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Flashcards by Brittney Ciardi, updated more than 1 year ago
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Created by Brittney Ciardi
over 8 years ago
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| Question | Answer |
| Dominant style of The early 18th century, and what does it look like? | Rococo- pastels, romantic, delicate, fantastical, incredible amount of texture |
| a trend towards “simplicity” and idolizing nature and the countryside. What looks or accessories show this? | Caraco ( bodice that looked like a jacket) Bergere (Hats) Polonaise (dress) |
| Robe a la Francaise - two box pleats with a lot of extra yardage in back | |
| Robe a L’Anglaise- doesn't have much fullness in back compared to one's with pleats, it ends with a point in the back. 18thc | |
| Mantua- | |
| how was an ensemble put together in the 18th century? | the client would go to a tailor in order to get measured for their outfit and pick one of the few styles and then go to the haberdasher in order to pick out the trims |
| the client-tailor-haberdasher/marchand-mercier relationship | haberdasher- new role in garment business-becoming more important, buy the applied decorations and trims for haberdashers |
| Anglomania and what did it have to do with menswear? | anglomania- excessive respect for English customs, etc the riding coat, redingote |
| Why was the French Revolution important in changing how people styled themselves and saw themselves? Know what garments/accessories appeared during the revolution, what they meant and how they were different from what came before. | sans coulette- no breeches Carmingole jacket- revolutionary symbols bonnet rouge |
| How were the revolutionaries drawing upon the ancient world (ie. Classical Greece & Rome) and how was it different from the way classical inspiration was used after the revolution. Valerie Steele’s chapter which was assigned for this week, gives detailed specifics on this. | napoleonic years- empire waist dresses, away from siloughettes, |
| Who were the Merveilleuses and the Incroyables? What did they look like? | The Incroyables (the Unbelievables) and the Merveilleuses (the Marvelous Ones) were part of a rebellious youth movement that arose during the 1790s, during the French Revolution (1789–99). The revolution had begun a tremendous upheaval in France pitting the poor and the middle class against the wealthy, and the government was very unstable. The Incroyables (men) and the Merveilleuses (women) were political young people, who were the product of an explosive time in history. They made their political statement by dressing in outlandish fashions that exaggerated and mocked the luxurious styles that had been worn in the court of King Louis XVI (1754–1793), who had recently been executed by the revolutionary government. Though many ridiculed the extreme fashions of the Incroyablesand the Merveilleusesand called them immoral, they did remind people of the time before the revolution, when outrageous fashions had been more than a jest. |
| How did Napoleon & Josephine use style to legitimate their power? | Napolean and josephine quoted the ancient grecs and romans to help keep power |
| Understand the connection between England and the United States before and after the revolution. Did people in the colonial US dress very differently from their European counterparts? Why or why not? | material |
| Know what Cultural Authentication is and which garments or materials offer examples of it. | cultural authentication is when cultures use other cultures elements and make them your own Africans used European glass beads within their garments even though it wasnt their own dutch dyeing techniques and motifs translatted into african fabrics and made it their own |
| How did some important Americans (ie. Ben Franklin, Jefferson) use dress to support their political positions | Americans were trying to get money for war, Benjamin Franklin used to present himself in powdered wig and royal dress but then eventually starting to present himself in a simple suit, a deliberate act to represent himself in plainer clothes to be like the people he represented |
| What is “Homespun” and why was it an important symbol in the revolution? | homespun is rough material used to make a lot of garments, not imported, defined what was truly american |
| Why is cultural appropriation an important issue in the Native American community? | p |
| Know the characteristics of “Romantic” style and how it differs from later “Sentimental” styles (hint: if these words seem unfamiliar read Katherine Haltunen’s chapter, which was assigned for this week) | q |
| Why do we see an explosion of trimmings/lace/bows/ribbons in the 1820s-30s? (…think technology….) | cotton gin? |
| What is “the great masculine renunciation”? | When men started rejecting feminine dress and created boarders of masculinity The Great Masculine Renunciation underscored great modern ideals like equality, social mobility, and the worthiness of work. The sacrifice that the abandonment of fashion symbolizes is less often considered. The “great male renunciation” and the Van Buren incident not only deepened the gender dividing line between His and Hers wardrobes, it also intensified the public distaste for male effeminacy. The cultural “risk” that comes with women’s fashion is sexualization and objectification, while men put their perceived sexuality and masculinity on the line if they dress outside of mainstream menswear. Imagine how different male fashion would be if dandyism had somehow won out over the “great masculine renunciation.” |
| What were the big changes in men’s tailoring and why were they happening now? | u |
| Know the significant technological changes in the 19th century that affected the look and making of clothing | v |
| Who is known as the “father of haute couture” and why? | Charles Fredrick Worth- created his own couture house after being a textile merchant, he became recognized when Napolean III wife wore Worth's clothes to court and made him recognized. His only barrier was money, anyone could wear it if they could afford it. ensemble and seasonal collections, continuity in style, dressed bohemian, first person to put labels on his clothes, famous clients, creation of Chambre Syndicale de la Haute Couture, government organization for regulating standards of couture |
| What was the biggest change in the silhouette from the mid to late 19th century (hint- think of the understructure) | |
| Women were seeking greater equality at this time- what garments or styles are evidence of this? | |
| - Why were the Arts & Crafts and Aesthetic movements important for fashion? How did they illustrate an alternative idea of beauty? | Jane and William Morris -he was a designer and considered founder of arts and crafts movement, creative community trying to find alternatives, political connections of being against the norm, aesthetic movement... everything had to be beautiful |
| stomacher- on top of corset to fill in bodice of gown, still wore mantuas, open or closed is there space for stomacher or not | |
| one piece gown that would pull over head, called watteau back sometimes because watteau used it to paint dresses often in his paintings. sack- first seen as informal garment but as it became more popular it became more of a standard court dress | |
| Paniers- made of wood to support the skirts, width across of hip and flat in front and back, starts around 1730, could get up to 6 feet wide-crazy court dress | |
| Curaco-bodice made to look like a jacket, connected to simplicity, informal, fanstasies about beautiful country life | |
| Bergere Hats-very nicely constructed and decorates, connected to simplicity, informal, fanstasies about beautiful country life | |
| Polonaise- connected to simplicity, three pinned up sections | |
| Engageantes- sit on inside of bell shaped sleeve like a cuff | |
| shoe with heel coming toward center of shoe | |
| babara johnson album, only real evidence we have of an actual person showing what they wore, cut outs, images, trims, textile swatches | |
| Toile de Jouy invented by Oberkampf, Jouy en Josas, France, first person in france that was able to make printed cottons that were color fast | |
| cosmetics in 18th c Rococo time | -both genders powdered their wigs and faces, wore black mole spots made of silk velvet that were a theatrical visual language...one by the eye meant you were feeling flirtatious and one of the chin meant they didn't want to talk to anyone |
| Frock coat-mid 1700's inspired by english sporting culture, narrower coat with cutaway from, anglamania- fad for English things | |
| great coat or Redingote- over coat more sturdy and durable called redingote because French couldn't say riding coat | |
| Formal men’s suit, 1765- cut away silhouette, practicality for horseback riding | |
| court suit | |
| Jabot- hankerchief looking piece around neck | |
| Toupet | hair crimped and curled on the sides and pulled back into a pony tail |
| stock | long strip of linen wrapped around the neck |
| Marie Anointette | Not very well liked, Louis XVI wife, fashion was the way she set herself apart in the court, took her a long time to havea boy |
| Coiffure a la belle Poule- currext affairs in fashion, currect things that were happening that people expressed literally in Altier fashion | |
| Chemise dress-chemise is like the camica, wearing a gown that looks like underwear as the queen, she also was wearing Indian muslin, which didn’t support the French economy so it was bad. | |
| Macaronis | |
| The Pouf-The pouf Hairstyle- combination of some natural hair but supplemented with artificial hair, wigs and padding. At least three women died from their hair catching on fire from the chandeliers because the hairstyle was so tall | |
| 1790s Redingote. Redingote- used to be a man’s overcoat but later it was made into a women’s dress style. Wide shoulders with lapels, meant to look like a man’s riding coat. Idea of informality, proportions and styles were less extreme | |
| -July 14th there was a storming of the Bastille, people broke in and freed the prisoners. -France began wearing styles that were patriotic | |
| Embroidered vest- this was in red white and blue, symbolic things, on lapel one side is a caterpillar and the other is a butterfly with its wings being cut, one of them reads… the habit does not make the monk, the second one…. Shame on him who thinks evil of it. | |
| Girondin: | A moderate republican. The leaders were deputies from the department of the Gironde |
| Jacobin | the were into extreme democracy and equality- they formed the committee to public safety, a military group that persecuted anyone who was though to be a part of the revolution. They were supported by the Sans-culotte. Leader of the Jacobins looked like an aristocrat, he was a middle class lawyer, powdered wig, breeches, and a little dog. He got away with it because of who he was and how effective he was |
| Sans-Culotte-A political entity representing the poorer classes allied with the Jacobins. Sans-culotte means “without breeches” and they were defined by the long trousers that they wore, the opposite of the knee breeches of the upper classes. Sans-Culotte- working class extreme democracy. Sans-culotte- sans means without culotte means breeches. This meant without breeches as the upper class wore breeches with tights the trousers were worn by the sans-culotte- trying to show what they are without and represent the lower class. Thuggish behavior by the sans-culotte. People who looked like aristocrats were being picked on quite barbarically and crude. Sans-Culotte women were shown as a simple peasant dress | |
| Carmagnole | |
| Cockade-if you wore an all black cockade you might have felt sympathy to the fallen monarchy, but by 1792 it was necessary to wear this red white and blue in the correct proportions that would have been punishable by death if you were caught not wearing them or making different ones. | |
| “Bonnet Rouge” or Red Cap of Liberty, Phrygian Cap connection to antiquity, a hood that wasn’t attached, highly connected to politics. Same patriotic idea. Pseudo spiritual | |
| merveilleuses | the women the marvelous one’s |
| incroyables | the men the incredible ones |
| The spencer-- follows exactly the line of these antiquity style gowns | |
| hair “a la victime”- short in the back and long in the front, connected strongly to beheaded aristocrats, in sympathy for the royals whom were executed, | |
| Cherusque- trims the collar and along the back of the gown, similar to the rug=ff but not around the neck | |
| Jackboots-heavy duty leather boots | |
| Iconic buckle shoe -some people who quoted the buckle show, shoes I Belle du Jour: Roger Vivier | |
| Chilkat blanket, Haida Nation, 1870, North Pacific Area above the Seattle area Wool tassels, cedar bark cloth, wearable blanket, something that goes ovet the shoulders like a shawl | |
| Sioux side-fold dress ca. 1830, hide, glass beads, porcupine quills tin cones, cloth sinew | |
| Arikara two-hide dress, ca. 1840 North Dakota bighorn sheep hide, blue green and red paint Arikara, two hide dress, bighorn sheep hid, blue green and red natural dyes and pigments | |
| “War Shirt” ca. 1900 Buckskin, porcupine quills, fur | |
| Pawnee OK, buckskin, glass beads, fur | |
| Sioux 2 hide dress. Buckskin, glass beads | |
| Cultural Authentication | a process in which an artifact, item, or idea external to a culture is adopted and changed. With this change, the artifact becomes a vital, valued part of the adopting culture's dress |
| Mi’kmaq Ceremonial Robes 1825 Mi’kmaq Ceremonial Robe- high standing collar, with applique embroidery, cording, clearly made for someone very important and a special occasion. Originally a mass-produced European jacket, the lapels and collar of this coat were removed by a Mi’kmaq artisan and replaced with gray and red silk ribbons, embroidered with white glass beads in a traditional floral motif. This robe would only have been worn on ceremonial occasions. | |
| The chiefs coat- a man’s wool native coat, could be given to chiefs or they could just buy later, buying their own embroidery and surface ornament to incorporate it into their own dress | |
| Linen shirt, shirts worn as shirts and not layered. | |
| Indian Cotton Chintz Jacket and Petticoat American style was very similar to English style: sometimes it is even hard to tell which is which | |
| Eli Whitney | the cotton gin…. Lead to more slavery and brutality |
| Embroidered Sampler: a major part of women’s education Religious, didactic, educational, their name, there weren’t as many documents with women’s names. | |
| Quilted Petticoat- an underskirt with extra warmth | |
| Seminole leggings- leather legging to protect your legs, buckskin, porcupine quills, etc Legging came over the show to protect the legs Leggings, Mandan ND, c.1830 Buckskin, porquipine quills, pigment, horsehair | |
| buckskin jacket and breeches, southwest Frontier, jacket and breeches made of animal hides | |
| Fringe- decorative, flick water away, brushing motion when your moved to push bugs away, aesthetically pleasing, but the weight made it a little impractical Apache, mens shirt, buckskin, fringe trim, cut outs with red inside with diamond shape was an apache technique | |
| Buffalo Billy, Cody, a scout during the wars, an entertainer, starts something called the wild west show, well liked shows, reenacted buffalo stampede, cowboy type things, entertaining spectacles, first taste of western American frontier life, early American popular culture | |
| Homespun Coat: back to basics, everything was grown, made into fiber, and sewn in the United States, small scale production. | |
| Jefferson Jacket: worn under the overcoat, idea of thrift and practicality and making it identifiable in the way they dress | |
| 1828, Journal des Dames et des Modes | |
| Queen Victoria was the first to wear whit wedding dress | |
| Marie | |
| Leg-of-mutton or Gigot sleeve | |
| Demi-Gigot sleeves | |
| Imbecile sleeve | |
| 1828 Sleeve supports and bell shaped petticoat | |
| Pelisse- Robe ca. 1825 | |
| Chemisettes (tucker) ca. 1830s | |
| Pelerine | |
| different corset styles | |
| bishop sleeve | |
| Sleeve en bouffant | |
| Victoria Sleeve | |
| bertha | |
| Beau Brummel | first dandy |
| mens wool suit with tailcoat | |
| open fall fron trousers | |
| Great coat | |
| ‘Dunkeld’ rubberized cotton, 2012 Charles Mackintosh | |
| 1880 corsets | |
| Sarah Bernhardt | famous actress more avandt grade, uncorsetted |
| tea gown- hourglass, option to wear at home | |
| Jane and William Morris | he was a designer and considered founder of arts and crafts movement, creative community trying to find alternatives, political connections of being against the norm, aesthetic movement... had to be beautiful |
| liberty of london | first department store, birth of department stores, rack clothes where you could buy hats gloves accessories nightgowns etc. in the same place. social spaces designed around consumption, window shopping |
| Art Nouveau | |
| shirtwaists | |
| cycling suit | |
| 1873, Jacob Davis, patent for riveted pockets | |
| oldest pair of levi's 1880 | |
| Mens morning coat with frock coats- mens morning coat was not skirted, it was cut back | |
| The Sack Jacket | |
| knickerbockers | |
| morning suit | |
| detachable collar |
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