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Archive for December, 2008

31
Dec

16th Century Fashion - The Ruff, a Collar with Meaning

   Posted by: Scribner    in Cultural History, European History, Fashion History, History Blog, The Renaissance

16th Century History Fashion - the Ruff, a collar with meaningThe ruff, an extension of a simple collar, that appeared in the 16th century was a form in fashion that grew in length and breadth after its introduction and took on symbolic as well as aesthetic meaning.

16th Century History Fashion - the Ruff, Conradus VietorIt grew out of the gathering of fabric at the neckline of the typical chemise, or undergarment, worn under outer layers of clothing. The chemise served to protect the outer garments from excessive wear and washing and were usually made of sturdier linen that could be bleached and cleaned with frequency. The collection of fabric at the neckline, that would be tied or cinched and form a small collar, would often stand out in its whiteness and in its fabric composition against the features of the wearer’s outer garments. By virtue of this initial distinction, it came to have an importance in its own right and the aesthetic language of the collar, or more elaborate ruff, broadened accordingly.

16th Century History Fashion - the ruff, Lady with Lace CollarThe ruff survived longest as an accessory in Holland, after evolving quickly and becoming a form separate from the chemise, where it also grew to the most extravagant sizes– cartwheel ruffs were popular there up until the mid-17th century and were often so wide, up to a foot and a half, as to require wiring to retain their shape. Otherwise, the shape of ruffs was maintained by use of starch. The rigidity of the ruff thus ensured that the wearer projected a dignified pose that, because of hindered movement, suggested a life of leisure and attendance to.

Women as well as men adorned themselves with the exaggerated ruffs, and it was women’s fashion that led to further adaptations in its style such as the opening of the form at the center to enhance femininity, if not to facilitate eating and movement. Eventually, the ruff gave way to the standing collar and gradually less expansive collars, but essentially paved the way for centuries of further enhancements and embellishments at the neckline.
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**image–”The Ermine Portrait”. Painted in 1585 by Nicholas Hilliard
**image–Frans Hals (Antwerp 1581/5-1666 Haarlem) Portrait of Conradus Viëtor (1588-1657)
**image–Lady with lace collar. Scipioni Pulzone (before 1550-1598).Oil on copper. Italy, ca. 1580

Tags: 16th century aesthetics, 16th century fashion, 16th century gifts, 16th century products, chemise, Conradus Vietor, Fashion History, fashion meaning 16th century, Golden Hind - Museum Quality Replica Ship, history of the collar, history of the ruff, History Store, Leather Wrapped Brass Telescope, Queen Elizabeth I, renaissance gifts, renaissance products, renaissance store, the ruff, Three Ringed Rapier, Tudor lace collars

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30
Dec

History of New Year’s Eve: From Hogmany to Auld Lang Syne

   Posted by: Trish    in Cultural History, History Blog, History Today, Holiday History, Pop Culture History

The History of New Year's EveRegardless of religion, ethnicity or cultural background, the closing of the old year and the beginning of the new year is celebrated in many countries in many ways and has been for hundreds, sometimes thousands of years. Here in the West traditions such as resolutions, counting down the clock, New Year’s Eve parties, resolutions and resounding renditions of ‘Auld Lang Syne’ are the norm. In fact, much of the modern New Year’s traditions celebrated in the United States stem from the ancient Scottish tradition of Hogmany.

Hogmany stems from the ancient pagan festivals celebrating the changing seasons and the phases of the moon. It seems to combine both Roman and Druidic traditions of the winter solstice and may have originally run from the shortest day of the year to the beginning of the Pagan new year. Today, Hogmany runs from December 31 to January 1 or 2, depending on local custom.

Robert Burns the PoetThe Scottish Reformation of the 1600s, that changed Roman Catholic Scotland to Calvinist Scotland, saw an end of superstitious and loose interpretations of religion such as the celebration of Christmas. Despite this Scottish version of the Protestant Reformation, the celebration of the new year was never thwarted even though sometimes, the celebrations, feasting and singing went underground.

It wasn’t until the 1960s that Scotland made December 25th a national holiday. Until that time the winter celebrations were confined to the Hogmany festival. Even today, Hogmany is most often the time the Scots swap gifts, visit friends and take time off work to be with family.

The word ‘hogmany’ means night of the new year and comes from the Gaelic and involves a few customs that never crossed the pond.   In Scotland, new year’s parties often include a bonfire which may stem from ancient festivals where fire and the sun were worshipped across the highlands. Community sized parties rather than small social gatherings are also the norm in Scotland. Being the first to enter a house after the clock has struck midnight with a small token such as a lump of coal is meant to bring good luck.

The famous song Auld Lang Syne was rewritten from ancient sources by the famous poet Robert Burns in 1788 and has become the song of choice for Brits, Scots and Americans alike. It is a song celebrating friendship, kindness and good cheer and is sung when the clock strikes midnight. 

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Many new year celebrations came to America with the immigrants but many have grown around the advent of television. Watching the ball drop in Times Square is a new tradition that allows many modern Americans to bring in the new year from the comfort of their living rooms. Perhaps this year as we sing Auld Lang Syne and bring in the new year, we will remember how the celebration comes to us from times past connecting us to history as it propels us into the future.

 

Tags: American Immigrant, Auld Lang Syne, Calvinism, Celtic, Druid, history of new year's eve, Hogmany, New Year, new year's eve celebration, Pagan, poet robert burns, Protestant Reformation, Roman Catholic, Scottish Reformation, Times Square

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29
Dec

The French Revolution - Politics and Fashion

   Posted by: Scribner    in Cultural History, Fashion History, History Blog, The French Revolution, World History

Portrait of Marie Antoinette by Elisabeth Vigée Le Brun, 1779At the end of the 18th century as France was suffering through the Revolution (1789-99), changes in fashion were as dramatic as the change in the political order. What had characterized French style up until the Revolution had been costume resonant of the lavish, exquisite lifestyle of the French nobility and monarchy. By the late 1780’s France was severely in debt and the monarchy, enjoying its absolute power, along with the nobility and their feudal retentions were unable to align themselves with the majority of the population.

The peasant class as well as the more and more prominent bourgeoisie were no longer willing to tolerate the advantages given to the nobility, the clergy and monarchy and their excessive displays of privilege. What characterized the fashion of Louis XVI’s and Marie Antoinette’s court at Versailles was excessive adornment and exaggeration of form. Women at court would wear wide-spread pannier skirts, fitted and corseted tops with low-cut necks decorated with ribbon and lace, and the quintessential powdered white wig that would often reach improbable heights and be embellished with narrative touches. The fashion for men of the aristocracy during this period was not so distinct from previous periods, characterized by a well-fitted, tailored coat with skirts at back, tight breeches usually combined with stockings, and the white wig that was comparable to the woman’s wig in its distended form.

Madame Raymond de Verninac (Portrait of Madame de Verninac), born Henriette Delacroix, elder sister of Eugène DelacroixIn a radical shift, all this gave way to a more simplified form of dress during the revolutionary period. People moved away from the costume that had been representative of the Ancien Regime and chose to do away with the full skirts, flurry of ruffles and bows and the pompous wigs that had been so popular. Men’s clothing was curtailed slightly, too, with pant legs lengthening slightly and the look becoming generally more severe. Women relieved themselves of the tight corset and favored the classically-reminiscent high-waisted dress with a freer form and wigs were discarded in favor of natural hairstyles also influenced by neo-classical aesthetic.

The dramatic change from the flagrantly opulent clothing so popular in Louis XVI’s reign to the more subdued and discreet neo-classical forms was neatly parallel to the political reclamations occurring at the same time. The dissatisfied populace, bolstered by the arguments of the Enlightenment, sought a return to classical ideals as applied to the political sphere and, peripherally, dressed themselves in those ideals to a certain degree as well.

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*image–Portrait of Marie Antoinette by Elisabeth Vigée Le Brun, 1779
*image–Madame Raymond de Verninac (Portrait of Madame de Verninac), born Henriette Delacroix, elder sister of Eugène Delacroix. Oil on canvas, 1798–1799

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Tags: 1780s France, 18th century fashion, absolute power, Ancien Regime, corseted tops, excessive adornment, Fashion and the French Revolution, fitted tops, French bourgeoisie, French Double Barrel Flintlock Pistol, French Revolution Sword, History Store, HMS Victory Replica Ship (1805), Louis XVI, Madame Raymond de Verninac, Marie Antoinette, natural hairstyles, opulent clothing, pannier skirts, peasant class, pompous wigs, powdered white wigs, replica guns, Replica Ships, Replica Swords, the Enlightenment, The French Revolution, Versailles

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24
Dec

Queen Elizabeth I - Fashion as Image

   Posted by: Scribner    in Cultural History, Fashion History, History Blog, Personalities in History, The Renaissance, World History

Queen Elizabeth I - Fashion as imageUntil the mid 1550s in England the fashion remained for women to wear narrow-shouldered dresses with sleeves that widened to a trumpet form, a vestige of a medieval fashion.  Towards the end of the 16th century, however, with the reign of Queen Elizabeth I, this fashion gave way to narrower, more form-fitting, sleeves and high, padded shoulders in the French and Spanish style.  The reign of Queen Elizabeth would be accentuated by the display of style that she herself embodied.  She would become the namesake and emblem of the Elizabethan era, her long reign as regent allowing for great cultural achievements as well as political change in England.

As a woman succeeding to the throne some eleven years after the reign of her father, Henry VIII, Queen Elizabeth had to cultivate an image of power and stability that could overcome perceptions of weakness in a female monarch without heirs.  She soon established her persona as that of a virgin queen of almost mythic proportions, married to her subjects, and as her reign progressed would come to inhabit the role of regent supreme with great flare and pageantry.  As portraits depicting her throughout the later years of her reign show, her image was elaborately devised for public reception.  She was typically portrayed with her iconic red hair (often a wig), her slight body encapsulated by the extravagant lace collars and sleeves of her bodice and her frame further enhanced in its regality by the wide farthingales, or hooped skirts, that had risen from Spanish fashions.

Queen Elizabeth I - Fashion as imageThe images of her became exemplary of the popular fashion of the time but with a level of glorification suited to a figure ordained by God, as she herself saw her role and responsibility as monarch.  Typical of dress worn by women of the period, the upper arms of the garment would billow out and narrow towards the wrist and often would be decorated with slashings that allowed the underdress, or chemise top, to show through the surface textile.   Women would wear form-fitting bodices that defined the waist and ended in a V-like shape, while lace accessories were often used to adorn the edge of the bodice at the chest and were also made as sleeve coverings.

The Spanish farthingale worn in England towards the end of the 1500’s had a conical shape and when paired with the corseted bodice would complete the image of a thin-waisted and composed woman, literally confined by the contraptions of her costume.  The hoops of the farthingale were typically made of wood, rope, or eventually whalebone, as the skirts became wider and heavier.  More than any other shape in the costume of the time, the wide, ribbed skirts were expressive of the nobility’s desire to be seen as formidable and simultaneously exquisite in their hierarchy.  Queen Elizabeth’s portraits remark on how effective costume such as this could be in furthering notions of power and prestige.

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*image– The Family of Henry VIII: An Allegory of the Tudor Succession, c1572, attributed to Lucas de Heere.
*image–Elizabeth I: The Rainbow Portrait, c1600, by Isaac Oliver

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Tags: 16th century fashion, farthingale, Fashion History, Fashion in Tudor England, Fashion of Queen Elizabeth I, form fitting bodice, Henry VIII, History Store, hooped skirt, Queen Elizabeth I, Renaissance Fashion, Renaissance Swords, Replica flintlock pistols, Replica Ship Store, ribbed skirts, Spanish farthingale, Tudor lace collars, Tudor wigs, Virgin Queen

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23
Dec

Father Christmas - The History of Santa Claus

   Posted by: Trish    in Cultural History, History Blog, History Today, Holiday History, Medieval History, Modern History, Personalities in History, Pop Culture History, The Renaissance

Father Christmas - History of Santa ClausThe history of Santa Claus is so embedded in the psyche of modern society, that no matter that religions change, are rejected and revised time and time again, faith in a magical figure that gives out toys to children remains with us. Whether he is called Sinta Klaus, Santa Claus, Father Christmas or old Saint Nick, the gentleman in red seems an almost permanent fixture in the history of western civilization.

The stories, folk tales and myths that surround the Santa figure have traveled from country to country over the centuries leaving us with an assortment of images, descriptions, songs and traditions that somehow seem to come together year after year in line with other western festivals such as Hanukkah, Christmas and Kwanza. The modern religious festivals replace the pagan celebrations of winter, marking the end of the calendar year and are a time for celebration, remembrance, charity and of course, being good for goodness’ sake.

Although much of the modern American image of Santa stems from the advertising efforts of large corporations in the dawn of American consumerism in the 1920s and 1930s, the history of the legend has European origins beginning in ancient Turkey.

Saint NicholasTowards the end of the third century of the Common Era, Nicholas of Turkey, (often believed to have been either a bishop or monk or at the least a man of spiritual nature) had a reputation for extreme generosity. Early stories tell accounts of marriage dowries given to young girls without fathers and presents given anonymously (through open door or window) to poor children and orphans. As the legend goes, Nicholas secretly traveled by horse (or deer and sleigh in another version) across the region distributing gifts to worthy recipients, although accounts do differ. Whatever he did and however he traveled, Nicholas set an example that sent a resounding message.

Nicholas was sainted and December 6 was set aside as his remembrance day. As the years passed, the legend of Saint Nicholas traveled across Europe embraced by catholic and protestant alike. By the 17th century, St. Nick has established his presence across the Western European map, finding firm roots among both the Dutch and German cultures.

Christmas StockingIn modern Germany, December 6 is the day traditional families set their shoes in front of the fire along with food for the deer (or horses) and wait for Sinta Klaus to show up in the middle of the night, feed his furry friends and replace empty shoes with ones full of candy and sweet treats (compare with the hanging of stockings here). Dutch immigrants brought the image and story of the do gooder magical traveler with them when they came to the Americas.

Of course, the story of Santa Claus, as he became known after crossing the Atlantic (In the U.K. Father Christmas plays a close second to the sobriquet of Santa), has morphed over the years and been adopted by the variety of American subcultures as a symbol of good magic and reward for children. Santa is both present and future as he surmises the personal history of the old year and presents the first big step towards the coming year.

The history of Mr. Claus is the history of children and it is for children the story remains alive. Whether he comes down the chimney or sneaks in the back door, leaves presents at the end of the bed or under the tree, Santa offers a unique brand of optimism to children and adults alike. He is the human embodiment of the continuance of our collective past and the stories, songs and legends of this most famous of historical figures looks to be around for a long time to come.

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Tags: 1920s, 1930s, Advertising, Ancient History Store, Christmas, Christmas Stockings, Consumerism, father christmas, Festivals, Germany, Hanukkah, history of christmas, History Store, Holidays, Holland, Kwanza, Medieval Store, Nicholas of Turkey, old Saint Nick, Pagan, renaissance store, Santa Claus, Sinta Klaus, Turkey, Winter

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