Prendas a lo largo de la historia

Prendas a lo largo de la historia

Juan Luis Ruiz Cabrera

Juan Luis Ruiz Cabrera

Índice

-Prehistoria -Edad Antigua -Middle Ages and Renaissance -19th Century -20th Century

Sarong

Prehistoria

Edad Antigua

Sumerios

Cáunace

Babilonios y Asirios

Kandís

Chal

Persia

Anaxyrides

Caftanes

Persia

Kroumir

Paño de barbilla

Egipto

Vestido tirantes

Calasiris

Schenti

Egipto

Nemes

Ureus

Schenti

Civilización Minoica

Indumentaria femenina

Pampanilla

Grecia

Peplo

Chitón

Himation

Grecia

Aepepfos

Palla

Cecrífelo

Grecia

Pétaso

Calzado

Pileo

Etruria

Manto rectangular

Lacerna/Tabenna

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Roma

Subligar

Subucula

Strophium

Roma

Palla

Túnica/Estola

Roma

Pallium

Paludanentum

Roma

Guardia Pretoriana

Middle Ages and Renaissance

SHIRTS: were worn under the bodices.

BODIES: covered in leather, cardboard (called CARDBOARD BREAST) or with wooden slats

SAYO: (body) very close-fitting and independent of the basquiña (skirt)

The GUARDAINFANTE: this was "shaped like a large inverted basket and made of metal or wicker hoops joined with ribbons or strings, whose function was to hollow out the basquiña (outer skirt)

Let's say that they were welts in different shapes: Guardainfantes (made of wooden, wicker or metal hoops). Tontillo (made of whalebone hoops). Crinolina, miriñaques or polisones. These will be studied in the 19th century.

COLLARS: also, la gorguera or lechuguilla adopt the shape of a fallen collar or VALONA. There were two types of Valona: Cariñana Valona: consisted in a big lace collar that exposed the throat down to the chest. Since the neck was exposed, it was decorated with chokers and necklaces. Fan Valona: they exposed the throat and were raised at the back in the shape of a fan and were held up with the help of a wire armature.

TUNICS: they were outer garments or overcoats. When they were made lighter and laced, they resulted in what whe today know as mantilla.

COPETE or JAULILLA: it was already used in the 16th century. To make the hairstyle long, false hair and a supportive wire called "jaulilla" were used.

GLOVES, SCARFS AND FANS : in multiple pictures of infantas or queens,it can be observed how they wear a scarf that appears to be made out of thread with lace edges. Every woman had at least one.

Women's footwear was more simple than men's and was completely covered under dresses or farthingales.

BREECHES OR STOCKINGS: they were a very valuable Spanish male garment.

JUBON: it covered the upper half of the body down to the waist, where it was fastened to the tights with cords (agujetas).

ROPILLA (short cloak): ropilla was the name of a piece of clothing that men wore on top of the jubon or the weapons in the 17th century.

FERRERUELO OR HERRERUELO: short cape of military origin worn by men in Spain and other European countries in the 17th century

CAPE: It was an outer garment. In the early 17th century, it was called 'Gabán', a term already in use in the previous century. COAT: with or without sleeves. CAPE (CAPOTE): used to be protected against rain. It is made out of barragan, a cloth or any other kind of fabric that could serve as a coat and resist the rain.

STOCKINGS: knit or fabric stockings.

Accesories and complements

HATS: There were different types, but, broadly, there were: The montera, which had a broad brim. La monterilla or monterillo, with a smaller brim. both were decorated with feathers and sometimes even jewels. From 1670 montera was known as chambergo (slouch hat).

Footwear

These white linen collars, which fell over the shoulders, contrasted with the dark clothes that were in vogue in Holland and Spain.

It was a type of ruff that was nothing more than a structure that served to raise the ruff.

The dress of the early 17th century is called "de encima" by some authors or "sobreveste" by others. It was open at the front, revealing the bodice and petticoat. It was made of luxurious fabrics, often black, and could be rolled up.

SKIRTS Three types of skirts were used: MODESTA SKIRT or, simply MODESTA, the skirt was identified as part of the outer garment. Known in French as JUPE MODESTE, from the fashion of Louis XIII onwards it was common for it to be gathered at the front or on both sides and pinned or stitched. FRIPPONE (literally 'rogue', 'knave', 'scoundrel') was, in turn, placed over an inner skirt. SECRET SKIRT, JUPE SECRÈTE (French) or UNDERSKIRT (English), which was that underskirt or petticoat.

CORPS OR BODICE: It is one of the most decorated parts of the costume, creating a tight fit on the torso and a compression on the woman's chest, revealing a wide and slightly higher waist than normal.

ACCESSORIES HONGRELINE: outer garment or coat reaching to mid-thigh and lined with fur. LEATHER HANDLE: worn by elegant women. MASKS: these were worn by men and women for two reasons; to protect delicate skin and to hide unflattering features. They were made of black velvet and lined with white silk. They were often used to give the wearer anonymity and to infiltrate political meetings. BAGS AND FANS. SHOES: Women's shoes were simpler than men's and were hidden under their skirts. The chapines were still worn, especially on rainy days.

WARM CLOTHING. MANTEUX: short cloak reminiscent of the Spanish ferreruelo. It usually hung over the left shoulder and passed under the opposite arm to be tied across the chest. There were also other ways of wearing it. OVERCOAT: had the particularity of having open sleeves in the form of a cape, which could be closed with buttons or buttoned over the body of the garment.

ACCESSORIES CANONS: was a stocking cuff used as ornamentation. They were placed on top of stockings. At the top they formed a funnel decorated with lace, which was folded over the boot. GLOVES: they were funnel-shaped like boots. They were of Spanish origin and made of supple leather, sometimes covered with lace and perfumed. Ordinary people wore mittens. TAHALI, SWORD AND POLE: tahalis were leather belts that crossed diagonally across the chest and were used to hold swords. HEADGEAR. Hats: made of felt or beaver with a wavy brim and ostrich feathers. Worn over wavy or curly manes that fell to the shoulder. When the king lost his hair due to illness, the wig emerged as a new accessory (at first just locks of hair that were mixed in with the rest of the hair, then the full wig).

JACKET: the old doublet or jubon, became a jacket and evolved into a waistcoat in the following century. It was long almost to the knees, buttoned and concealed the breeches. The fabric was bright and embroidered.

BREECHES: also called culottes or tights, they were short and narrow, reaching below the knee. They are complemented with white or coloured silk stockings. RHINGRAVE: extremely wide breeches with pleats so abundant that they resembled a skirt. They were decorated with lace and ribbon bows.

CASACA: this was an outer garment first used by the French army. Louis XIV introduced this garment as a symbol of distinction and power. The king granted a select group of courtiers to wear a coat similar to his own, made of blue moiré lined with red and embroidered with gold and silver.

CRAVAT: was like a tie-collar with lace and a bow on top. At the end of the century it became longer and narrower and was made of batiste or muslin.

FOOTWEAR: still the same as at the beginning and middle of the century, with square toe and heel. Lined with fabric and with a buckle instead of a bow.

ACCESSORIES FAJIN: it was made of embroidered silk with fringes and was tied between the waist and the hips, towards the side. MANGUITO: accessory that was worn in winter and showed elegance, as in women. WIG: became a compulsory accessory at the end of the century for men who had a position at court, palace or church. A common custom was to powder wigs with starch or powders from oriental countries. HAT: it was a three-pointed hat with raised brims and a feathered edge. It was customary to wear it under the arm, especially in the presence of royalty, in front of whom the knights had to uncover their heads.

19th Century

Neoclassicism (1800-1820)

Neoclassicism (1800-1820)

Neoclassicism (1800-1820)

Romanticism

Victorian Fashion (1830-1890)

Victorian Fashion (1830-1890)

Victorian Fashion (1830-1890)

1850-1890

1830-1850

20th Century

1900-1910

1910-1920

1920-1930

1930-1940

1940-1950

1950-1960

1960-1970

1960-1970

1960-1970

1960-1970

1970-1980

1970-1980

1980-1990

1980-1990

1990-2000

At the beginning of the Victorian reign in 1837, the ideal woman's shape was a long and thin torso, stressed by wide hips. They used the following garments: CHEMISE: it was short to prevent the corset from showing. BLOOMERS: trousers worn underneath the chemise and the petticoats. They reached below the knees, gathered or tied with ribbons, and were adorned with lace or trimmings. PETTICOATS: they were used on top of the crinoline. CRINOLINE: used to add volume to the skirt. CORSET: they were tightly laced to create those narrow waists. In contrast to the waist, the necklines were low and straight. BODICE: the tight-fitting bodice with a low waistline was over the corset. SLEEVES: gigot sleeves were abandoned, and three-quarter sleeves with bell-shaped ruffles became a trend. SKIRTS: plain coloured and adorned with lace, bows, etc. Later on, additional ruffles were added to the skirt or a short overskirt was worn during the day. They were fastened to the bodice.

RIDING SUIT: it was another type of suit worn by women, consisting of a bolero jacket and skirt. Sometimes vests were worn over the shirts, similar to the men's, with a bow tie.

UNDERWEAR SHIRT: the length at this time became shorter. They were made of linen or muslin and could have false collars and cuffs. PANTS: these were made of cotton. CORSETS: they were sometimes worn over the shirt, especially from 1820 onwards. STOCKINGS.

MAJA DRESS: this type of dress was Spanish at the end of the XVIII century and continued to be worn at the beginning of the XIX century. At the beginning it was a style of the plain people of Madrid, similar also to other places in Spain, and where the colorful and casual aspect of their clothes predominated. It was composed of: Jubón: it is below the chest. Basquiña: sometimes a decorated apron was worn over the skirt.

HAT: it was compulsory to complete the attire. In Spain there were three options: TRICORN. BICORNIUM. HIGH COAT.

The large shoulder pads emphasised the silhouette, signifying the search for equal opportunities.

Spanish designer Paco Rabanne launched a collection of garments made from alternative materials such as metal, plastics, chains, paper and adhesive tapes.

In 1964, Mary Quant showed for the first time the garment that became a fetish and symbol of the 1960s. London became the place where the world focused all its attention and there the designer Mary Quant entered the history of fashion causing a sensation with the presentation in society of the miniskirt, a tiny piece that ended fifteen centimetres above the knee.

Naturalness appears in the garments. Jeans are worn at night and during the day. Trousers were even tighter to the body.

André Courrèges' collection made waves with its space-age clothing. He designed a futuristic style.

In the early 1860s crinolines began to decrease in size at the top, while retaining their width at the bottom. Conversely, the shape of the crinoline became flatter at the front and more voluminous at the back, as it moved towards the back. The polysseon appeared. Bodices, on the other hand, ended at the natural waist, had wide pagoda sleeves, and included high necklines and collars for day dresses; low necklines for evening dresses.

As economic and cultural globalisation deepens, there is a need to find an Identity both on an individual and regional level. Two concepts close the fashion story of the millennium: on the one hand, there is glamour nurtured by the spirit of other times and on the other hand, we see functional fashion. During the 20th century, the art of dressing was not characterised primarily by social distinction, but rather by permanent change. Thus, the haute couture houses had to give way to industrial production or prét- a-porter (ready-to-wear). Fashion creations were no longer made for a minority group. It was designed and produced for everyone.

From 1880 to 1890, the characteristic "S" silhouette appears, using a corset that enhances the narrow waist and generous chest projected forward. The skirts bulge at the back, with a smaller protrusion than that of the polysseon and recover the line of the body. The ham or lantern sleeves returned, the upper part of which became stiff and voluminous. Morning dresses could have long tails. In the afternoon it was fashionable to wear very long leather gloves with buttons and a fan of ostrich feathers, muffs and jewelry.

FOOTWEAR In terms of footwear, the most widespread garment - used in the military and a fundamental part of the English costume - were boots. They were worn with high boots, with the trousers tucked in. They were sometimes accompanied by leggings. For the evening, the stockings were combined with slippers.

Women continued to showcase the “S” silhouette thanks to the corsets they still wore, which narrowed the waist and accentuated the chest forward, creating that sinuous silhouette. - The skirt was adjusted to the waist and fell in the shape of a bell. - The bodice had ruffles or cascades of crochet that mimicked lace, as genuine lace was quite expensive. - Sleeves were long, even covering half of the hand, and were fitted tightly around the wrist. During the day, dresses covered the whole body, and, during the night, they had big necklines. Blouses were very adorned, and Eton bodices and boleros were in vogue.

Parachute trousers: These trousers started out not so baggy, but then I got more into them and they were much better, and had a number of designs in bold prints and colours.

At the end of the 1960s, Yves Saint Laurent launched the trouser suit as a must-have outfit for every woman, and it is still in use today.

After 1820, an evolution of dress and the female silhouette took place. MAIN CHANGES IN DRESSES. SIZE: the waist is marked again. SLEEVES become puffed (gigot and beret sleeves), together with the large dimensions of the skirt. This silhouette was in fashion from 1820 to about 1840. CORSÉ: it is used again. ENAGUAS: deriving, as the years progressed and close to the middle of the century, in the famous crinolines and, later on, miriñaques, during the following years.

Women wore short skirts, tight jackets, underwear that showed outwards, thick belts, shoes with heels.

Everything in the 80s was big, voluminous hairstyles, big jewellery. Women wanted to convey an idea of power, so they combined wide shoulder pads, small waists, straight skirts and high heels, achieving an aggressive femininity.

As a consequence of the Great Depression, the 1930s meant a stop, and, to a certain extent, a comeback to the past influences. Slowly, women let their hair grow again, although not as much as before the 1920s, and waves, tube curls, and buns became popular. The same happened to the skirt, although it did not go back to ankle length, it was extended again, along with blouse sleeves and dresses. The waistline rose again and became more fitted, as the ideal female silhouette started to align with the slim and athletic figures of Hollywood actresses.

HAT: it was compulsory to complete the attire. In Spain there were three options: TRICORN. BICORNIUM. HIGH COAT.

The feminine silhouette went through its first change of the century when some designers, including PAUL POIRET, decided to take back a style reminiscent of the Empire era (early 19th century), moving away from the S-shape created by the corset. With Hellenic-cut dresses with high waist and no corset, the focus shifted from the waist to the shoulders.

The creator Elsa Schiaparelli gives a surrealistic touch to fashion.

Fashion at this time became a means of expressing personal opinions, breaking with the status quo and conveying a new awareness of environmental care.

The disco trend is also reflected in the clothes, which are full of glitter and fringes.

Footwear was practical. Privileged women abandoned the use of high heels and welcomed flat shoes. Normally, these were very similar to what we understand today as a ballet shoe. Some were tied at the ankle. Tied, flat sandals were also used. Although comfortable, they were extremely fragile shoes that broke easily.

HATS. CAPOTA: straight-brimmed hat which was tied to the chin. CALASH: somewhat larger than the bonnet, practical for protection on a rainy day. COFIA: present in wardrobes for centuries and mainly used in the domestic sphere.

The New Wave style was born. It was characterised by the use of leather bracelets, vans, crystal bracelets, or anything that had its own style.

For designers, the body was an object of design, a canvas on which any creative idea could be captured. The ideal woman consisted of a girlish image, with big eyes and an adolescent figure. They wore geometric designs on a rectangular silhouette, low necklines, flipped hair, false eyelashes. They changed the curved lines of the 50s for straight lines. Twiggy was the role model.

An important Spanish and Granadian designer in the History of fashion, even if he does not appear in books is MARIANO FORTUNY MADRAZO, son of a famous painter also called Mariano Fortuny. Fortuny worked in Venice and is the inventor of the dress of the decade: Delphos. Created in 1907 and patented in 1909, it is inspired by Greek chitons. it was of an extreme simplicity, the pleated skirt falls from the shoulders to the feet with no seams or fillings. And, of course, no corset.

COATS REDINGOTE: it was like the female garment, long garment with tight sleeves.COAT CARRIK: it was a variety of a wide cape with shoulder straps.

Throughout the decade, there were contributions by a group of female designers made by Gabrielle Chanel, Madeleine Vionnet, Elsa Schiaparelli and Jeanne Lanvin, who introduced, among other innovations, black as the elegance colour, tan as a flattering element or the biés cut.

By 1870, back pads, called bustle, were used to emphasize the back of dresses. This pad was usually rectangular or crescent-shaped and made of horsehair or woven wire mesh and stuffed with feathers.

With the hippie style, the way of dressing is characterised by comfort and nonchalance. Women wore jeans embroidered with multicoloured flowers, bell-bottoms, shirts with Indian and floral prints, skirts down to their feet and long hair covered with flowers.

Clothing shows glamour again. Ladies showed their silhouette with loose skirts, in the shape of a corolla, a flower. Strapless and cocktail dresses, stiletto heels, gloves and hats were imposed. Prét a porter and the mass production of garments were born. From 1950 on, new changes in clothing which modified habits and customs in society emerged; jeans, skinny trousers, miniskirts, and sportswear appeared.

There are some designers that stand out: PIERRE CARDIN, CRISTOBAL BALENCIAGA, CHRISTIAN DIOR, HUBERT DE GIVENCHY, VALENTINO, JACQUES FATH and PIERRE BALMAIN.

In the 1950s, the erotic focus was on the hips, through a cut that enhanced the silhouette. A new juvenile fashion emerged and made young women break with the established fashion. In a decade when artificial was the order of the day, women did not go out in the street without makeup and jeweller

After the war, from 1918 to 1920, the length of the skirt was shortened even more, and the waistline dropped to the hips. Dresses were loose. Hair, which was usually worn long, although tied, was cut up to the chin.

UNDERWEAR SHIRT OR CHEMISSETTE: garment that protected the rest of the capes from direct contact with the skin. COTILLA OR CORSET: it is important to mention that in this period, and due to the popularised silhouette, corsets were short, often limited to the upper torso, almost like a primitive version of bras. STOCKINGS. ENAGUAS.

Around 1910, PAUL POIRET created the hobble skirt, long to the ankle and fitted at the knees. They were worn with big hats. The dresses were decorated with buttons.

.The 1920s marked a new era of social transformations. In 1925, the knee-length skirt became popular for dancing to the rhythm of jazz. In this context, Flappers appeared (also known as garçonnes or taquimecas, according to the country, with similar meanings), who took women's liberation one step further, questioning conventionalisms in different areas of life like, for example, marriage or professional area. More often than not, the entirety of the fashion in the 1920s is confused with a specific aesthetic, the flappers

The shirt was no longer a light jacket with a handkerchief around the neck, but a perfectly cut garment adorned with elegant ties and bow ties. The garment that covered the shirt was called a coat, although it was actually a single-breasted vest. Gentlemen wore morning coats. Long jackets of excellent cut, with simple and simple buttoning in its design that buttoned up to the waist, with buttons without brightness or lined in fabric in contrast to the color of the jacket. These jackets were short in front and long in back.

The frock coat, was a long jacket that looked more like a coat than a jacket. It was double-breasted and usually had the collar lapels in contrast, in the same color but in a different fabric. It was made of thick materials such as wool or tweed and, given its elegance, it was used for special occasions.

Norfolk jacket, whose name origin is not clear, whether it comes from the Norfolk county or the Duke of Norfolk,

Box coat was a jacket with a very classic cut, similar to modern suits. This jacket could be either double or single-breasted and was paired with both ties and bow ties, with or without a vest. It was worn daily, designed for functionality rather than display.

ACCESORIES CUP HAT: with an inverted truncated cone shape, narrower at the end of the tube than at the start. CLOCK: made of gold and hung on a chain. STICK.

Throughout the second half of the century many similar designs appeared, such as the lounge jacket and the lounge suit jacket, hip-length, single-breasted jackets, not always of the same design and color as the pants they complemented. With these jackets the gentlemen either wore no hat or complemented them with homburg or felt hats as in the illustration above.

The Chesterfield coat triumphed among gentlemen for its versatility, as it combined the functionality of a lounge jacket and the elegance of a frock coat. For this reason it was worn with both felt hats and top hats. It was single or double breasted, with or without pockets, but always with a very elegant cut.

For very formal occasions, gabanes o greatcoats were used, long coats with the collar and lapels and, sometimes, the cuffs trimmed with fur.

The Mackintosh coat was a very popular raincoat. The Mackinstons, whose main feature was the overcoat that fell to elbow height, had the appearance of an overcoat and was used not only as a garment but, thanks to its impermeability, as the attire of police officers who spent many hours outdoors

In 1947, after the restrictions imposed by the war, a new style by Christian Dior. He launched his collection "New Look", characterised by a tight waist using a corset and a loose skirt, rather long and flared.

SPENCER: it was a type of short jacket, called bolero in Spain, worn over dresses... GASK OR SILK SHAWLS: if they did not wear the spencer, they wore these shawls. In England they were made of cashmere. REDINGOTE: coat of male origin, which had already been introduced at the end of the 18th century.

In Spain and France, men's clothing consisted of: SHIRT. VEST OR JACKET: worn over the shirt. BREECHES.

In England, the English frock coat was widespread and fused. It has its origins in the costume worn by English gentlemen in their distinguished country houses. It consisted of: SHIRT: white with a stand-up collar surrounded by a handkerchief with a white bow. JACKET: which could be the tailcoat (short at the front, with a skirt at the back and wide lapels at the neck) or the frock coat (less tailored, longer and with skirts that gradually matched the front). These were usually made of wool or cotton. VEST: a garment that evolved from the chupa, which tended to become shorter and lost its sleeves. It was the most colourful part of the outfit and many were richly embroidered. PANTS: the breeches were abandoned in favour of trousers. They were tight-fitting and were usually chosen in a different colour to the jacket.

Another great designer appears on the scene Giorgio Armani with an elegant and androgynous fashion.

EMPIRE DRESS (FRANCE) OR REGENCY (ENGLAND): it was a one-piece dress that freed the women from interior frames from previous centuries, given that this garment did not have a crinoline that could give volume to what was known as a skirt.

Jeans became part of everyday life. From Britain came the Edwardian-inspired ruffled blouses that became almost the uniform of the eighties.

1850-1870:

SOCIETY DRESS: it consisted of two pieces: BODY: covers the bust and leaves a large neckline uncovered, decorated with a piece called berta, with lots of tulle, muslin, ribbons, braids and jewels. Under the body we appreciate the torso oppressed through an inner corset frame that, although it deformed and caused many health problems, was an essential part of this attire. The corset once again established itself as an essential part of women's fashion and did not liberate the silhouette until well into the twentieth century. SKIRT: of great volume, making women's clothing complicated and bulky. These inner frames (whether crinolines, crinolines or polysons) hid the real female body, and subjected it, together with the corset, to physical and visual deformities, enclosing the woman in real cages.

The designer Madeleine Vionnet imposed the bias cut with the goal of making clothes more comfortable. Women felt their dresses as second skin. A traditional and elegant feminity emerged. Models of the time showed the back and night dresses were impressive.

In 1947 the Stiletto shoes were born, when Christian Dior launched the New Look.

Jacket suits were used (imitating the military ones) with shoulder pads and belts and skirts with pleats. It was a decade where women were required not to abandon themselves, to be fully competent at work and very energetic, but without leaving their feminine part to the side and they were required to be very understanding.

Throughout the decade, there were contributions by a group of female designers made by Gabrielle Chanel, Madeleine Vionnet, Elsa Schiaparelli and Jeanne Lanvin, who introduced, among other innovations, black as the elegance colour, tan as a flattering element or the biés cut.

One of the interesting phenomena in the fashion history of the 1970s was the popularity of punk clothing and hairstyles, which, from being originally the clothing worn by gangs, became the latest fashion trend. They adorned their trousers with chains and wore safety pins through their ears and even their noses. Hair was worn spiky, dyed red, green, yellow and blue or oxygenated blonde with black roots. The designer Vivienne Westwood was the first to create designs with a punk aesthetic