' War (1618–48). The soldiers in this regiment wrapped a long scarf loosely around their necks, supposedly to protect themselves from sword blows. When the Croatian soldiers visited Paris the French were captivated by their neckwear and began to adopt it for their own use.”
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-17th-Century/Cravats.html#ixzz6awoYKwnq
https://www.metmuseum.org/art/collection/search/222463
“Survey of Historic Costume” by Tortora & Eubank 2011
5. Draw Loom - Maggie Morton
As gradual improvements were made in the machinery for producing fine textile, elaborately figured silk fabrics had to be produced on a special loom which was the draw loom. In order to use this machine, they would have a small boy sit on top of the loom and manually raise and lower sets of yarns in order to create a pattern. It is believed that it was invented in China. By the late middle ages, it was used in Italy and by 1600, it was being used whenever complicated patterns in silk fabrics were being woven. That same year, improvements were made that made it easier for the draw boy. He could now sit at the side of loom and lift the patterned yarns more easily. These improvements also allowed for the weaving of more complex patterns. Thanks to this machine, silk fabrics were readily available and quite popular all throughout the century.
“Survey of Historic Costume” by Tortora & Eubank 2011
https://www.cnch.org/cnchnet/winter-2011/damask-and-drawlooms/ (Links to an external site.)
https://www.metmuseum.org/toah/hd/txt_s/hd_txt_s.htm
6. Falling Band- Maggie Morton
The falling band was a flat collar which was attached to the men’s shirt and replaced the ruff. It was quite broad and white, often with lace on the edges. It was made of unstiffened silk or cambric, a fine white linen. It fastened at the neck and draped over the shoulders and down the chest and back. Falling bands could extend as far as the edge of the shoulder.
https://www.metmuseum.org/art/collection/search/222474 (Links to an external site.)
https://fashionhistory.fitnyc.edu/falling-band/ (Links to an external site.)
“Survey of Historic Costume” by Tortora & Eubank 2011
7. Fontange-Angel Cooper
"A linen cap with layers of lace and ribbon, worn flat and pinned to the back of the head." “The French fontange, or commode as it was called in England, was a small round or oval cap pinned to the back of the head. Attached to the top of the cap was a tall wire frame over which were arranged tiers of lace, ribbons, cutwork, and linen ruffles.” “An indoor linen cap with a small, flat crown behind and a tower of lace or lace and linen frills in front, kept erect by the commode, a tall wire frame.
https://fashionhistory.fitnyc.edu/fontange/ (Links to an external site.)
In 1680 the fontange became the most fashionable women's hairstyle and remained popular until the early eighteenth century. The style was created by the Duchesse de Fontanges, the mistress of the French king Louis XIV (1638–1715), when the hairstyle she was wearing at the time was ruined while out hunting. She hastily gathered her curled hair on top of her head with a ribbon from her outfit. The style enchanted the king and other women began copying the style. At first the style consisted of a small pile of curled hair with ribbons and bows just above the forehead. The fontange eventually grew into a high tower of curls piled over a wire foundation, sometimes with false curls. The style was so often worn with a starched linen frill in the front that the linen cap came to be called a fontange as well. By the end of the century these linen caps were starched and wired to create very tall headdresses.
Read more: http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-17th-Century/Fontange.html#ixzz6auE9IzCB (Links to an external site.)
From the textbook (page 256), "Hair was built up high, on top of the head, with long curling locks at the back and sides. On top of the hair women placed a device made of a series of ruffles held in place with wire supports and known as the fontange. Over a period of about thirty years, the style evolved from a small bow tying up the hair in front to an elaborate, tall structure of three or four lace tiers in front and a cascade of ruffles and bows in the back."
8. Galosh- Jada Cordon
This was a type of footwear that was popular in the 17th and 18th century. The textbook defines it as "a flat soled overshoe with a toe cap for keeping it in place." It was very popular in France and England and said to originate from Louis XIV during his reign.
http://historyofboots.blogspot.com/2009/06/seventeenth-century-boots.html
https://www.pinterest.com/pin/297519119131638472/?nic_v2=1a3JV32QK
“Survey of Historic Costume” by Tortora & Eubank 2011
9. Guardinfante- Rebeccca Odd
(gward-in-fahn’tay) The spanish version of the French Farthingale. However the skirt was more oval with a greater width from side to side. These were worn in order to extend the width of the skirts while leaving the front and back relatively flat. This provided a large space on dresses to display elaborate decorations and rich embroidery so it could be fully appreciated. This garment however, was the center of political debate and was considered scandalous because of its reputation for hiding pregnancies. Very little is known about the historical experiences of the women who wore it; however, women did wear this garment outside of the portraiture and the theater.
https://www.harpersbazaar.com/uk/culture/bazaar-art/news/a35397/sweeping-statements/
https://www.jstor.org/stable/10.1086/681310?seq=1
10. Jack Boots- Lexy Holman
High, rigid boots made of heavy leather worn for horseback riding in the late 1600s. While it would provide excellent protection to the rider’s leg, the extreme weight and absolute rigidity of the boot makes it unfit for walking. The boot gets its name from the jacked leather, horsehide treated with wax and pitch or tar to make it black and waterproof, from which it was traditionally made.
https://www.metmuseum.org/art/collection/search/157647
http://historyofboots.blogspot.com/2009/06/seventeenth-century-boots.html
11. Justacorps - Elizabeth Gibbons
Justacorps - also known as surtouts by the French or cassocks by the English - were knee-length coats with fitted straight sleeves and turned back cuffs. They would button down the front, but were commonly left unbuttoned, fastened only only at the neck, over a shirt and vest. This replaced the doublet after King Charles II changed the style of dress in the English court.
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-17th-Century/Justaucorps.html
https://fashionhistory.fitnyc.edu/justaucorps/
http://darbygray.blogspot.com/2014/10/coats-j-justacorps.html
https://ira-scargeear.tumblr.com/post/154776919915/xviii-rococo-set-made-to-order-for-a-fellow
“Survey of Historic Costume” by Tortora & Eubank 2011
12. Latchets - Emma Yochim
A Latchet is a strip of lace or leather used to fasten a shoe or sandal. It makes me think of our version today of velcro strap up shoes. It was an earlier version of laces for shoes. There isn't a whole lot to say about these just that they stabilized the foot in the shoe. I'm sure it made wearing heels much more comfortable.
https://www.merriam-webster.com/dictionary/LATCHETS
https://www.thefreedictionary.com/latchets
13. Lovelock & Mantilla - Allison Boyes
“Love Lock” is one lock of hair that is longer than the rest often worn by French and English. On page 244, Figure 9.3 is a painting by Van Dyck depicting a man with a love lock tied with a ribbon. The photo on the right is King Christian IV of Denmark by Karel van Mander (III) circa 1630 - 29 March 1670. This painting also depicts a love lock. There was a lot of criticism surrounding this trend, as it was too “feminine” and many ridiculed it saying it was un christian like. lovelock may have originated as an alternative to the love token worn by knights during the medieval period.[2]
Sources:
[1] Survey of Historic Costume by Phyllis G. Tortora & Keith Eubank
[2] Firth, Charles Harding (1896), "Prynne, William" , in Lee, Sidney (ed.), Dictionary of National Biography, 46, London: Smith, Elder & Co, p. 436
[3] View of Crafting Spanish Female Identity: Silk Lace Mantillas at the Crossroads of Tradition and Fashion: Material Culture Review. journals.lib.unb.ca/index.php/mcr/article/view/22088/25651.
14. Nappies- Lexy Holman
An infant in the 17th century would have been wearing swaddling bands, bibs, caps, shirts, mittens, sleeves, and what the English called, Nappies. Nappies are ‘diapers’ in America and were usually made from unbleached linen or cotton. The name was derived from literal napkin patterns.
https://dirtydiaperlaundry.com/the-history-of-cloth-diapers/
http://www.vam.ac.uk/content/journals/conservation-journal/issue-22/nappies-at-the-national-museum-of-childhood/
15. Pantofles-McKelle Marshall
Pantofles Pattens were a heavy-duty outer shoe, usually made out of wood, that strapped on over the top of regular shoes. Some pattens might have a wooden sole to which was attached a metal ring several inches tall that elevated the wearer above the mud and dust of the street. Pantofles were much more delicate, resembling the garden clogs or scuffs (flat-soled slipper) of the modern day. They usually slipped on the foot and had a cork sole. By the end of the century pantofles were made of materials nearly as delicate as indoor shoes and could be highly ornate. Still, they offered protection for the feet, their main purpose.
Read more: http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-16th-Century/Pattens-and-Pantofles.html#ixzz6aodYbnUG
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-16th-Century/Pattens-and-Pantofles.html
"y the sixteenth century footwear construction methods had grown quite advanced. The shoes of common people were generally made of leather, and while they were fairly simple in construction they were also very durable. Soles were made of wood, cork, or extra layers of leather, and uppers, or the tops of shoes, were either tied or buckled in place. People of both sexes also began to wear shoes with thicker heels, including the first wedge heels. Both men and women used ribbons, bows, and jewels to decorate their shoes. Such shoes were not intended for outdoor wear, of course, and both sexes wore overshoes called pattens and pantofles to protect their dainty shoes if they did go outside in them. The sixteenth century was not known for its practical footwear. The shoes that most wealthy people wore indoors were either very delicate, perhaps made of silk or velvet, or very cumbersome, like the extremely high chopines worn by women. When people wanted to walk outdoors they turned to practical footwear like pattens and pantofles. Pattens were a heavy-duty outer shoe, usually made out of wood, that strapped on over the top of regular shoes. Some pattens might have a wooden sole to which was attached a metal ring several inches tall that elevated the wearer above the mud and dust of the street. Pantofles were much more delicate, resembling the garden clogs or scuffs (flat-soled slipper) of the modern day. They usually slipped on the foot and had a cork sole. By the end of the century pantofles were made of materials nearly as delicate as indoor shoes and could be highly ornate. Still, they offered protection for the feet, their main purpose.
https://www.martelnyc.com/history-costume/sixteenthcentury-footwear.html (Links to an external site.)
https://www.pinterest.com/pin/391039180117207880/ (Links to an external site.)
https://fashionhistory.fitnyc.edu/mule/
16. Pomander balls- Staci moore
Pomander Balls Jewelry that was placed around their waist on chains. Pomander balls were small balls of perfume that were decorative on the ball, sometimes shaped like an apple which is where the word pomme from pomander derives and means apple in French. It was believed that sweet, fragrant balls filled with aromatic herbs and spices could protect their carriers from infectious diseases or even cure chronic ailments. Since ancient times the word "pomander" also refers to decorative fragrance blend containers, which is usually perforated and richly adorned (pomanders usually made of silver and gold. ). Courtiers usually carried them at their belts to supplement the costume and to decorate it. Inhaling the aroma of specific spices and herbs was thought to cure or prevent serious illness. Storing these herbs and spices in separate compartments stopped their curative properties from being diluted.
Survey of Historic costume (textbook)
https://www.fashionologiahistoriana.com/costume-history-legends-essays-in-english/the-intrigue-of-pomander (Links to an external site.)
https://wartski.com/collection/pomander-17th-century/
17. Staci Moore- Plumpers
Small balls of wax in the cheeks to give the face a rounder shape. Few people bathed during the eighteenth century because most people believed the oils on their bodies protected them from diseases. The stench of unclean bodies was covered with strong-smelling perfume and nosegays, or small bouquets. Not every part of the body was unscrubbed, however. Both men and women vigorously cleaned their teeth in hopes of obtaining a perfectly white smile. Unfortunately, many used harsh chemicals, including gunpowder, acid, and rough pieces of coral, which ate away their teeth's protective enamel coating. These harsh substances caused many people's teeth to rot and fall out. Missing teeth which made many people's cheeks look hollow. To give themselves a healthy full-looking face, many people stuffed plumpers, or cork balls, between their gums and cheeks. Plumpers caused people to speak in a funny way, but so many people used them that the funny way of speaking became fashionable, too.
Textbook Read more: http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-18th-Century/Eighteenth-Century-Body-Decorations.html#ixzz6auraYJyZ (Links to an external site.)
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-18th-Century/Eighteenth-Century-Body-Decorations.html (Links to an external site.)
18. Rhinegraves - Wendy Triana
It is also known as Petticoat Breeches. It is a wide pant with pleats from the top of the pants. It looks like a skirt because of how wide and voluminous the rhinegrave would come to. It is heavily decorated with a lot of ribbon and ruffles.
https://enacademic.com/dic.nsf/enwiki/1189326
https://www.britannica.com/topic/rhinegraves
19. Ribbons of Childhood - Wendy Triana These were long narrow fabrics attached to the shoulders of children’s clothing. These long narrow fabrics are to be used by adults to hold and help the children stand up and walk.
https://www.ehow.co.uk/info_8050557_ribbons-childhood-17th-century.html
“Survey of Hisotoric Costume” Phyllis G. Tortora et Keith Eubank
20. Secret- Nora Terry
pg 253 Survey of Hisotoric Costume- The French called the underskirt, or underlayer a secret.
21. Tricone- Amber Davidson
Texbook: Flat hats with brims turned or cocked at three points to form a triangle and were worn with the point in front. As wigs became more popular and increased in size, these hats became more popular. They generally were dark in color, and often edged with a gold braided trim. To be most stylish, men cocked, or tipped, their tricornes to one side or another. The origins of the tricorne hat go back to the battlefield, when soldiers wore broad-brimmed hats that were pinned up at the sides in order to channel rainwater away
https://fashionhistory.fitnyc.edu/tricorne-hat/
https://allthatsinteresting.com/the-fascinating-history-of-hats
22. Virago Sleeve - McKelle Marshall
It often had the virago sleeve—full at elbow and shoulder and drawn in at intervals by strings of narrow ribbon—that appears in most 17th-century portraits of American women and children https://www.britannica.com/topic/virago-sleeve (Links to an external site.) A virago sleeve is a full, paned sleeve, used in the early seventeenth century in western Europe. It was made from a series of cloth strips, which were gathered into two puffs by a ribbon or cloth band just above the elbow. The main sleeve strips were often embroidered. This type of sleeve was fashionable for women’s clothing in the 1620's and ’30's.
https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/daily-and-general-garments-and-textiles/virago-sleeve
https://www.pinterest.co.uk/pin/542402348849833663/
23. Waistcoat- Nora Terry
“October 8 1666 the King hath yesterday in Council declared his resolution of setting a fashion of fashion for clothes, which he will never alter. It will be a vest, I know not well how; but it is to teach the nobility thrift and will do good.” By the late 17th century the terms vest and waistcoat were used interchangeably. These garments were cut along the same lines as outer coats, but slightly shorter and less full. Before 1700 most were sleeved; laters ome were made without sleeves. These coats and waistcoats can be seen as developing from the “vest” introduced by Charles 11 of England.
24. Whisk - Elizabeth Gibbons
The whisk collar was a starched, stiff-standing collar worn in the first decades of the 17th century. It was rounded at the back of the head and had a straight edge that stood over either shoulder. It was often made of ornate lace or scalloped fabric and was supported by wire framework, which could make turning the head uncomfortable. This collar style was sometimes worn with other additional collars.
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-17th-Century/Whisk.html
https://fashionhistory.fitnyc.edu/1600-1609/
https://www.pinterest.nz/pin/456904324679321539/
“Survey of Historic Costume” by Tortora & Eubank 2011
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