Author: Cecilia Wolf

1977 – Vivienne Westwood/Malcom McLaren/Jamie Reid, “God Save the Queen” T- shirt

1970-1979, 20th century, garment analysis

Vivienne Westwood and Malcolm McLaren’s “God Save the Queen” T-shirt is a white, long-sleeve shirt with distressed elements and a bold graphic by Jamie Reid featuring lyrics to the Sex Pistols song. It has become an iconic representation of early British Punk style.

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pelete bite

19th century, 20th century, 21st century, Africa, B, P, term definition

Pelete bite is a fabric created by the Kalabari Ijo peoples of the Niger Delta region by cutting threads out of imported cloth to create motifs.

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Jean-Marc Nattier (1685-1766) was one of the great

Jean-Marc Nattier (1685-1766) was one of the greatest French portrait painters of the 18th century. He was known for painting beautiful and goddess-like women and his contemporaries cherished his work. He had incredible success, especially towards the end of his career when he painted this Portrait of a Young Woman.
The unknown sitter in Jean-Marc Nattier’s Portrait of a Young Woman sits gazing into the viewer’s eyes. She is typical of Nattier’s style of painting women and is not entirely dressed in the style of her time. She is instead painted with deconstructed elements of the mid-18th-century style of dress. Her off-the-shoulder draped chemise-style dress exposes her décolletage. Such exposure was not unusual, 18th-century women would wear their dresses off-the-shoulder or fitted with a very open neckline. On her dress, she has sleeves cinched with pearls, which could also be seen in fashionable 18th-century womenswear. Under her bust, there is a delicate trim of bobbin lace (this lace is created using multiple bobbins of thread). Nattier painted her cheeks rose with blush, which was a popular cosmetic style during the Rococo period. The sitter is decorated with flowers along her sash and in her hair. At her waist, there is a pink satin ribbon secured with a bow.
Contrary to what the sitter is wearing in Nattier’s portrait, women of the mid-18th century were known to wear elaborate dresses with trains, lace, silk brocades, and heavily decorated petticoats and stomachers. During this time, women would accessorize their looks with lots of ribbons, especially an échelle, or rows of ribbon down the stomacher. Ulrica Pasch’s portrait of Kristina Sofia Silfversköld depicts a fashionable dress of the day with its échelle of ribbons on the stomacher, lace engageantes(sleeves) and tightly fitted bodice.
The viewer can assume that the sitter is of high nobility because of the type of clients Nattier had during his successful career. Her mythological costume disguises her identity and makes it difficult to exactly date this piece, which is estimated to have been painted between 1750 and 1760.

Red is a color with a distinct history. Throughout

Red is a color with a distinct history. Throughout the centuries, it was favored for its appealing chromatic value and for its predominance on all colors. Red is an emotionally intense color that, according to psychologists, fuels the metabolism.

Luxury items were emblems of wealth and power that the upper classes could not do without. In the Italian states, elite families would spend an incredible percentage of their annual income on precious textiles. It was a duty and a pleasure to wear them. The brightness of the color was valued more than the hue, and the vibrant chromatic intensity of scarlet and crimson were particularly treasured.

All textiles sold in Venice had to be dyed locally and, in order to prevent irregularities, the government resolved that the work of the dyers had to be regulated. The dyers’ performance reflected on the reputation of the city, and the city was vigilant about satisfying both ordinary and significant international commissions.

Venice enjoyed privileged access to precious dyes thanks to its Mediterranean and Eastern trade. For a while, the city tried to resist the new-comer, rebuffing the employment of cochineal in favor of kermes, but eventually it opened its doors to this little insect and its spectacular, bright, intense, durable, and desirable red.

When cochineal from Mexico was introduced to Europe in the first part of the sixteenth century, it soon supplanted all the other red dyes. It revealed itself to be an amazingly powerful dye, so much more intense, bright, vivid, and durable than any of the old world’s reds. One ounce of cochineal dyestuff could produce thirty times the dye of Armenian red, generating the most spectacular and coveted scarlets and crimsons.

In Europe and in the East, cochineal became one of the most sought-after items, a true commodity that changed the dynamics of the global trade. Its price generated international speculations among bankers, merchants, and high-ranking diplomats, to a degree that in 1585 a cochineal cartel was introduced which had effects throughout Europe.

Bernardino Campi’s 1568 portrait of an unknown w

Bernardino Campi’s 1568 portrait of an unknown woman exemplifies 1560s Italian fashion, distinguished by a boxy silhouette created by a form-fitting bodice, square neckline, and a flowy skirt over a Spanish farthingale. The woman in the portrait wears a pale blue gown with a square pattern produced by an overlay of delicate gold lace. The center front of the pointed bodice, likely velvet or silk, has a noticeable “T” shaped embroidery of blue and gold; the same decorative pattern appears on white under sleeves cut by regular diagonal slashes, another fashionable element of the time. To achieve a curvier look, bum-rolls are attached and worn underneath the silk skirt. While designers today may not be directly inspired by Campini’s portrait, there are modern and contemporary designs seen on runways today which have been certainly influenced by fashion of the late 16th century and Italian Renaissance, such as in Valentino Couture (2013) and Alexander Mcqueen Ready-to-wear(2013). Read more at link in bio!

Christian Dior designed the Eugénie ball gown for

Christian Dior designed the Eugénie ball gown for his 1948 Fall/Winter collection, Zig Zag. The dress, made from blush-pink nylon, was photographed by Willy Maywald in 1948 and is full of intricate details. The silhouette has a tiered bell-shaped skirt with a hem that lengthens towards the back in what is called the ailée line. Dior used layers of tulle to create a cascading effect on the skirt. It has a fitted sleeveless bodice with boning to maintain a smooth silhouette at the top with a tight waist. There are lace details along the sweetheart neckline kept in place with wire stays, so that even elements of the dress that appear to be light and soft are kept securely in place. Dior has created a clear silhouette while staying true to an airy and feminine effect with lacy sheerness throughout the skirt.

In 1947, Christian Dior established his own maison de couture with a collection that contributed to the revival of haute couture in France after World War II. His collections captivated public attention with his creation of new silhouettes and use of extravagant amounts of fabric, which had been rationed during the war. He debuted what was subsequently deemed by the press as his “New Look” collection in 1947, featuring large skirts and small waists, and the 1948 collections continued in that same vein.

The New Look took inspiration from the crinoline styles of the mid-nineteenth century; Eugénie is named after the woman most famous in France for contributing to the rise of haute couture itself: Empress Eugénie de Montijo, wife of Napoléon III of France. Eugénie includes lighthearted and feminine Second Empire elements to create a frothy gown.

Maywald’s photograph emphasizes the delicate yet alluring essence of the Eugénie gown. The positioning of the model directs the audience’s attention to the full circumference of the gown’s sweeping bell shape and tight waistline. Other photos took Winterhalter’s painting as inspiration, bringing the gown into the modern age with an air of relaxation. Dior places clear emphasis on the revival of conventional, historical feminine styles with an enticing zig-zag twist that adds fantasy to a modern world.

Though Victorian Era tea gowns were exclusively wo

Though Victorian Era tea gowns were exclusively worn in private spaces, they were still an opportunity for women to show off their taste and class, even while uncorseted at home. Aesthetically, these tea gowns were inspired by the Art Nouveau movement, 18th-century “sack back” robes à la française, and “Japonisme,” a trend fueled by the recent opening of Japan to the West. Late 19th century teagowns were also associated with the heavily romantic, artistic, and eclectic Aesthetic Movement. The most fashionable tea gowns coordinated with the interior of the parlor room, a reminder that women were always on display, even within their own home. Click the link in bio to learn more. 🫖🪷 #victorianfashion #19thcenturyfashion #dressinggown #antiqueclothing

How many Cochineal insects did it take to make 1 p

How many Cochineal insects did it take to make 1 pound of bright red dye? Here’s a hint: It's a lot more than you think. Much more. But if you said 70,000 dried insects (or 25,000 live ones), you're right! For thousands of years, cochineal dye had been made from the bodies of the Grana Cochinilla insect which fed on nopal cactus in areas like modern-day Mexico and Guatemala. The insects produced carminic acid as a self defense mechanism, and it is this carminic acid which is the foundation for the insect’s brilliant scarlet dye. After the brutal Spanish conquest and subsequent colonization, Spain shipped tons of the dyestuff to Europe where it immediately became in high demand, supporting Spain’s economy for generations. Known as “the perfect red,” cochineal is still in use today, though it’s more likely to make an appearance in food and cosmetics rather than clothing. 🌵💄🥫 #fashionhistory #fashioninstituteoftechnology #red

In this portrait by Juan Patricio Morlete Ruiz, Do

In this portrait by Juan Patricio Morlete Ruiz, Doña Tomasa is sixteen years old and about to enter the convent of Santa Brigida in Mexico of New Spain. In New Spain, young elite women, before entering the convent, would have portraits done to signify a continuing lineage of wealth and respectability connected to religious service. In this portrait, Tomasa wears traditional attire of mid-eighteenth century New Spain with lavish patterned textiles and solid black garments. She wears a black velvet cut-away bodice lined with flowers over an elaborate triangular stomacher decorated with gold jewelry that matches the fabric of a gold brocaded silk skirt. Beauty marks, known as chiqueadors and made of satin or velvet, in the shape of a sun, moon, and star decorate her temple. A simple, lightly powdered updo is topped with jeweled black fabric tiara pearls, also abundant in New Spain, adorn her neckline. Her fan, closed and pointed to her right, indicates her forthcoming introduction to the convent. The legacy of Spanish fashion today is exemplified in a Dolce & Gabbana SS 2015 show, displaying an abundance of fitted, adorned bodices, full brocaded skirts, lace, jewels, and religious components. Read more at link in bio! #fashionhistory #arthistory #blackdress #floraldress #velvet

Along with the shift in the African textile market

Along with the shift in the African textile market due to China’s influence on the textile industry, a parallel evolution can be seen in fashion trends in some African countries, like Mozambique. One specific example is the evolving capulana styles in Mozambique. This image shows a capulana (a sarong-style dress popular in Mozambique and other parts of Africa) with a motif that closely resembles the traditional Chinese dragon motif along with a more African-styled border along the edge of the garment.

The collection included many pieces that combined modern and traditional fashion elements. Lambo also incorporated subtle Chinese components into her designs. This image shows a sumptuous blue dress that has a side split and form-fitting silhouette that looks like a modern interpretation of a traditional qipao. Rather than a placket-like side split in a qipao,
Lambo’s dress has no true side seam and instead, uses a crisscrossing lacing system. Another piece in her collection is a two-piece ensemble that uses appliqués with floral motifs resembling Chinese rose flowers. The pants feature a closure at the center front and at the bottom edge of the pants, reminiscent of traditional Chinese knotted button closures. On the other hand, the bright salmon pink of the ensemble is a bold color choice that is more customary in contemporary African fashion.

This corset from 1880 is made from bright red wool

This corset from 1880 is made from bright red wool and is edged with a delicate white cotton lace trim along the top. Like other fashionable corsets of the late Victorian era, this garment features a smooth ‘hourglass’ silhouette with a large bust, small waist, and full, rounded hips. This impressive silhouette is created through careful shaping of fabric panels. In order to maintain a smooth look, this corset is fully boned with a combination of flexible baleen and steel boning. This garment includes contrasting cream stitching along the numerous boning channels throughout the corset and along the bottom edge, as well as cream embroidery on the bust gussets. It is lined in white silk.

The corset was an essential garment in a woman’s wardrobe during the 1880s. After the Industrial Revolution, corsets were often manufactured using steel boning, which was both more durable than baleen/whalebone and stiffer than cording. This allowed for corsets to take on new silhouettes after 1840, one of which was called the “hour-glass” and was highly desirable during the 1880s and 1890s.

The invention of the two-part busk made corsets easier to use for women who could not afford a maidservant or have a family member to help them dress. Not only could corsets be taken on and off more easily, but advances in manufacturing allowed for cheaper, ready-to-wear corsets to become available to working women. As a result, corsets became a part of most women’s daily dress, and by the 1880s the corset had “become a very elegant and desirable object.”

The red corset shown was made in France in 1880 and would have been considered a highly fashionable garment that was often worn. Its modern construction (a steel spoon busk and boning) and creative material (red wool outer fabric and a silk lining) made it a top-of-the-line foundation garment for a highly fashionable French woman.

This corset’s hourglass silhouette, which may have been padded out with inserts, exaggerated a woman’s curves into the desired body shape of the period.

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