Ephemeral Elegance

Printed Silk Cocktail Dress, ca. 1950s

via Mill Street Vintage

It's FRIDAY FASHION FACT! Today's topic is another fantastic example about how fashion was a reflection of society. This is a particularly important example, though, because this fashion reflected the early seeds of feminism, as women fought for the right to an education in an age where they were only allowed to pursue domestic endeavors. We're talking about dishabille.

(Sidenote: This was another section of my masters dissertation, where I also discussed how riding habits reflected another angle of the early feminist movement. You can read my Fact on that here.)

Dishabille, derived from the French word "déshabille" meaning “undressed,” has it's origins as private homewear in the 17th century, yet it first became commonplace as a fashion to be seen when the banyan rose in popularity in men's portraits (read here.) Not long after the style became popular for men, though, women began claiming the trend as their own.

There was a huge range of dishabille among women. It could mean anything from a disheveled look to undergarments and a robe. Sometimes stays were simply loosened, other times women went without stays altogether. A woman might wrap herself in a shawl, or wear an banyan and turban very similar to that worn by men. As with the men, these styles were intended to be worn in private, yet it became a common, and very meaningful, choice for portraits.

Some women may have wished to be depicted in dishabille because it seemed shocking and rebellious. More often, though, it appears as though women wished to display their own intelligence by wearing similar fashions to those worn by male scholars and intellectuals. Women strove to demonstrate that they embraced the pursuit of intellectual endeavors, and were fully capable of achieving academic accomplishments. As with men's banyans, dishabille was a sign of function over fashion. This is emphasized by the fact that over half of all female dishabille portraits depict the sitter with a book in hand, or sometimes a pen. They also are often depicted with a pensive expression. Many of the top members of the Bluestocking Society, an organization which promoted the education of women, were depicted in dishabille. The look was also often melded with classical inspirations, as neoclassicism was simultaneously gaining popularity (read here).

It is important not to confuse dishabille in portraiture with boudoir or toilette genre paintings, which were also common at the time. Those genres were intended to either be seductive images or realistic depictions of everyday life. Dishabille was meant to imply a disregard for high fashion in lieu of more substantive and intelligent pursuits. Of course,  as the dishabille style gained popularity into the late 18th Century, women may have begun to choose to be portrayed in such a manner because it became the fashionable thing to do. Additionally, as it gained popularity in portraits, it also gained more popularity in real life. With the help of Marie Antoinette's casual cotton chemise (read here) women began to wear mild forms of dishabille outside the house. Naturally, traditionalist were shocked and appalled by the loose, relaxed fashions. But as we know, the softer styles would eventually take over the formal rococo fashions, and by the end of the century, classicism reigned supreme.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

We're almost at the weekend, so you know what that means- time for FRIDAY FASHION FACT! Today we're covering one of the most basic, practical, and common pieces of fashion history. Gather up your girls, because we are finally covering the history of bras. Love 'em or hate 'em, bras have been worn by about half the population for the past hundred years. They come in countless style, and arguably still have yet to be perfected. Whether worn to be seen, or intended for purely practical purposes, never to see the light of day, bras literally are the core that shapes modern fashion. So where did they come from? Women have been binding their breasts since the beginning of mankind. Anyone with an even moderately sizeable pair will tell you this was clearly not for style, but for practicality purposes. Throughout much of history, in many cultures, this was as simple as wrapping fabric around one's body. By the Renaissance, though, stays and corsets were the primary "tool" used in western cultures. I've written about the history of the corset before (here) so I won't go into that again, but the first bra-like garments first came into style during the late very late 18th century through early 19th century when corsets took a brief hiatus. This was the time after the French Revolution when the neoclassical style came into being. The stiff look of the corset did not fit with the soft, natural from of neoclassicism, and so were discarded. But, of course, some form of support and control was required. Many women wore a bodice piece much like a corset, but with minimal boning. Since the style was so figure hugging and women wished to show off all their curves, cup-like insets were put into these bodices. Yet with the popular empire waistline, there was no need for a cinched waist, and so the under-bust was reduced to essentially a band. Once more structured garments came back into fashion, bringing the corset along with it, those insets did not disappear completely. There were countless corset designs throughout the 19th century, and a couple do feature cup-like forms. By the end of the century, though, as it slowly became more acceptable for a woman to be more physically active, corsets commonly shortened to waist cinchers, which allowed for more movement. These were paired with a chemise-like upper bodice piece which had admittedly minimal support. Pair this with many critics of the corset emerging, and there were soon many predecessors to the bra being invented at this time, each with varying levels of success. The official title of "inventor of the bra" is often given to Herminie Cadolle (though there are others who claim the title), who in 1889 created a two-piece corset with a waist piece and upper bodice piece with shoulder straps. Later in her career, she would be the first to use elastic in a brassiere. Yet it was a 19 year old socialite named Mary Phelps Jacob who, in 1910, truly launched the modern bra. Frustrated that her corset could be seen poking through her delicate evening gown, she and her lady's maid fashioned a support garment out of two handkerchiefs and some ribbon. At the debutante ball that evening, everyone was fascinated by her creation and requested one for themselves. Though her business never became a big success, in 1914 she created the patent which all bra designs for the next several years were based upon. It was in 1917, during World War I, that the government asked women to stop wearing corsets and switch exclusively to bras, since the steel used to create corsets was needed for the war effort. They claimed that two battleships could be made out of the steel saved from the corset industry. From then on, the bra reigned supreme. Designers across the globe continued to develop and reshape the bra, always changing with the ideal body shape du jour or the newest advances in technology. And they still do to this day! Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It's FRIDAY FASHION FACT! Today's topic is one that every fashion history and costume design student should know. We're talking about the accuracy of dress within portraits. When researching a time period, portraits often seem like an ideal primary source to reference. As with many resources, though, they should be looked at with a discerning eye.

Now let me preference this by clarifying that I am not saying portraits never depict actual garments that the sitter was actually wearing. The vast majority of the time, they do! Just see my post from yesterday, where the dress from the portrait survives, identical to the one depicted. Yet beyond the rarity of a surviving match, we must analyze why this sartorial choice was selected for the portrait. There are several possible reasons the choice (not just in that specific painting) may have been made.

The incredible detail of dress in portraiture, particularly between the Renaissance and Rococo Age, give us stunning glimpses at clothing construction from a time where few garments survive. The detail is so great in some cases, that we can analyze garments down to the stitching and weave of the fabric. However, portraits, especially ones of such high quality, were highly expensive. Only those with significant wealth had the means to afford a portrait. Naturally, they would take this opportunity to show off their finest fashion, particularly in portraits pre-18th Century, such as the first image above. Assuming people always dressed as they did in portraits is not much different than people from the future looking back at our wedding and prom photos and assuming that's what we wore. Yes, we wore those things, but they were far from typical. Like I mentioned in my fashion plate post (here), it could also be like assuming everyone dressed as though they were in the pages of Vogue.

Sometimes, even if a garment actually existed, it doesn't mean that the sitter necessarily owned it, never mind wore it often. A fantastic example is the three portraits above, where the sitters all wear the same elegant blue and silver gown. Art historians believe the gown was owned by one of the women, who lent it to her friends for their portraits (read more about them here). Other times, as shown in the portraits below those three, artists had costume stocks of their own, which they would dress their sitters in (though to be fair, these specific portraits are slightly later than the others we’re talking about today). And then, of course, garments were made or elaborated upon purely out of the artist's imagination. The fabulous Two Nerdy History Girls recently wrote a post about a woman who had her portrait updated a decade after it was painted to depict the new fashionable hairstyle (read here). It just shows that while a portrait may look realistic at a glance, there could easily be aspects that did not appear in real life. This may be the case in the second portrait above, where an incredible amount of ermine is depicted. Yet despite all of this, we can still learn so much about fashion history and even social history from portraits. While a garment shown in a portrait is not necessarily an accurate depiction of dress, it gives great insight into how the sitter would like to be portrayed. We can learn what was a desirable image to project. This could be donning the most formal gowns, but it could also be the opposite. As I mentioned in my banyan post (here), sometimes leisure wear was depicted in portraits, a trend in the 18th Century. Less formal doesn't mean less fashionable. It could prove wealth in other ways, showing that the sitter had the luxury of leisure. It may even show that the sitter had more important things on their mind than fashion.

There are of course countless situations, all about portraying an certain image, and dress was central to that image. A prime example are the bottom three images. These are all self portraits by Angelica Kauffman, painted at different points in her career. You can see how the dramatically different dress in each portrait reflects vastly different self portrayals. Yet we don’t know how often, if ever, she wore each of these looks. All we know is that they embody the image she wished the world to see. In short, as with many things, dress in portraiture should not necessarily be accepted at face value. And if you're wondering how we can figure out what the lower classes wore if only the rich could afford portraits, check out the post here. Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It's FRIDAY FASHION FACT! If you have been reading this blog for a while, you'll know that one of my favorite aspects of fashion history is the influence of society on dress. I can't believe I haven't written about today's topic yet, since it is one of the best examples of this! We're talking tea gowns!

Tea gowns rose to popularity in the late 1870s, reaching widespread popularity throughout the late 19th to early 20th centuries. To put it simply, a tea gown is an informal garment worn in the house- you guessed it- at tea time, though later they were worn at dinnertime as well. What is so interesting about tea gowns is that their creation was a direct result of the rapidly changing society of the time.

The Industrial Revolution led to a dramatic rise in urbanization. Naturally, this congested setting shifted social customs. Increased social circles meant increased social obligations. Visiting a friend or acquaintance for tea quickly became one of the most popular social calls, namely because it was the shortest. Custom dictated that one would not stay for more than half an hour for tea. The short time frame meant a less formal atmosphere.

On a different note, during this same time, there was a strong Asian influence on design. Due to the 1868 Meiji Restoration, trade lines between Japan and Europe opened up, bringing a steady stream of Japanese goods to the Western world. Using these pieces, homes were decorated in the exotic style. Kimonos also held a fascination among the Victorians, many adopting them as dressing gowns. Women would commonly host members of their wide social circles in their homes (particularly the parlors) to show off their creative interpretation of Asian and exotic inspired design. So how does this all connect to the tea gown?

To begin with, women desired a specific garment for these new abridged social calls- something relatively informal, yet still fashionable. Tea gowns have been described as a blend between a dressing gown and an evening gown. They were a far more relaxed style than the majority of fashions at the time. They were often loose fitting, and were often worn without the usual restrictive shapewear- namely bustles and (gasp!) corsets. Naturally, this meant that tea gowns were a very controversial garment, with many condemning them as lewd and immoral. Of course, many women who were so accustomed to wearing corsets still wore them with tea gowns, but disguised it with a loose bodice. Since they were so relaxed, though, a lady would never leave the house in a tea gown. As a result, only the hostess would wear one, while guests would wear afternoon or visiting gowns.

One of the biggest appeals of the loose tea gown was that they were so easy to put on, and a lady could dress herself without the help of a lady's maid. While the structure of tea gowns were simple, though, their design was anything but. Women pulled inspiration from the exotic into their gowns, often aiming to match the design of their parlors. There was also a strong historical influence in many tea gowns. Watteau pleats, the cape/train-like pleats used in 18th century robes a la française, were a popular design element. Some tea gowns would be made to look like two garments, a faux-robe over a dress. As with all fashions of the day, ladies would show off their wealth through their tea gowns, using rich fabrics, lace trims, ruffles, and other embellishments.

As fashion developed, so did the tea gown. By the Edwardian Age, the popular tea gown style was incorporated into other forms of afternoon dress, to the point that tea gowns became difficult to distinguish from other styles of dress. As society changed throughout the 1920s and ‘30s and the custom of calling for tea time shifted, the tea dress slowly faded from popularity, vanishing altogether by World War II. It just goes to show how the life and death of a fashion can all be directly related to shifts in society!

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Happy FRIDAY FASHION FACT! Today I’m going more modern than I’ve ever gone before in these posts. And what better topic to go modern with than one that is named for the term? That’s right, we’re talking mod! Specifically, we are talking about the one piece of fashion that arguably epitomized the mod culture: the paper dress.

I’ve spoken about dresses made out of unusual materials before (see: the glass dress) but what is so interesting about the paper dress is how popular it was, albeit for a short time. In 1966, the Scott Paper Company released a marketing campaign where it would ship customers a dress made out of “Dura-Weve” paper for just $1.25 (a dollar for the dress and 25 cents handling.) The material was essentially a cellulose paper mixed with traces of rayon. This gave the dress more durability and flexibility as compared to standard paper. The original Scott Company paper dress was sold in two patterns, a black and white geometric “op-art” print, and a red paisley “bandana” print. Both the simplistic cut and bold patterns of the dress were clearly aimed at capturing the attention of the booming mod culture.

The typically young crowd who followed the mod lifestyle were known to strive for the next, newest, and even most futuristic styles, whether it be music, art, or clothes. They were bold and sleek, and broke away from all things traditional. In essence, they were the opposite of the World War II “Greatest Generation” which preceded them. So how does the paper dress fit into this? The disposable nature of the paper dress was highly appealing to the mod generation. Many believed paper was the fabric of the future, and that one day all clothing would be made out of the material. It was fast-fashion at it’s fastest. The ephemeral nature of the dresses meant that you could consistently (and affordably) purchase new clothing. It also blended well with the art of the day. This was peak Warhol era, and his pop art prints were perfect to adorn the simple shift dresses, as were the colorful psychedelic prints of the time. Paper dresses made it easy to always wear the newest patterns and art.

Several companies quickly followed Scott’s lead, and soon paper dresses were everywhere, as well as other styles of paper clothing, including menswear. Within a year, though, the novelty faded, and the realization of the impracticality outweighed the idealistic image of paper clothing. The fad disappeared as quickly as it began. Yet paper clothing hasn’t vanished completely. Instead, it found it’s niche in hospitals, where it’s affordable and disposable nature is perfect for sanitary purposes. So in a way, the mod’s were right, paper was the fabric of the future, just not in the way they expected.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It's time again for FRIDAY FASHION FACT! A little while ago, I spoke about one of my favorite things- pajamas (read here). Coming in a close second on my list of most awesome things, as I'm sure many of you will agree, is lounge wear. Nowadays that typically means sweats or yoga pants (which I'm definitely not wearing right now, I don't know what you're talking about!) but in the 18th century, it was all about banyans!

What is a banyan? Short answer: it was a (typically silk) men's robe. Longer answer? It was the first common form of lounge wear in Western societies. The style was derived from the robes worn by the upper class in the West Indies, as well as kimonos, Turkish robes, and other forms of Eastern dress. Colonists adopted the style and brought it back to England and France. While in the hot climates of the East, banyans were made out of lightweight cottons, in the West they were created out of rich silk brocades. In the comfort of their own homes, men would wear these loose garments over their shirts and breeches in lieu of their restrictive, tailored coats and waistcoats. They often paired the garments with Turkish inspired turbans.

Also known as a morning robe or robe de chambre, banyans became very symbolic for the upper class. It was only men of a certain means who would have the luxury of lounging about their home, not to mention having the ability to purchase such a frivolous garment. It also came to be associated with educated men, similar to academic robes. These learned men were "too busy" focusing on their studies to be bothered with fashion. It is because of these associations that posing in banyans became a popular theme in 18th century portraiture.

By the 19th century, various styles of banyans had been developed, including one that was quite structured, sort of going against it's original intention. They were often made with matching waistcoats, for a more complete ensemble. Women naturally drew inspiration from banyans, creating their own forms of lounge wear. That, however, is a topic for another day.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It’s FRIDAY FASHION FACT, and it’s time for another designer bio! Jeanne Lanvin was one of the most influential designers of the 1920s. She created a vast fashion empire, which still exists today. Yet while her name is well known, the woman herself preferred to stay in the shadows. So what is the story behind this remarkable designer and business woman? Jeanne Lanvin was born in Brittany, France on New Years Day, 1867. She was the eldest of 11 children. At the age of 16, she became an apprentice for the milliner Madame Félix in Paris, later training with a dressmaker. At the age of 22, Lanvin opened her own millinery shop. A few years later, in 1895, Jeanne Lanvin married Italian Count Emilio di Pietro. They had a daughter, Marguerite, who naturally became Mme. Lanvin’s source of inspiration. She created fashionable dresses for her daughter, which immediately caught the eye of her high-society friends. They commissioned Lanvin to make clothing for their own children. Soon, Lanvin was creating ensembles for both mothers and their children (think those “mommy and me” outfits you see today, but far more high-class.) Lanvin divorced Pietro in 1905, and while she remarried two years later, she did not have any more children. At the same time, her clothing business was building rapidly, and she established herself as an official couturier in 1909 when she became a member of the Syndicat de la Couture, the organization which regulated the French fashion industry. While of course her designs were beautiful, it was her detail, precision, level of quality which truly set House of Lanvin garments above the rest. She insisted on perfection, even opening up her own dye factory to create the ideal colors for her textiles. While throughout the 1910s, women’s clothing became progressively more simplistic and tunic-like, utilizing straight lines, Lanvin preferred to take her cues from the shapes seen throughout history. This is most obvious in her Grecian gowns, and the iconic robe de style, inspired by 18th century court mantuas (read here.) While other designers such as Poiret and Chanel were making a mark for themselves in the 1920s, Jeanne Lanvin was turning her brand into an empire. Not only did she have the standard women’s fashion shops, but she also opened shops dedicated to menswear, lingerie, sportswear, even home decor. She also created the iconic perfume, Arpège, inspired by her daughter playing scales on the piano. You can still buy this scent today, in a bottle emblazoned with a stylized image of Jeanne and Marguerite, the House of Lanvin logo. Though Lanvin was often pushed to be the face of her company, like her contemporaries Chanel and Schiaparelli, she preferred to propel her House forward through strong business acumen and brilliant design skills. Jeanne Lanvin passed away in 1946 at the age of 79. House of Lanvin was taken over by Marguerite until her passing in 1958. The business was run by various members of the Lanvin family until 1990. Yet House of Lanvin is still going strong today, always looking to its innovative founder, and is officially the oldest continuously running French fashion house still in operation. Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

TGIFRIDAY FASHION FACT! Several of you have asked me to talk about the history of hobble skirts. It's not surprising, since it is such a controversial garment, even shocking to a modern eye. It seems to embody the restrictions and oppression women throughout history had to endure. The name itself flat-out states that it is a garment which hinders movement. So how did this binding style become fashionable?

To start with, what exactly is a hobble skirt? It’s pretty self explanatory. It is a skirt that narrows at the bottom, forcing the wearer to take small steps. There were several different types of hobble skirts. A stereotypical hobble skirt was cinched in at the knees or ankles. Other styles tapered in towards the hem. Yet they were not always quite as restrictive as they appeared. Some styles had hidden pleats or a cross-over design that allowed for greater range of movement.

It is believed that the first true hobble skirt was created by Paul Poiret in 1908 (read his bio here). The rumor is that he was inspired by Edith Berg, who tied rope around the knee of her skirt to prevent it from flying up when she joined Wilbur Wright aboard his plane to become the second woman in history to take flight. However, the tapered style of hobble skirt likely stemmed from a case of miscommunication.

Bodices and skirts at the time were becoming more form-fitting, as the exaggerated proportions of the early Edwardian Age fell aside. The narrow styles were depicted in Parisian fashion plates and sent across the ocean for American dressmakers to replicate. It was not uncommon for fashion plates to be slightly exaggerated in order to emphasize the desired silhouette. As a result, Americans interpreted the look as much more restrictive than it was intended to be. However the look came about, it quickly caught on. 

The key thing you should realize about hobble skirts is that they, like many modern women's fashions, may not have been the oppressive garments they initially appear to be. Compare them to stilettos or make-up. Many people see these things as demeaning or even dehumanizing fashions inflicted by the patriarchy. Yet many women find them to be empowering. The interpretation ultimately lies with the wearer. This dichotomy also applied to the hobble skirt.

The hobble skirt reached peak popularity in the early 1910s, coinciding with women increasingly entering the workforce, as well as gaining social and financial independence, both main rallying points of the suffragette movement which was in full swing at the time. Of course, women were not about to wear hobble skirts to the workplace. They were reserved for more formal occasions, or situations intended to flaunt high fashion. Yet many women felt that shedding their large petticoats in favor of a style that emphasized their curves was a sign of empowerment. It didn't matter that they had to measure their steps, the scandalous style commanded attention. Some critics of the fashion saw it as vulgar, while others thought the restrictiveness dangerous. Some proponents took the opposite view and thought that the limitation of movement would stop women from becoming too wild. It was certainly a subject of dispute.

Practical or not, refined or salacious, there is no doubt that the controversial hobble skirt was incredibly popular. It became so prevalent, in fact, that public transportation cars were even modified to be closer to the ground so that women would not have to take to large a step to climb on. It was only when World War I struck, and practicality became priority in dress, that the hobble skirt fell out of fashion. It has not completely disappeared, though. Just look at the classic pencil skirt, and you will realize that the descendant of the hobble skirt is alive and well today.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Time for a long-overdue brand new FRIDAY FASHION FACT!!! Today my goal is to brighten your view of the Victorian Era, literally! We’re talking colors! Thanks to our often Penny Dreadful-esque view of the Victorian Era, or the fact that photos of the time are black and white, we often think of the Victorian world as being quite dark, shrouded by a grey film. In reality, the Victorian World was nearly as technicolor as our world today- neon signs and psychedelic patterns aside, of course. You shouldn’t be surprised to hear that the world has always been full of color (thanks, nature!) The vivacity of colors in fashion took a huge step forward in the middle of the 19th Century, though, thanks to the creation of aniline dyes.

What are aniline dyes, you ask? To put it simply, they are artificial dyes. There is plenty of chemistry behind it if you want to get specific, but I’m not even going to attempt to go into that (if you’re interested in the science of it, head on over to Wikipedia or something and knock yourself out.) Before aniline dyes, nearly all dyes were created out of natural materials- mainly plants, but even insects, snails, and other creatures. I say nearly because there is record of chemical dyes being created in the late 18th and early 19th century, but they did not make any notable presence in fashion. Perhaps a surprisingly wide range of colors could be created using natural dyes, but they often had major limitations. Several colors were very expensive, since the materials used to create them were limited. Other colors were not very steadfast, and would bleed, fade, or discolor with time. 

Like many of the world’s greatest inventions, aniline dye was first created by accident. In 1856, chemist William Henry Perkin attempted to create a chemical version of a natural malaria remedy. Instead, he accidentally created a rich purple pigment which he dubbed mauvine. He was only 18 years old at the time. Perkin saw the potential of the vivid shade, and worked to turn it into a viable dye. He figured out an inexpensive way to produce the color, and discovered that using tannin would make the color stay fast. It was the first affordable option that mimicked the rich violets popular among royalty at the time. With the help of some publicity by Perkin himself, by the 1860s, Perkin’s mauvine was the “it” color. 

Yet aniline dyes impacted more than just purple. The formula used for mauvine became the blueprint for other chemical dyes. Electric pink, blue, emerald green, even black dyes were developed. While many of these shades had been available before, the new chemical versions were more affordable and more resilient. Not all aniline dyes where bright or bold colors, though. In fact, it is hard to know how many dyes from the 1860s and later are chemical or natural without testing, since they are often soft, subtle shades. Of course, throughout the years, other forms of chemical dyes were created, yet it was aniline that first broke through and made the full color wheel available to the masses.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Happy FRIDAY FASHION FACT! Today I am going to go in a completely different direction than I've ever gone in these posts before. In fact, I'm not even going to talk about fashion at all! In honor of the Oscars this Sunday, I'm going to talk about costume design! I am constantly asked (both in real life and on this blog) what my opinions are about the costumes in movies and TV shows. I say very little about myself on here, so my fabulous followers probably don't know that before I turned my focus to fashion history, I was a professional costume designer. I have worked with stage, film, and TV costumes, plus styling for various types of photo shoots. But let me just preface this post by saying that much of it will be opinion based, and while I am trained and experienced in costume design, my views are just my views, and what I say here may not be how others interpret costume design. So with that in mind, let's talk about costumes!

Costume design is an incredibly vast field, and there is no way that I could cover anywhere near all of it in one post. To keep it at least somewhat in line with the theme of this blog, we're just going to focus on period costume design. Most people assume that for period costumes to be good costumes, they must be completely accurate. However, depending on the feel of the film or show, this is not necessarily true. Ok, let's clarify that. Some shows and movies pride themselves on realism. In that case, accuracy is a must. Take Downton Abby. A realistic show with flawless costumes. Many pieces are in fact originals from the period. The costumes completely add to the feeling and world of the story. Then there's a show like BBC's War and Peace. This is theoretically suppose to be a (semi) realistic show. Yet some of the costumes are so far departed from reality (one strap dresses in the early 19th century? It’s like they didn’t even try!) that they they prove distracting.

Yet if a show recognizes it's separation from reality and flaunts it story-wise, it can work in the costumes as well. The prime examples that come to mind are The Tudors and Reign. Nobody can claim that these shows are meant to be accurate. They are about beautiful people acting scandalously while wearing sexy corsets. In situations like this, inaccurate costumes fit the stories. They are simply meant to add to the beauty and emphasize sex appeal. Just completely separate them in your mind from the history they are so loosely based on and enjoy them for what they are.

Movies and TV shows are about the characters. The costumes should be, too. Often this means breaking with accuracy. When done right, this is subtle, just enough to enhance mood but not distract. A great example of this is Age of Innocence, which has (mostly) great silhouettes, but occasionally uses fabric colors and patterns that are not necessarily accurate in order to enhance the romance. While this is a common practice in period costume design, it is often taken to a whole other level with fairy tales.

Recently, there was a lot of buzz surrounding the Cinderella costumes. Insane waistlines aside, a lot of people were bothered by the seemingly mix-matched eras. The step sisters seemed very 1830s, Cinderella was somewhere in the 1850s-60s range, while the step mother seemed to jump ahead to the 1940s. Many people assumed that since I often get frustrated when movies get costumes completely wrong, this would really bother me. But actually, I loved these costumes! It's a fairy tale, it's not suppose to be realistic- that's the whole point. First of all, it is only the silhouettes that are loosely based on different eras, nothing else about the costumes is even remotely historical. They take place "long ago and far away," intentionally ambiguous. That's what keeps us believing that the tale can come true in our own lives- it's about a fantasy. It taps into all of our deep-seeded stereotypes. Cinderella herself is the idealistic princess with the over-the-top full ballgown. The step-sisters are ridiculous, and the proportions and styling of 1830s fashion are often silly by modern standards. Finally, the step mother is suppose to be beautiful and fierce, much like the vampy starlets of old Hollywood. Yet the saturated colors, sparkles, and over-the-top drama tie them all together. But like I said, that's just my opinion!

I could go on and on about costumes indefinitely (there is so much more to say!) but the main thing you should know is that these stories, even when based on reality, are not documentaries. The clothes are often not meant to be perfect representations of what people would have worn. This would often result in far more boring looks. This applies to modern costumes, too. Imagine if everyone dressed as boldly as they do on the average sitcom- the world would be a far more colorful place. It's not realistic, but it's fun, setting the mood. So the next time you watch a period piece and you wonder if the costumes are realistic, also ask yourself if they enhance the characters!

Oh, and just for my own piece of mind, if you see an elaborate gown (probably on Pinterest) claiming to have been worn by Elizabeth I, I can guarantee that it's a costume (probably from Shakespeare in Love.) Ditto Marie Antoinette.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Welcome another edition of FRIDAY FASHION FACT! This has been a crazy busy few weeks for me, and all I want to do now is wrap myself up in my favorite pajamas and not move for 3 days. While that may not be possible, it has inspired me to write about today’s topic- sleepwear!

For the majority of history, people simply wore long linen or wool dress-like shirts to sleep, which were very similar to their undergarments they wore everyday. In fact, most people wore the exact same shirt-dresses as undergarments as they wore for sleepwear. It was only the very wealthy who had the luxury of separate sets of clothing. These nightshirts and chemises (the undergarment dresses) were simply constructed and easy to clean. As fashion developed, women’s nightdresses continued to mimic their chemises. As men’s undershirts became shorter, though, their nightshirts remained long like the women’s.

Throughout the 19th Century, it became more common to have separate sleepwear thanks to the increasing affordability of clothing which was a result of the industrial revolution. It wasn’t until the 1870s, though, that clothing specifically designed for sleeping (aka pajamas) became common.

Britain’s growing presence in India up into the 19th Century brought an increasing amount of Indian influence into Western fashion. The looser clothing common in India inspired lounge wear in 18th Century British fashion, yet at this time it was most commonly worn in the mornings and evenings, not as sleepwear. This Indian influence had various amounts of prevalence in Western dress throughout Britain’s occupation of the land (see paisley.) It was in the 1870s, though, that the Indian influence officially made its way into British sleepwear. It was at that time when loose shirt and trouser ensembles, known as pajamas (a word derived from Bengali), inspired by Indian style was adopted by English men.

The trend grew increasingly common throughout the end of the century. As men now had garments specifically designed sleepwear, it became increasingly common for women, too. They maintained the loose dress form, but they added ruffles and frills not seen on their typical undergarments. The end of the 19th century and beginning of the 20th century were defined by elaborate and ultra-feminine fashions. This led to the development of various forms of robes, peignoirs, and negligees. The popularity of sleepwear for both men and women was further amplified by the growing ready to wear industry (read here). Since sleepwear did not have to have an exact fit, it was a perfect item to purchase from catalogues. As women’s pants took a large step forward in popularity in the 1920s (read here), the trend extended into two piece trouser pajamas for women. The rest is history!

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It's FRIDAY FASHION FACT! Right now a small city in Italy has been transformed into a unique celebration that has been occurring for centuries. That's right- it's Carnival in Venice! We have all seen the photos of the spectacular costumes, always paired with mysterious and alluring masks. Those fortunate enough to have attended the event in person know just how jaw-dropping some of these elaborate costumes can be. The masks are iconic, many instantly recognizable as Venetian. So where did these fantastical looks come from?

To make a long story short, Carnival itself dates all the way back to 1162, and was originally a celebration of the victory over the Patriarch of Aquileia. By the Renaissance, the celebration was made an official annual event, held in the weeks leading up to Lent. Yet the masks date back much earlier in Venetian culture. Though there is no record of when or why masks first became popular in Venice, we do know that by the 13th Century they were already so common that laws were put in place to regulate their use. At this time, masks were an everyday sight, not just reserved for festivals. Masks allowed a person to break social barriers, behaving in ways they might not typically had their identity been known. The nobility was known to take advantage of the anonymity provided by masks to indulge in gambling, brothels, and other such sins. You can understand, then, why throughout the years more and more regulations were put in place over when and where masks were permitted. It is also the reason the raucous Carnival festival was banned from 1797 all the way through 1979.

Due to the freedom they allowed, it is unsurprising that masks became so prevalent In my opinion, it's surprising that more cities didn't follow suit! But what about the designs of the masks? Let's take a look at a few of the most famous mask styles:

For men, the Bauta mask is perhaps the most common style of mask, and most distinctly Venetian. A normal fitted mask on top, it points away from the face on the lower half so that the wearer could eat and drink without removing it. This mask became incredibly popular during the 18th Century, which was also the era when masquerades inspired by Carnival reached peak popularity throughout much of Europe. This is why the bauta mask is still typically paired with 18th century style clothing today, almost always including a tricorn hat and cloak.

The most common between both genders is the Volto (aka larva) mask. This is the mask that covers the entire face, with only the eyes exposed. It is traditionally white, though often ornately decorated.

Another distinctive mask is the Medico della Peste mask, aka the plague doctor mask. This slightly creepy mask, with a dramatic beak, is unique among the masks due to the fact that it is based off of reality, rather than created out of frivolity. In other words, during the days of the plague, doctors actually wore masks that looked like this because they believed it would protect them from the deadly disease.

There are many other styles of masks, including the Gnana cat-like mask, and several based off of Commedia dell'Arte characters such as Pantalone and Arlecchino. I can't cover them all, but I'll leave you with one more mask which was all the rage for women in the early 18th Century, yet is almost never seen today. Known as the Moretta mask, this little black mask has a unique circular shaped that covered the face, but not the chin, top of the forehead, or other edges. What made it so infamous, though, was the fact that it traditionally had no strap, and instead was held in place by a little button on the back of the mask which a woman held in her mouth. As a result, a woman could not speak while wearing the moretta mask. It gave women an air of mystery, and in a way, a sense of power. Men would strive to persuade the moretta woman to answer their questions, therefore removing her mask and revealing her identity. Yet due to the extreme impracticality of this style, it is understandable why the moretta mask has not made a revival in modern times.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

It's time again for FRIDAY FASHION FACT! In most of these posts I focus on general trends, styles, or garments. Today, however, we're taking a look at another side of fashion history. We're looking at the fabric itself, and what better fabric to start with than the most elaborate? That's right, we're talking about lace!

There are several types of lace, including needle, crochet, and cutwork. They are all made differently, so I won't be going into the technicalities of their creation. Instead, let's talk about where lace came from and how it spread. Most of the time, I try to present the deeper meanings behind fashion, the motivation and inspiration that may have been lost over the years. Today I will make an exception. Lace was made and became popular because it was pretty. People just liked the way it looked. Simple as that. Of course, it did not happen overnight.

Back around the 15th Century, as the Middle Ages gave way to the Renaissance, art and decoration of all forms began to grow more elaborate. Trimmings became more common, such as simple braids, cording, and embroidery. No one is certain exactly where lace got it's start, but it certainly evolved from these trimmings. Little loops were added to the edges of cuffs and collars. These loops were blended with increasingly complex braids to create open designs. Some loops were incorporated with cut out designs, strengthening the delicate edges with embroidery. Most commonly created with silk, these increasingly sophisticated patterns were also often made out of metallic threads, adding to their glamorous appearance. These twisted, looped, cut, and stitched designs were the earliest forms of lace.

Lace was originally worn by the clergy, as they were often among the finest dressed at the time. Of course, the wealthy quickly followed suit. It is rumored that lace began in Venice, a popular trade port of the 16th century, and so the fancy trim spread like wildfire. The most prominent use of lace during the Renaissance was of course ruffs (read more about their development here.) Lace was also commonly seen on cuffs and other trims, though, including home decor textiles (think doilies and the like.) Different styles of lace developed at different rates in various regions, some more complex, others more bold, and others more delicate. Yet due to the time consuming nature of creating lace, no matter which technique was used, it was relegated mainly to trims and small pieces for the next few centuries.

That all changed, though, thanks to the Industrial Revolution of the 19th Century. With the help of the new machinery that was invented, suddenly large pieces of lace could be created at relatively small cost, in a much more reasonable time frame. By the middle of the century, ball gowns began to appear with nearly full lace overlays. From this point on, lace went in and out of style purely due to aesthetic, rather than availability. During the Edwardian era, when the elaborate yet delicate styles were all the rage, lace reached its peak popularity. Gowns for both day and evening wear were created out of every type of lace available, often mixing more than one type. Though lace has never again reached the pervasiveness of that time, it has consistently made appearances in popular fashion ever since.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Welcome back to FRIDAY FASHION FACT! Today's topic is one that seems to be quite the curiosity to many people, or, more accurately, to many women. That's right, I'm finally covering maternity wear in the age of corsets! It's no wonder why this topic is so perplexing to so many people- it is a shockingly un-discussed area of fashion history. We rarely, if ever, see images of pregnant women throughout history. What we commonly see, though, is women with teeny-tiny waists that are caged in and perfectly flattened by stays and corsets. Clearly, those styles didn't leave much room for a little alien growing in a woman's belly. Yet the fact that we all here today is proof that the vast majority of women throughout history were pregnant at some point in their lives. This means that some sort of clothing accommodating a rapidly growing midsection had to exist. So what did it look like?

Up until the Renaissance, maternity wear was barely, if at all, different from regular dress. This is because in these early days, clothing was not fitted to the body. Fabric was cut in rectangular pieces that were laced together, making it easy to tighten or loosen a dress. During pregnancy, women would simply loosen the lacing, allowing more of her underlayers of clothing to be visible, possibly adding additional layers. Later in a pregnancy, women simply stayed at home, meaning they could just wear loose undergarments and open robes. During the late Middle Ages, it was in fact fashionable for a woman to appear pregnant, whether or not she actually was. They would wear high waisted gowns with extra fabric gathered around her belly, thus making specific maternity wear unnecessary.

By the Renaissance, though, seams and structure became integral parts of fashion. Stays came into fashion (read here) resulting in a restricted bodice. During this era, women would loosen the bottom of their stays as much as possible during the early part of their pregnancy, thus causing the bump to appear rather low. Those who could afford new clothing would wear shortened bodices as their stomachs grew larger. Those who could not had two options. One, they would wear a man's waistcoat paired with their loose underlayers and skirts. This is because during this era men's waistcoats had vents in the back, held together by lacing which could be loosened. The other option was to wear a bodice that laced in the front, leaving the lacing around the belly open. This would then be covered up with an apron. Using an apron to cover an open bodice that accommodated a full belly remained the go-to style for the pregnant poor for the next couple of centuries.

The first official pregnancy garment was created in the 17th century. Known as the Adrienne dress, the style had loose folds of fabric where normally a fitted waist would be found. The Adrienne developed throughout the next century, and by the 18th century it often included a bib that could be folded down for breastfeeding. In the early 19th century Neoclassical era, fashion was once again in a style that easily accommodated a pregnant figure. By the 1820s, though, structured undergarments made their way back into style, soon becoming the cinched-waisted corsets we associate with the word today. However, maternity corsets were also created around this time. These garments were created to shape, support, and minimize the appearance of a belly. They were adjustable, and some had flaps for breastfeeding. There were countless styles created, all boasting some new-found advantage.

Throughout the 19th and early 20th centuries, maternity wear would either raise or lower waistlines, depending on which was more fashionable at the time, to accommodate the shape. The crinoline era used empire waists, as well as separate blouses and skirts, often covered by a large jacket to hide the bump. At home, wrappers and robes were extremely common. The bustle era, with its drop waists, attempted to hide the shape by smoothing it down into folds of fabric by the hips. When tea gowns- unstructured, flowing dresses- were developed towards the end of the Victorian era, they became the fashionable choice for women at home, particularly towards the end of their term. Yet the birth (get it??) of the ready to wear industry (read here) and the downfall of the corset shortly after caused maternity wear to shift towards the distinctive garments we often think of today. That, however, is a topic for another day.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!