FCS490R Fashion History. Terms and Definitions. Chapter Eight
Chapter Eight
Chapter Eight: The Renaissance
1. Stomacher- McKelle Marshall
Stomacher A decorated triangular-shaped panel that fills in the front opening of a women’s gown or bodice during the late 15th century to the late 18th century. This was a stiffened triangular insert worn point down, and fastened to the bodice at either side by points, pins or ribbon ties. Functionally, the stomacher filled in the gap between the two front edges of the bodice and continued the corseting effect. Visually, the highly decorated insert took the eye from the top down to its long bottom point, making the torso appear even longer.” https://fashionhistory.fitnyc.edu/stomacher/ Stomacher, ornamental garment worn at the front of the upper body by men and women from the end of the 15th until the late 18th century. At the end of the 15th century, men’s jackets often had a V-opening allowing for a decorative front-piece, or stomacher, and women’s gowns were laced over an open bodice that was also filled in with a stomacher, which could be embroidered, jewelled, or decorated with bows.
https://www.britannica.com/topic/stomacher
https://thepragmaticcostumer.wordpress.com/2013/05/07/an-appetite-for-fashion-decadence-a-brief-history-of-stomachers/ ]
2. Jerkin or Jacket- McKelle Marshall
Jerkin A short upper garment usually worn over the doublet, often sleeveless but could have long sleeves, also known as a jacket.” (434) The Met’s research suggests that jerkins could also be worn under armor, which they believe is true of the 17th-century jerkin in their collection, based on wear patterns Man’s sleeved jacket worn over doublet, sometimes laced or buttoned up front, sometimes sleeveless with shoulder wings; worn from late 15th through 16th c. https://fashionhistory.fitnyc.edu/jerkin/ a waistcoat, or sleeveless vest, worn as an outer garment. In the case of a nobleman, it would likely be worn over his doublet for an extra layer. For peasants, it would likely be worn over the shirt as the outer garment in warmer weather.
http://www.tudorshoppe.com/Merchant2/renaissance_costume_glossary.shtml jacket/jerkin- A jacket with or without sleeves and was worn over the doublet.
https://fashionterminology.weebly.com/renaissance.html https://www.pinterest.com/pin/124341639685051440/
3. Slashings or panes- Nora Terry -
The story is told of the origins of these slashes. A ragged but victorious Swiss army was said to have stuffed the colorful silk fabrics they had looted from the enemy camp under their badly torn clothes for warmth. This impromptu fashion was supposedly picked up and imitated by the general population..THE DETAILS The Victoria and Albert Museum in London defines slashing as: “a decorative technique that made regular, spaced cuts into the fabric of a garment, hat or shoe.” The museum has a 17th-century cloak that shows the effect of slashing quite well (Fig. 1); of which they write: “This semi-circular cloak is decorated with slashing, pinking and embroidery…. In this cloak, the slashes have been crossed with smaller cuts or ‘pinks’. Each has been carefully placed between the embroidered motifs and the slashes grow larger in size moving from neck to hem. The embroidery pattern is worked in satin stitch, French knots and knotted chain stitch, and imitates the designs of woven silks.” Slashes were not always in straight lines, as a 17th-century bodice in the V&A’s collection (Fig. 2) demonstrates: “In the 1630s, women’s fashions featured high waistlines and short full sleeves set deep into the back of the bodice. This bodice demonstrates that slashing, popular in the 16th century, continued well into the 17th century. The satin has been deliberately cut in regularly placed wavy lines.” Sara Pendergast and Tom Pendergast writes in Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages (2004): “The decorative technique known as slashing involved making small cuts in the outer fabric of a garment so as to reveal the inner lining. As with dagging, slashing was performed on all variety of garments, from men’s doublets, a padded over-shirt, and breeches to women’s gowns and even to shoes.” (452-53) Not only were garments slashed, so were accessories. Shoes were often slashed; of the 16th-century leather duckbill shoes in their collection (Fig. 5), the V&A writes: “This style was fashionable during the reign from 1509-1547 of Henry VIII. It was a complete change from the very pointed toe favoured at the end of the 15th century. The wide shoes echoed the line of fashionable dress for men, who wore doublets (jackets) with broad padded shoulders. The slashed decoration made the leather more flexible and therefore more comfortable to wear. The shoe originally had bright coloured linings which could also be glimpsed through the slashes. The linings have not survived.”(survey of historic costume pg210 FashionHistory.fitnyc.edu/slasings/)
4. Upper stocks or nether stocks - Angel Cooper
Men held up their hose by lacing them to the doublets. Some hose were divided into two sections: Upper stocks & Nether stocks. These were sewn together. The codpieces were sewn at the front of the upper stocks. Although upper stocks and nether stocks continued to be attached upper stocks (breeches) eventually took on the appearance of a separate garments, and were cut somewhat fuller than the lower sections. Style variations included long breeches, fitting the leg closely and ending at the knee, and breeches ending at the hip and more rounded. Any of these variations might be paned, with contrasting fabric placed beneath the panes.
5. Codpieces- Elizabeth Gibbons
The codpiece was a protective garment for men’s genitals. Originally created for modesty’s sake, early codpieces were invented as a way of covering the privates whilst keeping in fashion with the tight-fitting hose and short doublets and tunics. When the “French pox” (syphilis) was spreading through Europe, a larger codpiece became more socially acceptable to allow men to apply ointment down there without staining their outer garments. This would also help men disguise who had been sleeping around. As time went on, the codpiece grew in size and came to be seen as a sign of masculine virility and high-status. Armored codpiece size might symbolize military rank, and King Henry VIII wore a larger codpiece as a symbol of fertility - even though he fathered few healthy children.
https://www.newyorker.com/books/page-turner/a-brief-history-of-the-codpiece-the-personal-protection-for-renaissance-equipment
https://www.cam.ac.uk/research/features/what-goes-up-must-come-down-a-brief-history-of-the-codpiece
https://www.treehugger.com/how-codpiece-solved-fashion-emergency-4863956
https://fashionhistory.fitnyc.edu/1540-1549/
“Survey of Historic Costume” by Tortora & Eubank 2011
6. Ruffs -Nora Terry
Of the ruff, Ruth Turner Wilcox of The Dictionary of Costume writes:“A kind of stiffly starched collar completely encircling the neck, wider than a ruche, late sixteenth and early seventeenth centuries. By the 1580s the ruff was a large cartwheel, starched and wired. The width of the fashionable ruff was about a quarter of a yard wide and the length eighteen to nineteen yards of fine linen lawn or Holland cambric. A frame of wire covered with silk thread was worn under it, the edge of the ruff was also wired. Ruffs were starched in various colors, blue and green, with yellow a favorite and worn all over Europe.” (296)”Ruffs grew to enormous widths. Made of sheer linen or of lace they had to be supported by a frame called the supportasse. Or by starching. They could be decorated with jewels- some in the shape of spiders.” (Survey of Historic Costume pg 220) (FashionHistory.fitnycc.edu/ruff)
Fig. 1 - Attributed to John De Critz
7. Peascod Belly - Elizabeth Gibbons
In the late 16th century, the peascod belly came into use in men’s fashion. It was a man’s shirt style derived from the doublet which featured a v-shaped padded stomach. Early examples of this design show the peascod - also known as the goose belly - as stuffed and exaggerated compared to the rest of the body, while later versions would stuff the whole of the man’s torso and not just the peascod. The design resulted in the appearance of an extended abdomen (long torso) and the early disguising and eventual removal of the codpiece in fashion. Like the codpiece, the peascod was sometimes also referenced as a symbol of a man’s virility.
https://www.cam.ac.uk/research/features/what-goes-up-must-come-down-a-brief-history-of-the-codpiece
http://community.worldheritage.org/articles/eng/Peascod_belly
https://www.strongholdnation.co.uk/history/tudor-england/peascod-belly
https://www.pinterest.com/pin/531002612293980190/ https://www.pinterest.com/pin/534591418252022719/
“Survey of Historic Costume” by Tortora & Eubank 2011
8. Galligaskins or slops - Lexy Holman
Type of trunk hose. Voluminous loose breeches called galligaskins, gally hose, gascoynes (from the French), or slops (also slopp or sloppe, from the Dutch) were cut with extra width at the knees, maintaining a bulky appearance without padding. Drooped slightly over the knees with the extra fullness gathered or pleated into a band just below the knee. (doublet and slops pictured below)
https://www.merriam-webster.com/dictionary/galligaskins
https://fashion-history.lovetoknow.com/clothing-types-styles/breeches
9. Culottes - angel cooper
Culottes Made of a short sections, not much more than a pad around the hips, worn with very tight-fitting hose.
https://theeyetravels.com/2014/04/culottes-through-history/
https://historyofeuropeanfashion.wordpress.com/category/renaissance-1450-1650/
10. French Bonnet & Corsets - Allison Boyes
Sources: Woman's corset c. 1730–1740. Silk plain weave with supplementary weft-float patterning, stiffened with whalebone. Los Angeles County Museum of Art, M.63.24.5. The intense tight-lacing that is seen in later centuries was not possible during the 1500’s when corsets first started to appear, as the holes through which the laces were threaded were sewn by hand, and would tear if put under too much strain. Another characteristic of the 15th century corsets was lacing in the front before bones and reeds started to be used. During the sixteenth and seventeenth centuries women started to wear corsets as both underwear and outerwear. There are many examples of bodies from these centuries that have detachable sleeves. Whalebone (baleen) or (reeds) were used to create the stiff and structured appearance.
Fig. 1 - Jean Hey (Netherlandish, active 1475-1505). The Dauphin Charles-Orlant (1492-1495), 1494. Oil on panel; 39 x 33 cm (15.3 x 12.9 in). Paris: Louvre, RF 1942-28. Source: Wikipedia
11. Copotain- Maggie Morton
The copotain was a style of hat that was very popular well into the 17th century. Worn by both men and women, the hat was high crowned and had a narrow brim. They were usually black. A lot of times they were trimmed with feathers, braids, jewels, or other embellishments. Earlier on, the copotains had rounded crowns; later, the crown was flat on the top.
https://www.pinterest.com/corbeaubleu/the-capotain/
https://bellatory.com/fashion-accessories/Clothing-History-Mens-Hats-and-Headgear
“Survey of Historic Costume” by Tortora & Eubank 2011
12. Duckbills- Maggie Morton
Duckbill shoes were square-toed shoes that were quite exaggerated in terms of width. They became so wide that Mary I, the queen of England at the time, passed a law limiting the width to six inches. They would decorate the openings of the shoes by slashing them and pulling fabric through the openings. Some had jewels on them as well. The shoes were called duckbills because their shape resembled the bill of a duck. The style started with Charles VIII of France because he had an extra toe. They were later worn by Henry VIII of England and became fashionable from there and were worn by men during the first half of the 1500s.
“Survey of Historic Costume” by Tortora & Eubank 2011
https://historyofeuropeanfashion.wordpress.com/tag/renaissance-clothing/
https://fashionhistory.fitnyc.edu/1500-1509/
13. Busks-- Jada Cordon
A busk was a device made from a long flat piece of wood or whalebone that was sewn into the casings of the stays. They were removable and usually placed in the front. They helped keep the structure of the corsets. They were about 10-15 inches long and were thicker towards the top were (by the breast) and thinner towards the bottom, where they would lay on the stomach. Oftentimes they had engravings on them, words and/or pictures.
https://fashionhistory.fitnyc.edu/busk/
https://twonerdyhistorygirls.blogspot.com/2011/09/essential-busk-whether-for-bodies-stays.html
“Survey of Historic Costume” by Tortora & Eubank 2011
14. Aiguillettes - Jada Cordon
Aiguillettes are also called aiglet or aglets. They are small jeweled metal points that help fasten panes of the sleeve on a dress. They function kind of like a broach. The woman used these to decorate their clothing and add interest but also function. The name comes from the french word for needle.
https://www.langantiques.com/university/aiguillette/#:~:text=During%20the%20first%20half%20of,French%20word%20for%20needle%3A%20aiguille.
https://fashionhistory.fitnyc.edu/1550-1559/
“Survey of Historic Costume” by Tortora & Eubank 2011
15. Verdugale- Wendy Triana
It is Farthingale in Italian.
https://glosbe.com/it/en/verdugale Survey of Historic Costume by Phyllis G. Tortora and Keith Eubank.
16. Spanish Farthingale- Wendy Triana
It is a Spanish farthingale also called Verdugado in Spanish. It was a Spanish style skirt with hoops throughout the skirt that closed down at center front. Sometimes the center front was left open to show undergarment, that is to say, the fabric for the undergarment is just as exquisite as the outer layer fabric. (Montalvo, 2018). This style gave more of the cone style shape or round rather than the French farthingale which was wider on the hips and throughout.
https://fashionhistory.fitnyc.edu/spanish-farthingale/
https://www.dictionary.com/browse/farthingale
17. Ropa- Amber Davidson
The textbook mentions that the Garment is of spanish Origin. It was an outer gown or surcote made either sleeveless or with one of several types of sleeve. A short puffed sleeve, or with a long sleeve (puffed at the top and fitted for the rest of the arms length). The ropa fell from the shoulders, unbeleted in an a-line to the floor. Most were open to display the dress beneath, but some versions closed in the front. Some researches suggested that this garment originated with the Moors who had occupied Spain in the preceding centuries. It has a loose fit of a middle eastern Caftan, therefore it can be seen as another Middle Eastern influence on the european styles.
Sources: https://lowelldesigns.com/the-northern-renaissance/
http://www.elizabethancostume.net/blog/alcega-ropa-espanola-spanish-gown/
18. Bum Rolls - Amber Davidson
http://nationalclothing.org/685-wheel-farthingale-or-french-farthingale-no-surviving-examples,-so-how-did-it-look-like.html
https://www.britannica.com/topic/farthingale
20. Supportasse- Lexy Holman
Frame to hold the ruff in place. The ruff and supportasse was worn by both men and women. It was with the production of English starch in the 1560s, however, that the ruff really came into its own. With this stiffening agent, and the added help of a wire frame beneath called a supportasse or underpropper, by the 1580s the ruff had assumed inventive variety and an immense size.
https://fashionhistory.fitnyc.edu/ruff/
https://sarahabendall.com/2017/12/18/rebato-collar-c-1600-1625-part-one-materials/
21. Medici Collars - Rebecca Odd
A collar that stands upright on the back of the neck and opens in the front. This type of ruff was introduced to France by Marie de’ Medici in the 16th century. During the 18th and 19th centuries, revivals of this style collar were called Medici collar after de’ Medici queens of France, Catherine and Marie, in whose reigns this style was popular.
https://fashionhistory.fitnyc.edu/medici-collar/
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-16th-Century/Medici-Collar.html
22. Pair of Bodies - Emma Yochim
Pair of bodies, also known as Elizabethan Bodies are corsets that are worn both as undergarments and for exterior bodices. As an undergarment, they were typically white or another nude color, but as an exterior bodice, they were made of many colors and designs. They were stiffened with canvas and later whale boning, or sometimes reeds or wood. The word corset is a french term, in England, they called them Bodies or Pair of Bodies. Bodies have a very particular pattern and many people get it very wrong. Anyone that does not have sleeves or straps is inaccurate. The Victorians believed that if they were not uncomfortable they were not working, where the Elizabethans believed in support, not to be uncomfortable.
http://www.extremecostuming.com/articles/elizabethancorsetptii.html
https://www.thefreedictionary.com/Pair+of+bodies
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