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VOGUE October

DIVIDED

5 17
Life in Italy Talking Fashion:
7 Northern Renaissance c. 1500-1600
Talking Fashion: 23
Italian Renaissance c. 1400-1500 Theatre Critique

9 25
Talking Fashion: People Are Talking About
Italian Renaissance c. 1600 26
13 References
Life in Northern Europe

3 VOGUE OCTOBER 2017

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Life in Italy

Italians are the ones who are the center of the Importance of
Roman Empire. Princes surrounded themselves with Fashion
art that displays textiles.
Clothing is very important in Renaissance times,
Historic Background because there were laws found in Italy. It was im-
Many lawyers and notaries became interested in portant to dress according to their position and age
writing of the classical period. Many Renaissance in society. In the sumptuary law, it was mentioned,
who were gifted poets and writers who got trained in which clothing each individual can wear and what
law. By the 15th century, these writers became inter- materials and accessories they can wear according
ested in classics of literature and art. to their position. The head of household is respon-
sible for the clothing of household members which
Italy was yet to be a country, but it consisted of was usually made of knights, squires, pages, grooms
small cities which was ruled by a prince. The prince and valets. However, the mistress was responsible
was the most powerful noble and were a part of an- for the clothing of lady attendants.
cient noble families, condottieri. Some were part of
wealthy merchant families who gained their pow- One type of clothing called guardaroba which is
erful position by achieving political, financial and a set of three garments. Two layers were for indoor
leadership positions. clothing and one for outdoors. However, the cloth-
ing in the middle-class Italians families, they used
Life in Renaissance to order one new set of clothing every year and
Italy the old one would be discarded and passed for the
poor’s through donation or sale from second hand
The Renaissance was divided into many several clothings.
classes:
Merchants were wealthy, but still considered
Aristocracy - upper class lower class than aristocracy. In Florence and Genoa,
Merchant - trading class the merchant families was not considered low class,
Artisans - skilled working class since their sons were educated to take over the fam-
Artists ily businesses eventually. These merchandise was
Town labourers related to the textile industry like weaving, dyeing,
Peasants - poor farmers finishing and trade clothing.

Some families had slaves from other countries Clothing Industries
such as, Mongolia, Turkey and Russia. Other parts Textiles from Italy was used all over Europe at
of society, like aristocratic or noble families araea the beginning of the Renaissance. Woven fabrics
making the rules.These people would become more like wool and silk was the primary source of the
respected if they marry into noble families. These fabrics in Italy. These wool are imported from Brit-
families would inherit the family’s wealth to the ain, but silk was made locally. The dress of Italians
son of the family, but even if the family had not son was amde of silk, wool, cotton and linen. However,
and only daughter, the girl would receive only a entrepreneurs were the one who controlled over the
small portion of the wealth and the rest would go to production.
their uncles.The family’s wealth usually go towards

5 VOGUE OCTOBER 2017

Fabrics like satin, cut velvets, plain velvets
and brocades. These fabrics was very suited to the
Renaissance fashion. The Italian textiles have been
seen in the arts that how superior they are from the
rest of Europe. The fabrics shown many signs of
close trading relationships between countries like
China, India and Persian pattern and motifs. Paint-
ers use many ways to reveal Renaissance design
textiles through sketches.

People who were wealthy enough, ordered their
clothing from tailors. During the 14th century, once
the tailors got masted in buttoned clsures, then
most of the people was less likely to make clothes
at home or purchase used clothing. The second
hand clothing was a huge market, but there were
some ready-made clothing was available. The artist
shown cloths in their paintings that garments were
hanging on the streets, but these might be used
clothing.

Talking Fashion:
The Italian Renaissance c. 1400-1500

Renaissance artists painted realistically and their Doublets length ranges from the waist to below
artifacts provides us with a evident source in Renais- the hip. For longer length doublets, they are usual-
sance representation of clothing. In addition to these ly cut with a small skirt. They feature a distinctive
ancient pictorials, some actual items still exist. neckline finishes that displays a high level of skills
from Italian tailors. Doublet and hose are often
Italian dresses shared many features and attri- worn by working men and soldiers and were cut as
butes of dress from other parts of Europe around the either two pieces or sewn together.
1300s to 1500s. International gothic style influenced
fine and applied arts including dresses. Around mid-century, men wore jackets that fit
smoothly through the torso and had flared skirts
Costume for Men: starting from the waist and ended below the hip.
1400-1450
Towards the end of the century, sleeveless jack-
Men wore doublets, a snug fitting jacket that ets, similar to hukes, are full and pleated and was
shaped the man’s body, and are worn over by hukes worn with a belt or without.
with knee length hoses. Outerwear garments consists
of houppelandes and have either wide, funnel-shaped
or hanging sleeves. Shoes styles are pointed, but
are not as extreme as other parts of Europe. Mens’
grooming was cut short and the infamous bowlcut
wasn’t adopted yet.

Costume for Men:
1450-1500

Mens’ costume consists of linen drawers,
undershirts, doublets with hoses attached and outer
jackets. Shirts or camicia are worn as undergar-
ments and are visible at the edges or openings of the
garments. Lower class men usually only wear shirts
and underpants for hard labour work. Shirt are made
of linen, but are more coarse and heavier for lower
class men and finer and softer for upper class men.
Shirt lengths varied from between waist and hip to
above the knees.

7 VOGUE OCTOBER 2017

Costume of Men and Women
in first half of the 15th Century

Costume for Women: Costume for Women:
1400-1450 1450-1500

Womens’ costume consists of houppelandes and Women mostly wear a combination of a chemise
have imaginatively cut sleeves. Foreheads were bare shirt beneath a dress and a second overdress on top.
and fashionably high compared to other parts of Eu-
rope, but are covered less completely. Headdress are The chemise or camicia are floor length and are
large, round and beehive shaped hats and reflects the made of linen. Similar to mens’, the fabric quality
styles of their middle eastern contacts. The Italian varied depending on their social status. Fullness of
dress and that of the Northern Europe diverged in the the cut depend on the weight of the fabric; sheerer
beginning of the second half of the century. Distinct fabrics use fuller cuts. The camicia are worn as un-
differences between the two were evident until the dergarments but some peasant women are seen wear-
early 1500s. The houppelandes was replaced by new ing camicie to work in the fields and during warm
and more Italian styles. weather.

Luxurious fabrics are used for the dresses of
higher class women, giving a lavish appearance.
Dresses without overdresses are straight and starts
from shoulder to hem, which opens to pleats or gath-
ers over the bustline and typically worn belted.

Open or closed styled mantles/capes are worn
and usually match their dress.

Talking Fashion:
The Italian Renaissance c. 1600

Italian dresses were distinct until halfway through Square, wide and low necklines predominated;
16th century, after, except for women’s dress in Ven- sleeves widened. They have a full, wide puff at the
ice, the styles became more similar to the Spanish top and tapered to a fitted sleeves from above the el-
and French. The influences was a result of the occu- bow to the wrist.
pation of the area by them and Venetians style be-
came more unique. Waistlines were straight, but gradually became V
shapes, because of Spanish influences.
Costume for Men:
1600 Turbans became trendy and was influenced by
the Turkish headdress.
White camicie made of linen have embroidered
necklines and cuffs. Spanish embroderies such as
Black work are very trendy.

A doublet is worn over a camicia, but to create a
extremely slim silhouette, it is worn without a jacket.
This trend persisted until the end of the first decade,
after which style took a turn to become fuller.

Some jackets come in short sleeves, allowing a
contrast between the jacket and the sleeve of the dou-
blet.

Attached to doublets were hoses, which now
have distinct, padded codpiece. The codpiece al-
lowed men an easier solution to relieve themselves.
The codpiece became the most distinct feature of
men’s clothing and has grown in proportions. How-
ever, towards the end of the 16th century, the cod-
piece became out of trend.

Costume for Women:
1600

Camicie features a high cut to show the neckline
of the gown. They are often embroidered, decorated
or finished with a small neckline ruffle.

The silhouettes of dresses grew wider and fuller.
The Spanish influences are evident in the bodices,
where it became more rigid.

9 VOGUE OCTOBER 2017

Venetian Costume
Venice had the clearest and most distinctive dif-
ferences in their costumes, compared to other regions
of Italy.

Venetian Costume For
Men

Venetian men wore garments with V-shaped
waistlines during the 15th century.

Long outer tunics was the preferred choice of
outerwear as oppose to jackets.

By the 16th cenutry, men’s dress was heavily in-
fluenced by Spanish and French styles.

Venetian Costume For
Women

Women in the Venice region wore gowns with
waistlines positioned below the bosom and the fab-
rics used are lighter and less rigid.

Chopines are very high platform-soled s hoes
and are worn throughout Italy and northern Europe,
but in Venice, they platforms are much higher.

Women bleached their hair to light blonde shades
and wore early adopters of distinct underdrawers and
garments that were not common anywhere else in
Europe.

By the end of the 16th Century, Venetian gowns
went back to normal waistlines in the back and
dropped to a deep U shape in the front.

Venetian Dress of Of-
ficials

The highest official in Venic, the Doge, along
with a hereditary ruling class of nobles, wore tradi-
tional long robes with wide sleeves. The wider the
sleeves, the more important their rank and colours
varied according to rank and office.

The Doge’s headdress is worn over a coif and
shaped like a Phrygian Bonnet. These costumes per-
sisted until the 18th Century.





Life in Northern Europe

Increased travel brought cross-cultural influence Cross-Cultural Influ-
to dress in Europe and the wealth that came from ences From the Mid-
trade and conquest made courts a center for display dle East
of changing fashions. Printed books became read-
ily available and some depicted the dress of far-off In the early 1500s, Francis I of France found it
lands. politically expedient to make an alliance with Sultan
Suleyman, leader of the Ottoman Turks. Style ideas
Historic Background brought back by diplomats, merchants, and travelers
By the beginning of the 16th century, northern from the Middle East entered the European court.
Europe had experienced a gradual transition to par-
ticipation in the new spirit of the Renaissance. The first illustrated travel book showing Middle
Eastern scenes and styles appeared in 1486. Thurks
The Protestant Reformation, which began in the costume fascinated many in Europe, although direct
German states of the Holy Roman Empire, split Eu- influence on Fashion appears to have been somewhat
rope into two hostile religious camps. limited. In 1510 the English Earl of Essex appeared
at a banquet dressed in what was described as “Turk-
At the beginning of the 16th century, the Haps- ish fashion.” Ropa: a loosely fitted overdress, derives
burg territories, the Low Counties, and Spain came from Middle Eastern styles
under the rule of one man, the Emperor Charles V
(1500-1558), who was elected Holy Roman Emperor
and thus gained imperial rights over all of Germany
and northern Italy in 1519, and he ruled over a larger
territory than any ruler had ever attempted to govern
at the age of 19.

In 1556, Charles V divided his territories be-
tween his brother Ferdinand (1503-1564), who re-
ceived Austria and the Holy Roman Empire, and his
son Philip (1527-1598), who inherited Spain, the
Low Countries, and the New World.

13 VOGUE OCTOBER 2017

Changes in Textile Decorative Techniques
Technology of the 16th Century

A treadle-powered spinning wheel in combina- Embroidered decorations were applied not only
tion with a device called a bobbin-and-flyer mech- to puter garments but also to visible neck and sleeve
anism made spinning easier. The device sped up the edges of undergarments such as shirts and chemises.
process of spinning by doing away with the need to
stop to wind up the yarn after each length was spun. Spanish work, an especially fashionable embroi-
It was improved by a German inventor and came into dery, originated in Spain and spread throughout the
use in the mid-1500s. rest of Europe, which consisted of delicate black silk
figures worked on fine, white linen, often being ap-
By the latter part of the 16th century, hand knit- plied to the neck band and wrists of men’s shirts and
ting was being used to make stockings. Knitting al- women’s chemises.
lowed for a closer fit of hose than woven materials.
Threads were removed from the fabric and em-
broidery applied to the now open areas.

Cutwork was created by embroidering designs
on solid cloth, then cutting away sections of the cloth
between the decorations; or filet/ lacis, the artisan
embroidered patterns on a net background. Both of
them are considered the forerunners of lace.

Lace making probably began in Europe just be-
fore the beginning of the 16th century.

Lace differs from either cutwork or filet in that it
is constructed entirely from threads, dispensing with
any backing fabric.

2 types lace: needlepoint lace, which seems to
have originated in Italy, is made by embroidering
over base threads arranged in a pattern, and connect-
ing these base threads with a series of small intricate
stitches ;and bobbin lace/ pillow lace, which may
have originated in the Low Countries, created a com-
plex pattern by twisting or knotting together a series
of threads held on bobbins.

These lace could be made of any fine thread—
linen or silk or cotton.

During the last half of the 16h century lace was
used almost universally to decorate both men’s and
women’s garments.

Life in Northern Europe Continued...

Literature Works after 1600: Tragedies and Tragicomedies.
It was in William Shakespeare’s later period, after

William Shakespeare (baptized on April 26, 1600, that he wrote the tragediesHamlet, Othello,

1564 to April 23, 1616) was an English playwright, King Lear and Macbeth. In these, Shakespeare’s

actor and poet also known as the “Bard of Avon” characters present vivid impressions of human tem-

and often called England’s national poet. Born in perament that are timeless and universal. Possibly

Stratford-upon-Avon, England, he was an important the best known of these plays is Hamlet, which ex-

member of the Lord Chamberlain’s Men company of plores betrayal, retribution, incest and moral failure.

theatrical players from roughly 1594 onward. Writ- These moral failures often drive the twists and turns

ten records give little indication of the way in which of Shakespeare’s plots, destroying the hero and those

Shakespeare’s professional life molded his artistry. he loves.

All that can be deduced is that, in his 20 years as a In William Shakespeare’s final period, he wrote

playwright, Shakespeare wrote plays that capture the several tragicomedies. Among these are Cymbeline,

complete range of human emotion and conflict. The Winter’s Tale and The Tempest. Though graver

in tone than the comedies, they are not the dark trag-

With the exception of the tragic love story Ro- edies of King Lear or Macbeth because they end with

meo and Juliet, William Shakespeare’s first plays reconciliation and forgiveness.

were mostly histories. Henry VI (Parts I, II and III),

Richard II and Henry Vdramatize the destructive

Fine Artsresults of weak or corrupt rulers, and have been in-
terpreted by drama historians as Shakespeare’s way Albrecht Durer (1471 - 1528) was a German

of justifying the origins of the Tudor Dynasty. Ju- painter, printmaker and theorist from Nuremberg.

lius Caesar portrays upheaval in Roman politics that His still-famous works include the Apocalypse

may have resonated with viewers at a time when En- woodcuts, Knight, Death, and the Devil (1513), Saint

gland’s aging monarch, Queen Elizabeth I, had no Jerome in his Study (1514) and Melencolia I (1514),

legitimate heir, thus creating the potential for future which has been the subject of extensive analysis and

power struggles. interpretation. His watercolours mark him as one of

Shakespeare also wrote several comedies during the first European landscape artists, while his ambi-

his early period: the witty romance A Midsummer tious woodcuts revolutionized the potential of that

Night’s Dream, the romantic Merchant of Venice, the medium. Durer’s introduction of classical motifs into

wit and wordplay of Much Ado About Nothing, the Northern art, through his knowledge of Italian artists

charming As You Like It and Twelfth Night. and German humanists, have secured his reputation

Other plays written before 1600 include Titus as one of the most important figures of the North-

Andronicus, The Comedy of Errors,The Two Gentle- ern Renaissance. This is reinforced by his theoreti-

men of Verona, The Taming of the Shrew, Love’s La- cal treatise which involve principles of mathematics,

bour’s Lost, King John, The Merry Wives of Wind- perspective and ideal proportions.

sor and Henry V.

His prints established his reputation across Eu-

rope when he was still in his twenties, and he has

been conventionally regarded as the greatest artist of

the Renaissance in Northern Europe ever since.

Music Furniture
Giovanni Pierluigi da Palestrina, (born c. 1525, The cabinet-makers of the Renaissance partially
Palestrina, near Rome—died February 2, 1594, abandoned the coarser oak, and began to use walnut,
Rome), Italian Renaissance composer of more than chestnut, and other woods.
105 masses and 250 motets, a master of contrapuntal
composition. As opposed to Gothic, which was using subjects
taken from saints’ lives, Renaissance carving had
Palestrina lived during the period of the Catholic mythological, allegorical, and historical subjects.
Counter-Reformation and was a primary represen- Following the architectural lines, earlier cabinets
tative of the 16th-century conservative approach to and paneling took the forms of palaces, the fronts of
church music. cupboards often representing miniatures of basilicas’
façades.
Architecture
During the 16th century, the number of chairs
increased. Beside the carved, rectangular, high-back
chairs, there were the X-shaped curule or Savonarola
chairs. This type was a smaller and more comfortable
chair. It was carved, sometimes gilded, and could
have a wooden seat with a cushion placed on it. To-
ward the end of the century, chairs were occasionally
upholstered in silk, leather, or tapestry.

The typical Renaissance table was rectangular
and supported by solid carved consoles connected
by heavy stretchers, with the legs terminating some-
times in a scroll. The tops could sometimes be slabs
of marble or mosaic, while the ornaments of the ta-
bles were carved or gilded.

Talking Fashion:
The Northern Renaissance c. 1500-1600

The style changes increased in the 1600s. Men 1500-1515
and women costume have gone through three differ- During the first phase, shirts, made of white linen
ent phases. The styles differed greatly between the
phases. However the phases do not occur at the same are cut full and gathered into a round or square neck-
time for men and women. line. Embroidery or cutwork is used to decorate the
neckline. Shirts also feature long, raglan sleeves.
Costume for Men:
1600 Doublets and hose are laced together, the doublet
was only waist length. Hoses are seamed into one
The three phases for men consist of; the first garment with a codpiece.
phase, medieval style to renaissance style (1500-
1515), the second phase, the German influence The paltock, a version of a doublet, is cut with a
(1515-1550) and third and final phase, the Spanish deep V at the front which had a filler of contrasting
influence (1550-1600). color under the V. Laces are used to hold the open
area together and also to hold the sleeves in place.
17 VOGUE OCTOBER 2017
Jackets are sometimes worn over doublets and
cut the same length. They were made either with
sleeves or without.

Bases are separate short skirts worn with a jacket
or doublet for civil dress or over armour for military
dress. Robes and gowns were opened in the front,
long and full with large hanging sleeves. Shorter
gowns were worn by more younger and fashionable
men. Gowns are worn over doublets or jackets.

1515-1550 The neckline of the doublet is cut high and the
In the second phase, their styles emphasized full- shape and finishing varied. Pecadils are placed just
below the waist and padded narrow sleeves fitted the
ness in their costume with large, bulky and puffy arm.
areas. Slashings or panes were used to decorate the
garment. Peascod belly became the nickname for the in-
creased padding on the front of the doublet.
Shirts, doublets and jackets continued with more
slash and pane decoration. Most doublets and jack- Jackets are worn and are shaped similar to dou-
ets are cut with gored skirts. They came in a variety blets, as it is needed to be worn over.
of designs, such as, sleeveless, wide U or V shaped
necklines. Breeches are worn with a variants, such as Vene-
tians, which are skin tight and open breeches which
Hoses are held up by lacing them to the doublets. were wide and full.
The codpiece are padded for emphasis.
Melon shaped trunk hoses were widely popular,
1550-1600 and are usually paned, heavily padded and ended
In the final phase, the Spanish influence became at the hips. Other variations sloped gradually from
a narrow waist to fullness concentrated about mid
more pronounced. Shoulder widths narrowed down thigh.
and gradually throughout the rest of the century the
width decreased and the hip increased. By the begin- Extensions from the end of the trunk hose to the
ning of the phase, men no longer wore short jackets knees, called canions, are used to separate stockings
or longer skirted jackets and hose. at the bottom. Stockings are used with trunk hoses
and canions more than the long, joined hose.
During this time, men had small squared shirt
collars at the neck edge of the doublet. The collar of Around the middle of the century, capes became
the shirt became a small ruffle and later it developed shorter and longer for outdoors and replaced gowns.
as an accessory item that is separate from the shirt.
The ruff became the most characteristic feature of
men’s clothing.

Talking Fashion:
The Northern Renaissance c. 1500-1600

Costume for Women: There were also heavy Spanish influences in oth-
1600 er countries. Rather than wearing an underdress and
an outer dress, women wore an underskirt, called pet-
During the classical and medieval periods, un- ticoat, and an overdress. This created a hourglass sil-
dergarments provided warmth and protected the houette and the bodice narrowed to a small waistline.
wearer. By the 16th century, the functions of under- Skirts expandeded to an inverted cone shape with
garments changed. Steel or iron corsets are worn and an inverted V opening. The skirt are attached to the
are regarded as orthopedic garments or fanciful re- bodice of dresses. Necklines are usually squared and
constructions made after this period. later a more closed styles were worn. These dresses
had closed necklines with standing, wing collars or
1500-1530 chemise filled necklines.
During the first phase, it was a transition from the
Sleeves became very narrow at the shoulder and
medieval style period. flared to a huge, wide squared turnback cuff. Another
The chemise would be the most used undermost style had puffed shoulders and fitted, long extension
of the sleeve to the wrist. Sleeve decorations consists
garment. Gowns would drape over the chemise, bod- of cutting and paning with decorative fabrics and at-
ices were fitted and skirts were long and full. taching the panes with aiguillettes.

Women either wore a single dress or two layers, Skirts became more rigid and dresses were floor
outer and under dress. Dress necklines are usually length. Petticoats are visible through the inverted
squared, allowing the edge of the chemise to be vis- V at the front of the skirt. An outergown, with ei-
ible. Smooth-fitting narrow sleeves with decorative ther sleeveless, short puffed sleeves or long sleeved,
cuffs, wide funnel shapes with contrasting linngs called the ropa.
and hanging sleeves are the few variations of dress
sleeves that are widely available. 1575-1600
The shape of skirts were the first changes towards
1530-1575
Through the second half of the century, the Span- the end of the century. The bum roll was placed
around the waist in order to provide skirts with great-
ish influence is evident in German styles. The styles er widths. Dresses were sewn to farthingales into one
feature softly gathered skirts, that were joined to piece and could be opened at the front or back with
very fitted bodices that had low, square or rounded the matching undershirt. The sleeves became fuller
necklines. The neckline is usually filled in by che- with high sleeve caps to make this look more propor-
mises. Bodices are decorated and/or embroidered tional. The stomacher was elongated by ending with
across the bosom. Sleeves are close fitted with tight a V shape at the waist.
puffed bands.

19 VOGUE OCTOBER 2017

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Theatre Critique

Romeo & Juliet Review:
The costume, building and scene confirm to the
Summary:
In 15th century Italy, there were two notable fam- actual condition in Rovino in 15th century and bring
the audiences to that period of time. They also work
ilies in Verona and there was the deep confrontation well in details and show the romanticism of original
between them. However, the young boy and girl from work.
these two families, Romeo and Juliet, fell in love at
first sight and got married without family consent. The emotional expression of two protagonists are
Juliet’s cousin provoked Romeo and was killed. Be- drastic. It can be understand that the ages of char-
cause of that, Romeo was banished. Juliet planned acters are young or the imitation of drama’s perfor-
to fake her dead with the help of godfather to elude mance way. It shows Juliet is brave and enthusiastic,
forced marriage from her family. Romeo came back but it is still a little bit drastic.
in hurry when he knew that news, but he misunder-
stood that Juliet dead and suicided. In the end, Juliet It is a shame and also makes me confused that the
also suicided when she saw Romeo’s corpse. deletion of the pharmacist’s part, and the result is that
the film does not explain how Romeo gets the poison

What Is A Youth, classical and an important ele-
ment of film’s success.

The play is based on the original work, but there
are still two rifacimentoes—love and violence

The ages of two protagonists are close to the
character and their acting is not so mature but the
expression of emotion is awesome.

Shakespeare in Love Review:
The movie “ Shakespeare in love” directed by
Summary:
This romantic comedy “Shakespeare in love” set John Madden featured victorian fashion.
The movie was concentrated on 16th century pe-
in London in the 16th century. He is a poet in the
movie, who struggles for writing a new script for the riod where they showed lots of costumes from that
new play. He is looking for a source of inspiration period.
from the woman of his dreams to make him inspired
to write for his new play, but every attempt fails until The queen in the movie was a very important fig-
he meets the beautiful Viola. She is in love with the- ure. One can see her fashion style copied by many
atre play and love to be part of it, but unfortunately people in that society.
men are only can be actors and can play. She also in
love with shakespeare’s work and admire him. Then, The costumes in the movie reflects about their
she finds a way and dressing up like a man ,by the status in society because one can see how the court
name of Thomas Kent, to take over the stage for his around the queen dressed and the court audience in
next play and actually perform on the stage. Soon the movie showed lots of 16th century costumes.
after, they fallen in love and the love affair starts, but
this love story cannot end happily, since shakespeare The rich colours were worn by richer people.
were married and she promised to the dour Lord Wes- There was lots of gold, ball gowns, tight-fitted pants
sex. As they rehearses for his new play, they make have been seen. Shakespeare wore the grey blue
this masterpiece which is called Romeo and Juliet. leather jacket over loosely fitted jacket. The embroi-
dery in the clothes have been seen lots in the movie.

The wedding dress Viola was wearing is an evi-
dent of the gold colours and the embroideries of that
time. Chemise had been seen in the movie as well
which is a under garment and used for protecting the
skin from those heavy and rough dresses that might
be irritating the skin.

Hose in the movie have been seen wearing by
men, but most of them wearing boots as well and
also doublet shown in the movie.

Doublet was not the same as its suppose to be
worn because it is not worn like a jacket and it sup-
pose to stay close in front all the times, but in the
movie you can seen opened doublet. Shakespeare
in the movie never button up his doublet which was
wrong the way to wear it.

Ruff was also shown in the movie by the charac-
ters which was worn around the neck.

People Are Talking About

In fine style: The Art
of Tudor and Stu-
art Fashion by Anna
Reynolds

In the book by Anna reynold, she talks about how
costumes were relating to the reputation they had in
society like how rich fabrics were used to create their
image to what they are and what is their importance
in the monarch’s court. All these things were present-
ed in the arts of that times like it said in the book
“clothing could reveal information about a wearer’s
social position,wealth, religion, nationality, marital
status, fashionability and so on.”(p. 13)

The author also mentioned in the book that how
these monarch were creating a new fashion even if it
was not directly. The the common people of society
would just accept it, since it was worn by the courts
member for example in this picture the dark orange
is worn by Princess Mary and the artist called her
“Mary, Princess of orange” which shows how every-
one focuses on her wearing that orange colour. After
that, you can see in the arts of that times orange used
a lot and it was referenced to her as her title. (p. 13)

25 VOGUE OCTOBER 2017

References
Burckhardt, J. (n.d.). Civilization of the Renaissance in Italy. Retrieved October 30, 2017, from
https://ebookcentral.proquest.com/lib/kwantlen-ebooks/detail.action?docID=3117753
Vogue. (1969, December 31). Retrieved October 30, 2017, from https://www.vogue.com/
Reynolds, A. (2013). In fine style: the art of Tudor and Stuart fashion. London: Royal Collection
Trust.

Zeffirelli, F. (Director). (n.d.). Romeo and Juliet [Video file]. Retrieved October 30, 2017.
Madden, J. (Director). (n.d.). Shakespeare in Love [Video file]. Retrieved October 30, 2017.
Stevens, D. W. (2016, January 04). Giovanni Pierluigi da Palestrina. Retrieved October 30, 2017,
from https://www.britannica.com/biography/Giovanni-Pierluigi-da-Palestrina
TORTORA, P. G. (2015). SURVEY OF HISTORIC COSTUME.
William Shakespeare. (2017, August 05). Retrieved October 30, 2017, from https://www.biography.
com/people/william-shakespeare-9480323