FASN 2116- Historic Era Magazine

The Renaissance
Issue no. 52

WELCOME FASHION
TO THE NEW
SHOP THE LOOK
1400ER-1A!600
FAMOUS
RENAISSANCE, A WORD FFARSOHMIO1TN6H0T0ER1E4N0D0-S
DERIVED FROM THE
ITALIAN WORD OF RE-

TECHNOLOGICAL
ADVANCES FT.

LEONARDO

+DA VINCI
MEET

THE WOMEN

OF THE
RENESSANCE

TFHINEDY OCUANT’WT LHIAVTE
WITHOUT

AND
Get their essentials

Magazine Page 2 Monthly

WEWLeClcoOmeME

Magazine Page 3 Monthly

TABLE Table Of
Contents

4-5
Social

6-8
Economic

9-13
Political

14-16
Technological

17-37
Cultural

38-47
Supplemental Costume

Accessories
48-53

Film Analysis
54-57

Bibliography

Magazine Page 4 Monthly

Welcome to The New
Era: Renaissance

Renaissance, a word derived from the Italian word of renascere, means to
be reborn. As medieval institutions crumble and new culture and society
appear, many changes occur during this time. Different from the Middle
Ages where people used to think of themselves as a part of a social or reli-
gious group, we now have a strong sense of individualism which we empha-

size on fully developing a person’s potential talent.
Social classes are divided amongst the aristocracy, the merchant class, ar-
tisans and artists, the town labourers, and the peasants of the countryside.
Some families own slaves, mainly women who serve as domestic help. A fam-
ily’s wealth is always passed down to their sons, and even if a family only
birthed daughters, she will only receive a small portion of the wealth as the

rest will be passed down to paternal uncles.
The rich and royals often commission artworks from leading artists as a
way of displaying their wealth. Middle-class families often only have the al-
lowance to order one new set of clothing each year, and the discarded cloth-
ing is then passed down to the poor either through donations or sold by
secondhand dealers. Peasants’ lives are often disrupted by armies that are
fighting for one city or another, as they live near the countryside and farm
the lands. Despite their economic difficulties, people of the lower social

class try to imitate the dress of the upper classes.

Magazine Page 5 Monthly

Figure A1: The Peasant Dance showcases the dress of the less afflu-
ent and the neighborhood of their countryside towns.

Moreover, sumptuary laws regarding dress are passed by the wealthy during
this period, which regulates the numbers of clothing an individual could ac-
quire, as well as the materials and ornamentation. Contrastingly, in North-

ern Europe, social behaviours can be related to developments in Spanish
styles. As standards of social behaviour and religious practice are still rig-
orously enforced in Spain, clothing style lines are stiff and rigid to relate

to the restraints imposed on society by the Spanish inquisition.

Magazine Page 6 Monthly

Figure A2: View of the San Marco Basin shows th

THE
BLOOM IN

The European economy is growing dramatically. Textiles trades across the
Atlantic Ocean are becoming much more popular due to advancements and
improvements made in ship construction. The rising across continental trades
enriches merchants, rulers, bankers, and traders. Those who are well-off ren-
der their clothing from tailors or doublet makers, and the less affluent make
their own clothing or purchase second-hand clothing through dealers. As
there is such a large market for second-hand clothing, these dealers are list-

ed along with the categories of tradesmen.

Magazine Page 7 Monthly

he flourishing trading business via boats.

TRADING

From trading with various nations, it comes with a sense of international fash-
ion. Different fabrics, styles, and textile practices are introduced from one

country to another. While the peasants tend to dress in functional and simple
clothing rather than fashionable dress, among the upper classes, a sense of in-
ternationalization of styles occurs. The silhouettes and features of their dress

across various cultures have substantial similarities.

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F i g u r e A 3 : A Yo u n g Wo m a n a n d
Her Little Boy shows turban-like
headdress, which is influenced by
Turkish cultures.

With m o r e f r e q u e n t i n t e r n a t i o n a l m a r r i a g e s o f m e m b e r s o f

the royal families between one country to another, it leads to
the spread of various fashion influences. Imported garments
and fabrics, books dealing with costumes, and travelers who
bring back information and examples of foreign styles are all

examples of nuanced fashion.

Magazine Page 9 Monthly

An Arranged Marriage Changes How We Dress

DE MEDICI Figure B1: Catherine de Medici
DE MEDICI
DE MEDICI

Th e m a r r i a g e o f C a t h e r i n e D e M e d i c i , t o H e n r i d ’O r l é a n , 1 4 - y e a r o l d s o n

of King Francis I, and future King Henry II of France, has cemented an
alliance between Italy and France and created a more peaceful relation-
ship between the two countries. This strategic marriage came about as
Pope Clement VII, Catherine’s great uncle, attempts to increase his papal
powers and reinforce the political, mercantile, and financial power of the

Medici family of Florence.
It is no wonder that once Catherine arrived in France, she caused such
a stir in the fashion world! The Medicis are not only financiers but they
also manage a family cloth and silk manufacturing enterprise. The Ital-
ian tailors, dressmakers, and perfumers that the 14-year old Catherine
brought with her have created the cross-cultural fashion that is worn by

France’s upper- class today.

Cut this coupon out and mail it in to receive your bottle.

Get 10% off Name:_________ Phone:_____________
your first E-mail:____________________________
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bottle

Perfume

Figure B2: I Profumi di Firenze,
Italy is the same perfume that
Catherine wears.

Get Her
Essentials

Catherine insisted she could not go to
France without her perfumers. Thanks to
her, she has launched the perfume indus-

try here in France! Try out Catherine’s
secret weapon - perfumed gloves!

Magazine Page 11 Monthly

The corset Trying to get the same slim waist
as all the women at Catherine’s
court? Try out a corset lined
with wood, iron, and whalebone.
It will guarantee a small waist.

Figure B4: Corset
Guaranteed thin

waist

Figure B5: Hans Holbein the
Yo u n g e r, T w o Vi e w s o f a n U n -
known English Lady, ca.1535 de-
picts the achieved desired look
by wearing a corset.

Magazine Page 12 Monthly

Pantaloons

Get Her
Essentials

Designed to preserve feminine modesty.
“I choose to wear pantaloons as they are
perfect when helped to get off my horse.
Modesty is important to me and I never

want to jeopardize it” De Medici says.

Magazine Page 13 Monthly

High Heels

Figure B3: First high heels worn for fashion were made
because of a petite queen of France, Catherine De
Medici (1519-1589 CE).

Try out the new style of high heeled
shoes! Catherine designed them for her
wedding simply because she wanted to
be taller. They are so much more com-
fortable and easier to walk in than the
Chopines ( high platform shoes).

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PAINTER

Figure B6: The Last Supper,
Leonardo da Vinci [1452-1519]

SCULPTOR

INVENTOR

A great man of our time and one whose name will
be written down in history as a genius - Leonar-
do da Vinci. Time and time again he has given us
beautiful pieces of work such as the Last Supper

and the Mona Lisa.

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Leonardo da Vinci

Figure B7: Mona Lisa – Portrait of Lisa Gherardini,
wife of Francesco del Giocondo

Figure B8: Notebooks of Leonardo da Vinci
(1452-1519), vol. II; known as Codex For-
ster II.

His manuscripts are filled with his inventions. There is no
doubt that da Vinci is an explorer and a dreamer. Da Vinci
is extremely interested in transportation. He has been in-
venting new and creative ways to retire the horse-drawn car-

riages that we use today.

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Figure B9: His notebooks show
that he was studying the princi-
ples of flight that could be ap-
plied to manned flights

The Self-Propelled Cart is meant to be propelled without being pushed.
Da Vinci uses springs in his design to power the cart to propel itself.

Another form of transportation that da Vinci invented moves from the ground to the sky.
He envisions men soaring through the sky with the birds in his flying machine. Da Vinci drew in-
spiration for his design through animals capable of flight. To power the wings in his design, the flyer

would use pedals to crank a rod and pulley system that is attached to the wings.
Can you even imagine these types of transportation in the future? Are they just figments of his imagi-

nation or will they come to pass?

Magazine Page 17 Monthly

MEN OF THE ITALIAN 1400-1450 c.
RENAISSANCE

We a r k n e e - l e n g t h d o u b l e t s w i t h h o s e
Hukes were placed over doublets
Houppelands had wide, funnel-shaped, or
hanging sleeves

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THE
LOOK

Figure B10: Doublet with hose

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1400-1500 c.

We a r d o u b l e t s w i t h h o s e u n d e r a j a c k e t t h a t
fits smoothly through the torso and has a
flared skirt that attaches at the waist and
ends below the hip.

SHOP
THE
LOOK

Figure B11: Doublet with hose under a fit-
ted skirted jacket

Magazine Page 19 Monthly

FASHION TIP: try out a SHOP THE LOOK
jacket with short sleeves,
ending below the shoulder
line. This allows a con-
trast between the jacket
and the sleeve of the dou-
blet.

Figure B12: Portrait of Lodovico Capponi, by
Agnolo Bronzino shows off the jacket with short
sleeves as well as the prominent codpiece which
can be seen at the top of the paned trunk hose

Try out fuller doublets!
Decorative slashing, sometimes with puffs of contrastin

fabric pulled through the slits can be seen.
Do not forget to add this codpiece of enormous proportions

to your outfit! It adds something to your masculinity and
makes it easier to go about your business.

Magazine Page 20 Monthly

WOMEN OF THE ITALIAN
1400-1500 c. RENAISSANCE

Figure B13: Houppelandes and fitted
gowns Houppelandes have imaginatively

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THE
LOOK

Magazine Page 21 Monthly

1450-1500 c. SHOP THE LOOK

Figure B14: Blouse or better known as a camicia would be
worn beneath a dress but the neckline would be seen.
A floor length chemise (camicia) worn as an undergarment
beneath a dress and a second overdress on top

Magazine Page 22 Monthly

FASHION TIP: carefully manipulate the layers of camicia, dress,
and overdress (make sure to choose contrasting fabrics for each
layer), a rich decorative effect can be achieved



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THE
LOOK

Figure B15: Renaissance dresses made of richly coloured fabric that
may be velvet

Magazine Page 23 Monthly

MIX IT UP: try different types of edging on SHOP THE LOOK
the neckline of the camicia such as fine em-
broidery, bindings, or smocking

Figure B16: Salome with the Head of Saint John the Baptist
depicts a woman wearing a camicia beneath her dress which
can be seen at the neckline.

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Wider and fuller
Silhouettes

FASHION TIP: Stay trendy with a wide puffed
sleeve at the top and closely fitted from above the
elbow to the wrist. Cut sleeves

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THE
LOOK

Figure B18: Portrait of a Couple is cropped to show off the
woman’s V shaped waistline coming to a point at the front.

Magazine Page 25 Monthly

WAT C H O U T : C h a n g e y o u r s t r a i g h t w a i s t - SHOP THE LOOK
line for a Spanish-influenced V shape in the
front!

F i g u r e B 1 7 : A Yo u n g Wo m a n a n d He r L i t t l e B o y s h o w s o f f
a rigid bodice with a square, wide neckline and displays a
different type of edging on the neckline of the camicia.

Embrace Spanish influences by wearing rigid bodices with
square, wide, and low necklines.

Magazine Page 26 Monthly

MEN OF THE NORTHERN
1500-1515 c. RENAISSANCE

Spice up your white linen long raglan sleeved
shirts? Try mixing it up with either a round
or square neckline decorated with embroi-
dery or cutwork.

SHOP
THE
LOOK

FIGURE B19: A Lady with Three Suitors shows off the high fash-
ion of the doublet with a deep V at the front.

Try out a new version of the doublet with a deep V at the front. A
stomacher of contrasting colour inserted under the V adds an inter-
esting feature to the design.

Magazine Page 27 Monthly

1515-1550 c. SHOP THE LOOK

FULLNESS IS THE NEW
SLENDER! TRY OUT
LARGE BULKY PUFFED
AREAS ON YOUR
GARMENTS.

FIGURE B20: Portrait of François I, king of
France (1494-1547) displays the great extent of the

garments’ fullness.

FIGURE B21: Henry, the German
Duke of Saxony is wearing gar-
ments that are ornamented with

slashing.

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1400-1500 c.

FIGURE B22: Henry VIII, king of England (1497-1543), is depicted
wearing a doublet ornamented with slashes through which puffs of
fabric are pulled.

SHOP
THE
LOOK

Make sure to incorporate the popular German and Swiss influences
by ornamenting these garments with decorative slashings or panes.

Magazine Page 29 Monthly

1550-1600 c. SHOP THE LOOK

FIGURE B23: Portrait of a Couple is
cropped to show off the man’s ruff.

Swap out the small ruffle of your shirt collar for the ruff.
The ruff is separate from the shirt. It is very wide, popular-

ly made from lace, and stiffly starched.

Magazine Page 30 Monthly

SHOP
THE
LOOK

Figure B24: Doublet

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FIGURE B25: Prince Hercule-Fran- SHOP THE LOOK
cois, Duc d’Alencon, 1572 wears a jacket
that has the fashionable peascod-belly
shape, and finishes below the waistline

in a row of pecadils.

Increase the padding at the front of the waistline of the
doublet to achieve the desired peascod belly.

Magazine Page 32 Monthly

WOMEN OF THE NORTHERN

1500-1530 c. RENAISSANCE

S t ay i n s t y l e w i t h s o m b e r c o l o u r s . We a r a g o w n w i t h a f i t -
ted bodice but with a long skirt that is long and full, flar-
ing gently from the waistline to the floor in the front and a
long train trailing behind.

SHOP
THE
LOOK

F i g u r e B 2 6 : Po r t r a i t o f a Wo m a n s h o w s o f f t h e p o p u l a r s o m b e r c o l o u r
scheme.

Magazine Page 33 Monthly

TRADE IN YOUR SHOP THE LOOK
UNDER DRESS AND
OUTER DRESS FOR
A PETTICOAT AND
AN OVERDRESS.

1530-1575 c.

Figure B27: Large, detachable undersleeves match the fab-
ric of the petticoat.

Magazine Page 34 Monthly

Figure B28: Stiffly rigid styles, often in black or white with elaborate
embroidery and lace, were characteristic of the Spanish styles that in-
fluenced all of Europe in the 16th century.
Cut sleeves

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THE
LOOK

Magazine Page 35 Monthly

Figure B29: Portrait of Margaretta of Parma, by Anthonis SHOP THE LOOK
Morvan Dashorst wears a dress that displays an hourglass
silhouette and the bodice narrows to a V dipping forward.

This will help you achieve the desired silhouette of an
hourglass. Bodices are narrowed to a small waistline with a
V shape dipping forward.

Magazine Page 36 Monthly

To create a wider shape of the skirt at the top, try placing a bum roll, a
padded roll, around the waist to give your skirt greater width below the
waist.Make sure to stay in style with enormous proportions of ruffs. A
supportasse, frame, can be used to support the sheer linen or lace ruffs.

SHOP
THE
LOOK

Figure B30: A Lady aged 29 in 1582 displays the fashion of a wider shape
of the skirt at the top as well as a version of the ruff. cut sleeves

Magazine Page 37 Monthly

1575-1600 c. SHOP THE LOOK

Figure B31: Princess Elizabeth (1596-1662) wears a standing
lace ruff at the neck.

Try an open ruff, a cross between a collar and a ruff, which
stands high behind the head and is fastened in front to a wide,
square neckline.

Magazine Page 38 Monthly

Trendy Costume Accessories
for Men

Hairstyles

In Italy, younger men cut their hair in medium to longer lengths
that appear gradually from below the ears in front to about the
shoulders at the back. Hair is either straight or curly. Whereas
older men cut their hair shorter, and both young and old men are
generally clean-shaven.

In Northern Europe, men cut their hair straight across the back
in a length anywhere from below the ears to the shoulder and
combine this with a fringe of bangs across the forehead. Although
we predict after the 1530s, beards will become fashionable, and
hair will be cut short.

Figure A4: 15th Century Male Hairstyles shows a variety of hairstyles popular
amongst men.

Magazine Page 39 Monthly

Hats & Shoes

In Italy, a variety of hat styles are currently in style, including
turban-like styles, brimless pillbox styles, either soft or rigid high
toques, and hats with soft crowns and upturned brims or round
crowns and narrow brims. Leather-soled, footed hose is by far the
most popular footwear for men. When worn, the shoes fit closely
and are cut high across the instep and below the ankle bone. Boots
are worn for outdoors in bad weather and for riding, and they tend
to have turned-down cuffs and end at mid-calf.

Figure A5: Italian Renaissance Accessories shows the different
kinds of hats worn by Italian men

In Northern Europe, the most fashionable hat style is a pill-
box-like shape with a turned-up brim, which is referred to as the
French bonnet. Some men also wear skullcaps or hairnets, holding
the hair close to their head over which they place a hat with a ba-
sin-shaped crown and wide brim, with the brim turned up at one
point. Most hats are decorated with feathers, and similar to Italian
hat fashion, many hats are currently considered trendy. Hat styles
include a moderately sized, flat-crowned hat with a small brim and
a feather plume and beretlike styles with feather plumes.

Magazine Page 40 Monthly

Figure A6: Johan III av Sverige Portrait shows the popular high-crowned,
narrow-brimmed capotain hat

We p r e d i c t a f t e r t h e 1 5 5 0 s , m e n w i l l g r o w t h e i r h a i r l o n g e r, a n d
beards and mustaches will remain popular. Hats will be made with
increasing high crowns, some with soft shapes, others with stiffer
outlines, and brims become narrow. Although the c apotain will still
be very popular, as it is a high- crowned, narrow-brimmed hat. More-

over, hats are mostly trimmed with feathers, braids, and jewels.

Magazine Page 41 Monthly

Other Accessories

Figure A7: Portrait of Guidubaldo della Rovere shows the decorative codpiece worn between the legs.

In Italy, codpieces are worn by men as a fashion item, and it is
used to separate the genitals from the garments. Initially, men wear

it due to the spread of syphilis since the treatment ointment of
this dise ase c an stain their garments yellow. Later on, the codpiece

becomes a fashionable pouch, which also conveniently disguises
whether the person has contracted syphilis or not. Furthermore,
men also wear wide jewelled collars that are not a part of the gar-
ment but a separate circular piece made of ornamental plates joined

t o g e t h e r.

Magazine Page 42 Monthly

Venetian Costume for Men & Women

Figure A8: Maker unknown (Italian). Chopines

Both men and women wear Chopines, very high platform-soled
s h o e s . It i s ve r y p o p u l a r i n b o t h It a l y a n d No r t h e r n E u r o p e . Wo m e n
bleach their hair to light blonde shades, as it is the current trend.

Another trend is to arrange their hair at the front above the fore-
he ad i n a l it t le t w i n “ ho r n”.

Magazine Page 43 Monthly

Trendy Costume Accessories for Women

Hairstyles

Italian women like to arrange their
h a i r e l a b o r a t e l y. Yo u n g g i r l s d r e s s
their hair simply, curled into long
t r e s s e s . Wo m e n o f t e n d r e s s t h e i r
hair with loose curling tress on ei-
ther side of the face and pull the
rest into a bun or long braids, loops

of hair, and curls.

Figure A9: Portrait of Bianca Maria Sforza
shows ornamented metallic netting, and a

single tress of hair placed at the back.

Decorative overcaps can be placed on the top of the coif, with trims
of jewels or metallic netting. The French comb their hair up to form
a heart-shaped frame for the face. Whereas the English would imitate
the hair colour of the Queen, which is red, so red auburn, and varying
shades of blonde hair are considered fashionable. Moreover, to balance
the width of the wheel of farthingale, women try gaining some extra
height by dressing the hair high and decorate it with jewelled orna-

ments.

Magazine Page 44 Monthly

Hats & Shoes

Popular women’s shoes are to be cut along the same lines as those

of men, although, men’s styles tend to be more exaggerated due

to higher visibility. Popular hats are generally small, with high

crowns, narrow brims, and trimmed with feathers. Some women also

like to wear jewelled nets and caps.

A distinctively fashionable Italian
women’s headdress style is a large,
round, beehive-shaped hat, similar to
a turban. The coif is another import-
ant head covering. It is a cap of white
linen or more decorative fabric usu-
ally with long lappets or short square
(or pointed) extensions below the ears
that cover the side of the face. Coif
shapes range from round to heart-
shaped or gabled, or an English style

Figure A10: Portrait of Margherita Paleologo

shows the popular women’s large, round, bee- w o u l d s h a p e l i k e a p o i n t e d a r c h . O v e r

hive-shaped hat

the coif, women pin a band about 40
inches long and 4 inches wide that ei-
ther hangs down at either side of the
face or are arranged in decorative
folds. Some of these bands have hoods
of semicircular fabric attached at the
back.

Figure A11: Portrait of a Young Woman with a White Coif

Magazine Page 45 Monthly

Other Accessories

Figure A11: Portrait of a Young Woman with a White Coif

Skilled jewellers create masterpieces from precious stones, pearls,
gold, and silver. They make necklaces, earrings, brooches, and in-

teresting hair ornaments, therefore women who can afford such
luxury items dress themselves accordingly. Ferroniere is especial-
ly popular, it is a chain or band of metal or pearls worn across the

forehead with a jewelled decoration located at the centre of the
forehead.

Magazine Page 46 Monthly

Trendy Costume Accessories

For Men & Women

Squared-toes shapes grew popular and increasingly wider that a
law had to be passed to limit its width to 6 inches. Referred to as
duckbills, these shoes include decorations of slashing with puffs
o f f a b r i c p u l l e d t h r o u g h t h e o p e n i n g s . We p r e d i c t a f t e r t h e 1 5 5 0 s ,
the toes of the shoes will remain square but decrease in width and
shoes will conform more closely to the shape of the foot. Shoes will
still be slashed, but instead of puffs, the contrasting lining will be
placed underneath so it will show when the foot is bent. Backless
shoes called mules are another popular footwear option among both
men and women, same with shoes with tongue and tied shut with lace
called latches, and high-heeled shoes.

Figure A13: Duckbill Shoes shoes the decorative slashings.

Magazine Page 47 Monthly

Men and women wear neck chains of gold or other precious metals that
are wrapped around their neck multiple times, and women wear pendant
necklaces. Men and women also pin brooches to hats, hoods, and almost
every part of the costume.

Lastly, both men and women carry purses that are suspended from
b e l t s , t h e y a l s o c a r r y h a n d k e r c h i e f s , f a n s , a n d w e a r g l o ve s . Wo m e n a l s o
wear masks outdoors when riding to protect the complexion against the
sun. Many cosmetics are also made and used, but from dangerous chem-
icals to improve complexion, and perfumes are used as well.

Magazine Page 48 Monthly

Romeo & Juliet 1968
AWARDED BEST COSTUME

OSCAR

D anilo Donati rightfully received the
Best Costume Oscar for the 1968 film,
Romeo and Juliet. Despite the limitations of
budgeting, Donati created exceptionally real-
istic costumes that immerses you in our be-
l o ve d c i t y, Ve r o n a , I t a l y.

Figure C1: Danilo Donati, Italian cos-
tume designer and production designer

Figure C5: Romeo and Juliet, star-crossed
lovers in Romeo and Juliet

Donati imitates the current trends down
to the underlayers of our clothing. During
the bedroom scene in this film, Romeo is
wearing the first of three layers on the
upper half of the body. The pale coloured,
loosely fitted shirt is much larger around
the hem of the garment creating a similar
shape to a triangle.

Magazine Page 49 Monthly

Figure C2: members of House Capulet and House Montague in Romeo
and Juliet

The film focuses on two families of equal nobility, House Capulet and
House Montague. Donati distinguishes these families through cloth-
i n g c o l o u r. Ye l l o w, r e d , a n d o r a n g e c o l o u r s w e r e w o r n b y t h e C a p u l e t s ,
whereas Montagues were seen wearing green, purple, and blue colours.
Similarities in family members not only make the film e asy to follow,
but also accurately represents our current society. The head of our
households dictate the clothes we wear. The trend of lavish and rich
textiles that we all love is also reflected in Donati’s costumes through
the vivid colours, materials, and elaborate tailoring.

WHO
WORE IT
BETTER?

F i g u r e C 3 : T y b a l t , Ju l i e t ’s c o u s i n i n R o m e o a n d Ju l i e t
The hose worn by our men accurately appears on many of the male
actors in Romeo and Juliet. Constructed with different colours, the
hose often consists of each leg being dissimilar. Seamed and tied to

the hose, the codpiece also follows a similar look.
Layers are trending.

50