Category: Africa

backstrap loom

Africa, Americas, B, L, term definition

The backstrap loom is a lightweight, mobile loom made of wood and a strap that is wrapped around the back. It only needed to be attached to a tree or a post for stability and to provide tension.

eye of Horus

Africa, ancient, E, H, term definition

The eye of Horus, or Wedjat eye, is an ancient Egyptian symbol that represents the eye of the falcon-headed god Horus and symbolizes healing and regeneration and was often worn for protection.

faience

Africa, ancient, F, term definition

Faience is a man-made ceramic material that was often used in ancient Egypt to make jewelry and devotional objects. It is usually a blue color.

raffia cloth

17th century, 18th century, 19th century, 20th century, Africa, R, term definition

Raffia cloth is a type of textile woven from palm leaves and used for garments, bags and mats.

The Authentication of Chinese Culture in African Fashion

2000-2009, 2010-2019, 21st century, Africa, Asia, thematic essays

Since the mid-20th century, relations between Africa and China have grown stronger leading to a significant change in the mutual adaptation of fashion between both nations. A 21st century, Sino-African style has been formed by the intercultural meshing of traditional garments, textiles, and motifs.

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.

kente

17th century, 18th century, 19th century, 20th century, 21st century, Africa, K, term definition

Kente is a Ghanaian strip woven textile that has striped patterns and bright colors with corresponding meanings.

Akwete

19th century, 20th century, A, Africa, term definition

Akwete is a decorative cloth with complex weave designs, creating intricate geometric patterns, made with many vibrant colors. It is usually made into wrappers for women to wear and it is made by the Igbo women of Nigeria.

labret

14th century, 15th century, 16th century, Africa, Americas, L, term definition

A labret is a type of lip-piercing worn by various cultures to indicate wealth, prosperity and beauty.

bark cloth

19th century, 20th century, Africa, B, term definition

Bark cloth is fabric made out of bark from trees.

back apron (negbe)

19th century, 20th century, A, Africa, B, N, term definition

An oval-shaped decorative pad worn by Mangbetu women over the buttocks in Central Africa.

boubou

19th century, 20th century, Africa, B, term definition

The boubou is an African robe made of one large rectangle of fabric with an opening in the center for the neck. When worn it drapes down over the shoulders and billows at the sleeves.

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French designer Emile Pingat’s lavish visiting g

French designer Emile Pingat’s lavish visiting gowns were in style for decades during the latter half of the 19th century. Fine details and finishings were particularly important in fashion during the 1870s, as well as contrasting colors of overskirts and underskirts. In accordance with popular trends, Pingat tried to combine as many elements of fabric manipulation as he could into this 1872 visiting dress, including pleating, ruffles, contrasting fabrics, and the addition of fly fringe, bows, and embroidered buttons. Despite his wealthy American clientele, and his connection and competition with fellow contemporary designer Charles Worth, the House of Pingat has often been forgotten. Read more at the link in bio!

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This 1860 pink silk evening dress epitomizes the w

This 1860 pink silk evening dress epitomizes the wide ball gown style popular in the early 1860s and was made possible by way of a wide crinoline structure underneath the skirt. The bodice of the dress sits slightly off the shoulders and has a wide bertha collar and sleeves that end at the top half of the arm. A ‘bertha’ was considered to be a folded band of fabric that would typically be made of pleated silk or a fine lace. The boned bodice of the garment ends in a deep v that extends past the waistline. Three rows of small pink bows are attached at the bust area as well as on the skirt in swags in order to add more surface detail and texture on top of the silk. Additionally, the skirt features larger bows that are accentuated by way of a cream pink lace edge. Despite the typical use of a crinoline, this 1860 dress is unique in that the crinoline cage is slightly larger in the back which foreshadows the flat-fronted crinolines that appear closer towards the end of the decade. As typical of eveningwear styles, the dress features a low neckline, short sleeves, and the use of both silk and lace. The use of differing sized bows, especially larger ones attached to the skirt, is typical of 1860s styles in which the monochromatic bow motif was popular as shown by fashion plates and magazines from the period. Read more at the link in the bio!

#fashionhistory #digitalhumanities #19thcenturyfashion

The first decade of the 20th century featured litt

The first decade of the 20th century featured little change besides the slight shift towards a more tubular silhouette that dominated the 20s. Following the styles of the previous century, the structured curvy silhouette of the ‘Gibson Girl’ aesthetic remained popular. Modest styles of dresses fitted with copious amounts of ornamentation and structured by body contouring corsets were characteristic elements of the early 1900s. The ‘S’ shape corsets remained popular, pushing the bust forward and hips back in order to emphasize a small waist and ‘mono-bosom’ as seen in the numerous fashion illustrations. Dresses most usually covered the body from the neck to the floor and were fitted with long sleeves. Lace, irish crochet, spangles, and rhinestones were used to add decoration on top of mostly silk satin and chiffon gowns. Day wear was oftentimes as ostentatious as evening wear, fitted with the same level of over-the-top decoration that characterized Edwardian fashion. The main difference between day and evening wear was the shorter sleeves of evening gowns as well as their more revealing necklines. The short sleeves of the dresses were then offset by long gloves. Additionally, the ‘tailor-made’ style was also popular and was worn both by middle class and upper class women who wore them in the country or when they were traveling. The more functional style allowed for women to change their blouse or bodice while keeping the same skirt, making it particularly popular for those who were not a part of the upper echelon of Edwardian society. Read more at the link in the bio!

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In ‘The Hesitant Fiancée’ artist Auguste Toul

In ‘The Hesitant Fiancée’ artist Auguste Toulmouche paints a scene of a bride angry at the prospect of her arranged marriage as showcased by her direct gaze to the viewer. The piece features a more complex scene than Toulmoche’s usual work but continues his technique of representing lavish gowns characteristic of the period’s trends. Despite the prospect of marriage, the bride who sits in the center of the painting wears a relatively minimalistic dress. Her gown is a high-neck dress embellished by a white fur trim that goes down the center front of the bodice and around the armholes and wrists. The hem of the bride’s dress is then decorated with a strip of knife-pleated trim. Brides of a higher social standing were often dressed in gowns of white, ivory, or cream therefore the white silk depicted by Toulmouche represents the bride’s high status. Despite the lack of surface detail, the minimalist look was still considered fashionable for bridal wear and it wasn’t until a few years later that more elaborately decorated gowns would become more popular. All of the women in the painting are depicted wearing the fashionable wide skirted style of the 1860s made possible through the ‘crinoline’ foundation garment. The women around the bride all wear more colorful ensembles of purple, red, and peach but featuring the same wide skirt and high-necked dresses that were considered standard for the time. Read more at the link in the bio!

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French neoclassical painter Jean-Auguste-Dominique

French neoclassical painter Jean-Auguste-Dominique Ingres initially refused the commission for this portrait of Madame Sigisbert Moitessier, due to the amount of time it would take from his other artistic pursuits, but was so moved by her beauty he changed his mind. Significant revisions were made to the portrait before it was finished in 1856, taking twelve years to complete. Madame Moitessier’s original 1840s yellow dress was swapped out for an 1850s floral silk brocade gown, accessorized with Renaissance-revival jewelry. Ingres enjoyed painting Madame Moitessier so much he painted a second portrait of her in 1851, standing in a black Chantilly lace gown. Substansial sketches were made for both portraits in order to precisely replicate the detail of Madame Moitessier’s positioning and clothing. Read more at the link in bio!

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Stephen Burrows is a famous American designer cele

Stephen Burrows is a famous American designer celebrated for his use of graphic color blocking and matte jersey fabric. Burrows’ designs are made by experimenting with the stretch of knit fabric and the ‘lettuce effect’ which was a curling hem made by overstretching jersey that became a part of his signature. To Burrows, both dance and movement were essential requirements in how he created garments and when he was in high school he created dance costumes for his friends. In 1968 he opened his first boutique ‘O’ and in 1970 the president of the department store Henri Bendel offered Burrows his own boutique within the store called ‘Stephen Burrows’ World’. The line within the department store became extremely popular and captured the ever growing spirit of the 1970s independent woman. Burrows unstructured pieces and creativity in his designs were essential towards the American fashion industry as establishing itself as independent from the world of Parisian couture. Most famously, in 1973 Burrows was one of the five American designers invited to participate in the ‘Battle of Versailles’ fashion show, a competition between American and French designers. One of Burrow’s Battle of Versailles garments is currently on view as part of the Met’s “In America” exhibition (pink dress). Model Pat Cleveland, considered one of the first African American supermodels, served as Burrows’ muse and even modeled for him at the Versailles show. The same year, Burrows became the first Black designer to win a Coty award, winning again in 1974 and 77. Read more about the designer at the link in the bio!

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In the 1930s, Italian designer Elsa Schiaparelli p

In the 1930s, Italian designer Elsa Schiaparelli partnered with Surrealist artist Salvador Dalí to create a series of garments and accessories, including the 1937 Lobster Dress. Dalí’s enthusiasm for fashion and Schiaparelli’s love for shock tactics and challenging conventional beauty stereotypes made for a fruitful partnership. They would go on to collaborate on several other pieces like the Shoe Hat (1937) or the Skeleton Dress (1938). The original lobster motif was derived from Dalí’s 1936 Lobster Telephone and printed onto the silk organza dress by master silk designer Sache. While the motif was considered avant-garde for the 1930s, the gown itself subscribed to several elements of contemporary fashion such as its off-white color, a-line cut, and empire-waist silhouette. The Lobster Dress gained widespread notoriety after Cecil Beaton photographed it being worn by Wallis Simpson, Duchess of Windsor and American socialite, and the photographs were featured in Vogue. The Lobster Dress has been recreated several times throughout the 21st century, including the 2012 Met Gala “Schiaparelli and Prada: Impossible Conversations,” when Prada designed a similar looking dress with a beaded lobster motif for Anna Wintour. Read more at the link in bio!

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This 1872 gown by the House of Worth is made of a

This 1872 gown by the House of Worth is made of a seafoam green silk along with woven braids and fringe trims. The dress itself is made of a skirt and two bodices; one intended to be worn during the day and the other for evening occasions. The 1870s itself was known for changing styles as the crinolined silhouette from the previous decade began to give way to a more narrow style. The dress features a bustle silhouette that is straight in the front and has soft drapery to add volume in the back. Woven braid and fringe trims are placed in a row down the skirt as well as on the edge of the bodice and end of the sleeves. The House of Worth was influenced by Middle Eastern enamels in the colors and the patterning that appears on the trim across the entire garment. Worth, considered the father of haute couture, was known for his ability to popularize and set trends. This 1872 gown reflects the growing interest in the use of horizontal trims for surface detail. In various gowns from the design house in the 1870s, Worth continually utilized the horizontal trim trend in order to reflect the detail and high quality of his couture garments. The use of a seafoam green silk for the base of the garment also reflects the popularity of various shades of green for garments during the time. Read more at the link in the bio!

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As part of our week highlighting garments in the ‘In America’ exhibit at the Met, we’re spotlighting the ‘Butterfly Dress’ by 1950s designer Charles James, which is featured among the Martin Scorsese designed vignettes in the Frank Lloyd Wright period room. The 1955 butterfly gown is emblematic of James’ work, showing his attention to detail and architectural techniques for his one-of-a-kind gowns. The designer was known for dressing some of the most famous celebrities and socialites of his day including Millicent Rogers, Austine Hearst, and Gypsy Rose Lee. The dress, made of silk chiffon, satin, and 25 yards of nylon tulle in shades of cream and brown, features a shift silhouette and wide tulle ‘butterfly wings’ on either side. The detailing on the dress features James’ tucking treatment also featured on his swan gown. The dress itself represents the almost architectural capabilities of James’ work, in which he approached making his gowns in an technical and structural way. The wide tulle butterfly wings take inspiration from the Victorian style of large bustles in the early 1880s. Experimentation with numerous different forms of fabric as well as more structural garments were also particularly popular at the time. Read more at the link in the bio!

#fashionhistory #digitalhumanities #20thcenturyfashion

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