Fashion The Definitive History of Costume and Style 2012

High, stand-up collar Shoulder pad POWER SUIT 399
holds shape
IN DETAIL

◁ HIGH COLLAR
A stand-up collar runs seamlessly
into a neckline that closes
high above the breast before
continuing down in a long, crisp
sweep to the top press-stud. This
suggestion of femininity is partly
offset by the masculine look of
the padded shoulders.

◁ RAGLAN SLEEVES
The jacket has strong lines that
are softened with raglan sleeves.
To achieve the right shape, an
oval shoulder pad runs along the
shoulder and into each sleeve.

◁ FASTENINGS
The jacket closes via three
fabric-covered snaps that run
down the center front; below
the closures the jacket flares into
a soft V-shape.

Sleeves ◁ SIDE PANELS
taper to a Beautifully curved side panels
point with accentuate the cinched-in waist
a vent at front and back. The shape is
overtly female, implying that the
wearer is conscious of her body.

◁ POCKETS
Taking his inspiration from the
hourglass silhouettes and corsets
of the 19th century, Mugler
added two welt pockets just
below the waist, styling them
to curve with the natural shape
of the hips. Topstitching lends
sophisticated decorative detail.

400 THE DESIGNER DECADES

1973 ONWARD

JAPANESE
STYLE

Although Japanese designers Hanae Mori and 1973 Sculptural spectacle Kansai
Kenzo Takada were showing in Paris in the Yamamoto is considered the
1970s, it was Issey Miyake who brought the Concentric circles father of contemporary
avant-garde movement to the fashion capital in mimic samurai Japanese fashion. He
1973 with his radical approach to dress, a melding archer’s target interpreted traditional arts
of art and science. Kansai Yamamoto made his Paris and dress in striking ways to
debut in 1975 with designs inspired by kimonos and Cut as a full create modern clothes, as
kabuki costumes. In 1981 Rei Kawakubo and Yohji circle of fabric seen in this outfit inspired by
Yamamoto shocked fashion editors and buyers a samurai fire warden cape.
with oversized proportions, disregard for gender, Wide-legged pants
and predominant use of black. Yamamoto was balance oversized Shoes based
interested in purity of form and the interaction proportions above on lacquered
between body and fabric, while Kawakubo’s Japanese geta
focus for her Comme des Garçons label was on (sandals)
deconstruction, breaking down clothes and putting
them together in unexpected ways. Kawakubo’s 1989
protégé Junya Watanabe has forged his own look
using techno materials and inventive construction. Pockets at
side
ISSEY MIYAKE Hat is
also scarf Dress ares
out from
Knit dress yoke
falls over
body loosely Angular
asymmetric band
1985
Alternative vision Dubbed
One of the foremost textile innovators in Cape cardigan the poet of black, Yohji
fashion history, Issey Miyake established cut on circle Yamamoto uses the occasional
the Miyake Design Studio in Tokyo in 1970 can be layered bright detail or piece for
to produce experimental garments. “I try impact. The uneven band of
not to fear radical things,” he has said, Tonal hose and orange in this dress creates
and this is evident in the way he has unisex boots visual dynamism.
pushed the boundaries of what clothes
can be. Although his designs have Wearable art Although his clothes use fabrics and
sometimes appeared as sculptural objects, cuts that have resulted from sophisticated processes
most of his retail range is practical. His and experimental techniques, Miyake seeks to make
Pleats Please line, for example, is a series his designs easy to wear. This 1985 ensemble based
of pleated tubes and flat shapes that on simple, loose shapes is an example.
come to life on the wearer and can be
worn in numerous ways.

Pleated organdie Hand-knit sweater Rustic hat with straw JAPANESE STYLE 401
ruf es at neck, with randomly folded like fabric
cuffs, and hem placed holes Deconstructed work wear By
Plain white restricting the color palette in
Dress of Fastens tank top gives her early collections to black and
rayon jersey at neck neutrals, Kawakubo focused the
modern look
1979 Oversized eye on construction and shape.
cuffs 1984 This 1984 design has an
Waterfall oversized, unstructured
sleeves 1982 Apron-style jacket with distorted lapels.
peasant skirt hangs
hide arms Padded cotton Doll-like
jersey skirt from single band makeup
Draped
around body Asymmetric
lines

Trailing
cloak cut
in T-shape

Seamless style Gnuyki Torimaru established Flawed beauty For her Fall/Winter 1982 Padded dress with
himself in London under the name Yuki during the collection for Comme des Garçons, Kawakubo ridged outer seams
1970s, and became known for his draped jersey presented this black knitwear that looked
dresses. His designs were cut on a full circle with no moth-eaten—her idea of modern lace. All black Cutaway dress bodice
seams, and made in one size to fit all body shapes. was typical of Kawakubo’s 1980s designs. attached to shirt

Stole can Crumbling Daisy hat
be wrapped in oral hat with ribbons

many ways

Pleated Spotted dress Dress at front,
polyester fabric invades jacket at back

2001 jacket above 2008
bustline

Mannish
pinstripe

jacket

2006

Dress in Asymmetric
tube shape jacket hem

Long length Continuous
covers body length of cloth
shrouds wearer

Pleated polyester Inspired by the pleated silks of Boyish striped Platform
Mario Fortuny from the 1920s, Miyake experimented breeches sandals and
with synthetic fabrics to create a new pleated fishnet socks
polyester fabric in 1988. It was not meant to be cut Plain black
into Western-style patterns but into free-form shapes. lace-up shoes Culture clash Kawakubo’s
freewheeling creative approach is clear
Dramatic asymmetry Kawakubo here draws in this 2008 outfit, which is a mash up
on Victorian and modern street-urchin style but of clown costume, circus girl frills, tribal
deconstructs and reinvents it. Like other Japanese prints, and men’s tailoring.
avant-garde designers, her work is beyond fashion,
in that it does not follow current trends or themes.

I just decided to make
a company built around
creation, and with creation
as my sword, I could fight
the battles I wanted to fight.

REI KAWAKUBO, 2009

THE DESIGNER DECADES 403

DESIGNER

COMME DES GARCONS

Spanning four decades, the label Comme des Garçons Awards and criticism △ PRIVATE ICON
is unique, set apart from any other within the Although often at the center of
fashion industry. Created by Japanese designer Rei Despite initial criticism, by the mid-1980s Comme des controversy, Rei Kawakubo has always
Kawakubo, the company was established in 1973 and has Garçons was well on the way to international fame. In preferred to stay out of the limelight and
been attracting interest and controversy ever since. 1985 Kawakubo held her first show in the US, and the is rarely photographed or interviewed.
following year she won a Fashion Group International Her trademark look, seen here, comprises
Kawakubo began her career in advertising in the 1960s, Award. Comme des Garçons’ branding became a basic black uniform and hair styled
and was a self-taught designer. After launching Comme synonymous with art-house magazines and cutting-edge in a severe, blunt bob.
des Garçons, she opened her first boutique, solely for photography that almost pushed the clothes into the
women, in 1975. The late 1970s and early 1980s saw background, adding to their air of mystery. ◁ ALL-WHITE
an expansion into menswear; in 1978 a men’s line, Kawakubo’s Spring/Summer 2012
Comme des Garçons Homme, was added to the label. For Spring 1992, Kawakubo showed garments that collection featured full-skirted white
looked like the paper patterns of clothes rather dresses worn with short boots.
The “poverty” look than the clothes themselves. In 1995 she
roused fierce criticism from Jewish groups for
After moving to Paris in 1980, Kawakubo showing male models with close-cropped hair
showed her designs there the following year, wearing striped pajamas; and for Spring 1997,
to howls of outrage. All the ideals of Western she sent outfits with bulbous padding down the
womanhood in the 1970s and 80s—beauty, Paris runway, genuinely shocking an audience
charm, sex appeal—were missing. Instead, the that thought it had seen it all before.
press reported loudly on the “post-Hiroshima”
look of poverty and destruction. The clothes More surprises
were deliberately tattered and torn, and the
collection featured a great deal of black—shape Kawakubo favored surprising venues and
and construction being more important than unexpected collaborations. In 2004, for
color. Comme des Garçons (meaning “like example, she began to roll out a series of
the boys”) was the opposite of what
women were meant to look like. “guerrilla” pop-up stores in locations away
from traditional fashion capitals. These
Kawakubo criticized the very concept outlets, which included one in an old
of fashion. Her clothes were more like bookstore in Berlin, were run on small
sculpture than couture. She budgets and were intended to be
challenged the prevailing silhouette, short-lived. Comme des Garçons also
cleverly using fabric to create a collaborated with the huge
different aesthetic of revealing and mainstream retailer H&M on a
concealing. Her second collection, ready-to-wear collection, which was
shown in Paris for Spring/Summer released in the fall of 2008 to great
1983, featured drab colors in rough critical and consumer acclaim.
fabrics and garments full of holes. It promoted Kawakubo continues to confound her
a new “beggar” look of beauty in destitution,
again challenging Western concepts of glamour. critics (and also her admirers), for instance, designing a
dress for the fashion doll Barbie, which formed part of
Comme des Garçons’ Jingle Flowers collection.

TIME LINE 1967 After early career in 1981 First collection ◁ 1984 Spring/Summer ▷ 1997 Spring/ 2004 First of
advertising, Kawakubo starts shown in Paris collection features Comme Summer collection “guerrilla” pop-up
work as a freelance designer des Garçons’ signature continues to challenge stores opens in Berlin
1973 Comme des deconstructed look
1942 Rei Kawakubo Garçons established conventional 2008 Launch of
born in Tokyo 1986 Kawakubo fashionability with collection in
as a company wins Fashion Group collaboration
International Award padded clothing
with mainstream
1940 1960 1970 1980 1990 retailer H&M

2000

◁ BOLD AND BRIGHT This vibrant coat appeared in Comme des Garcons’ Fall 2012 show. Such outsize, “cutout” shapes and solid colors were prominent in the collection.

404 THE DESIGNER DECADES Exaggerated
forelock and
1977 ONWARD sideburns

STREET STYLE Long, tailored
Edwardian-style
Street tribes—groups with a distinctive visual identity—have been
emerging since the late 1940s. With each decade new groups drape jacket
appear, influencing mainstream fashion with their fresh, authentic
appeal. The last 40 years have seen revivals of trends from 1977 Rolled jeans
the 1950s and 60s, in particular reinvention of already
motorcycle-riding greasers and rockers, and Mohawks mainstream
their opposing faction the mods, with sported by
international appeal and sharply tailored both sexes
suits. Associated street subcultures were
the West Indian–British rude boys and Suede brothel
the skinheads. Punks grew out of a mix creepers (thick,
of boredom with hippy culture and crepe soled shoes)
aging rock stars, and new musical adopted by other
influences, including the New York Dolls subcultures too
and Iggy Pop in the US and the Sex Pistols in
the UK. Like punks, the darkly romantic goths Rockin’ teddy boys The uniquely British teddy
have had a pervading influence on fashion, from boy style of the 1950s was revived in the 1970s,
mass-market clothing to haute couture. Today, in conjunction with the popularity of rockabilly
rather than a recital of tribal dressing, street style music, although this time there were glam rock
is now mainstream, acceptable, and integrated. influences and a more exaggerated look.

Studded wrist is Punk provocation Vivienne Westwood
fetish reference and Malcolm McLaren virtually invented
punk style with their bondage pants
1982 and T-shirts with offensive slogans.
Mohican haircuts, often brightly
14-hole dyed, were a signature look of early
Dr. Martens 1980s punks, who often posed for
photographs on the Kings Road
in London. Tartan pants and
ripped and torn clothes were
also punk looks.

DR. MARTENS

The prototype for Dr. (Doc) Martens was
developed by a German soldier in 1945.
After the patent was bought by British firm
R. Griggs, the boots were produced in the
UK. Popular with blue-collar workers,
the eight-hole Dr. Marten in black
or oxblood was adopted by
skinheads in the 1960s. Dr.
Martens have been worn
widely by psychobillies,
skinheads, goths, and
indie kids.

Ripped Wide, Dr. Marten
jeans studded boot
belt

STREET STYLE 405

Prominent
forelock

Black tie Polo shirt Leather
with tight is rude jacket

knot boy staple

Cardigan

Slim-fitting Leather
suit belt with
big buckle
1980
1981

Creased
cigarette pants

Pale jeans

Leather Pointed,
boots heeled
boots
Two-toned
shoes worn with Rockabilly revival The renewed popularity of
white socks 1950s rockabilly music went hand in hand with
a return to their look. These two wear denim
Mod attitude British band The Jam’s frontman, Skinhead bravado Aligned to the mods of jeans and leather jackets reminiscent of
Paul Weller (left), and bass player Bruce Foxton the 1960s and influenced by the rude boys, mid-century youth culture.
were in the front of the mod revival in the late skinheads adopted a tough, working-class
1970s. The band’s look was stark—here demeanor in reaction to what they saw as
contrasting a sharp black suit with white shirt. middle-class kids taking over youth fashion.

Spiked, black Designer
hair shows sunglasses

punk legacy Victorian-style
bonnet in
Peek-a-boo hair Pretty puffed, candy pink
covers face frilled sleeves

Sheer lace Waxed
bodice jacket

Elbow-length
gloves part of

demure look

1984 2008 2011

Fitted and Bare
draped legs
leather dress
Long, velvet Tiered
skirt fitting for Pointed, cupcake
velvet skirt
romantic shoes
heroine Hunter
wellingtons

Shoes with ankle
ties and bows
are popular

Goth glamour The goth aesthetic came together Gothic Lolita A Japanese brand of gothic, Heritage revival Traditional English country garb
in a London club called The Batcave. Both men and combining Victorian, rococo, and fairy-tale dress, has been appropriated by music festival goers in the
women wore clothes inspired by Victorian mourning emerged in the mid-1990s, inspired by the UK and incorporated into their fashionable urban
garb and Bram Stoker’s Dracula, and it was not long costumes of gothic rock bands. It later became wardrobes. Soccer player’s wife Coleen Rooney
before this movement took to the streets. an influential part of Japanese popular culture. sports a waxed jacket and Hunter wellington boots.

406 THE DESIGNER DECADES Shiny
tonic
1979 –1990
suit
DANCE CULTURE
AND CLUB Skinny tie

The influence of clubs spawned new modes of dress in the 1980s, and 1979
certain clubs attracted certain groups of people. New Wave clubs such
as The Blitz in London, where host Steve Strange would only admit the Tight, cropped
“weird and wonderful” ushered in the dance culture. The flamboyant New pants
Romantics, showcased at the Fridge club in south London, took as their role
model the swashbuckling pirate, as embodied by Adam Ant and channeled Dr. (doc)
by designer Vivienne Westwood. In 1987 rave culture took hold in London Martens shoes
when Acid House music and the drug MDMA (ecstasy) were transplanted
from Ibiza. Young people, disenchanted with Thatcher’s Britain, turned from Mod style The Specials were one of the leading
nine-to-fivers during the week to ravers on weekends. They adopted the British ska bands of the late 1970s and early
smiley face as their emblem. Clubs such as Heaven in London brought gay 1980s, fusing punk energy with Jamaican ska
culture into the mainstream, which had a huge effect on fashion. Across the that was sped up to a danceable beat. They
Atlantic, hip-hop and rap were the dominant urban club styles, associated wore 1960s rude boy clothes, including slim-cut
with pristine sportswear, leather bomber jackets, and heavy gold jewelry. suits, porkpie hats, and Fred Perry shirts.

HIP-HOP

Fedora Tie-dyed
head scarf
recalls 1960s

Bomber Bright, spotted
jacket vest for

dance- oor impact

Smiley face
is emblem of
Acid House

Hip-hop group the Beastie Boys are credited 1985 1988
with influencing the dress of young men not
only during the 1980s when they came to Black Espadrilles
fame, but also in the present day. Michael pants reference
Diamond, Adam Yauch, and Adam Horovitz Ibiza
wore a mashup of styles, blending various Adidas sneakers
New York street looks with classics, and with no laces Ubiquitous smiley face Acid House rave
expressing their love of punk rock. These culture hit the runway in 1988 at a show for
elements included old-school, white sneakers New hip-hop Run DMC’s Darryl “D.M.C.” the fashion market Hyper Hyper, on London’s
by Adidas and Puma, distressed, tapered McDaniels adopted a look that came from their High Street Kensington. Suddenly the smiley
jeans, preppy button-down and polo shirts, native Queens neighborhood, and rejected the face was no longer restricted to nightclubs
nylon jackets, hooded sweatshirts, gold glitzier appearance of other hip-hop acts. They and weekend parties; it had gone mainstream.
chains, and baseball caps worn at an angle. wore fedoras, leather or basketball jackets, gold
Their counterparts in musical and sartorial chains, and laceless Adidas sneakers.
tastes were hip-hop artists Run DMC with
whom they collaborated many times.
Both groups continue to have an impact
on the world of street fashion and music.

Tribal bangles Dreadlocks Trademark DANCE CULTURE AND CLUB 407
inspired by bowler hat
Oversized, Rastafarians New Romantic Welsh pop
white pirate singer and nightclub host Steve
Tunic and pants Strange loved fashion, and was
shirt with punk duct dubbed the “Peacock Prince” of
Wide, tape details the New Romantic movement. He
double developed a dandyish personal
Cropped jacket style based around 1940s zoot
belt with oversized, suits, Edwardian-inspired teddy
zoot shoulders boys, and punk, fashioning
1981 himself as an early 1980s hipster.

Flat, suede Black Red
pirate boots Adidas suspenders
sneakers worn back
to front
New Romantic With their drum-based, primal pop Flamboyant soul Boy George straddled
sound, Bow Wow Wow matched UK dance culture. varied urban styles. His music with the band High-
Set up by Malcolm McLaren, the band wore clothes Culture Club drew on rhythm and blues and waisted
designed by his partner Vivienne Westwood. reggae. Although he was labeled a New pants
Likewise, Duran Duran, with their billowing white Romantic, his look incorporated elements
shirts, started out with a New Romantic look. of punk and Jamaican street wear. White ankle
socks and
Cropped Long hair Punk take red loafers
platinum Leotard top on hipster
hair with watch chain
baseball cap
Bright, oversized
bomber jacket

Hip-hop Denim shorts,
jewelry preferably
cut-down
Bike shorts
over tights Levi's 501s

Leg 1990
warmers
High tops
Dr. (doc) for dancing
Martens shoes Rave scene As police cracked down on
illegal rave parties, Acid House returned to
Tough and sporty In 1988 Yazz & the nightclubs, in particular the Hacienda Club
Plastic Population hit the top of the UK in Manchester, UK. Fluorescent leggings,
charts with “The Only Way Is Up”. Front high-top sneakers, and bicycling jerseys were
woman Yazz inspired club goers with her the best clothes for dancing all night long.
cheerful, sporty style, which had a tough,
androgynous edge.



THE DESIGNER DECADES 409

RUNWAY

SUPERSTARS

The phenomenon of the “supermodel” reached its height
in the 1990s and among the most celebrated were Linda
Evangelista, Cindy Crawford, Naomi Campbell, and Christy
Turlington (pictured here). When these four strutted down
the runway arm in arm during Versace’s 1991 Fall/Winter
fashion show in Milan they were more famous than the
clothes. Not since Twiggy and Jean Shrimpton in the 1960s
and Marie Helvin and Jerry Hall in the 1970s had models
become such celebrities.

Supermodels were healthy-looking Amazonian beauties,
athletic and curvy and, most importantly, they had
personality. First-name recognition set them apart from
other models. The supermodel reigned supreme,
dominating the covers of all the top fashion magazines.
They were offered multimillion dollar contracts with
cosmetic companies, and starred in commercials endorsing
shampoos and soft drinks. Some appeared in movies, on
talk shows, and even launched their own clothing lines.

Supermodels demanded huge fees. “We don't wake up
for less than $10,000 a day,” Evangelista famously told
Vogue in 1990. The backlash to this attitude came when
fashion changed later in the 1990s. It was out with the
glossy and wholesome supermodels and in with a new
breed of fragile, individual-looking, and often younger,
models. A new phrase “heroin chic” described the
down-at-heel settings for fashion shoots presented in
magazines. Such a dressed-down style didn’t suit the
personalities of the supermodels, and designers opted
to make the clothes the star of the show once more.

There was a reason they were
supermodels…When they put on
an outfit everyone was floored.

ANNA SUI, DESIGNER, 2010

◁ FASHION AMAZONS
From left to right, Linda Evangelista, Cindy Crawford, Naomi
Campbell, and Christy Turlington model Versace, Milan 1991.

410 THE DESIGNER DECADES Simple, Scrupulously
round neat hair
1990 ONWARD
neckline Ultimate neutral US designer
MINIMAL AND Calvin Klein’s 1995 Fall/Winter
CONCEPTUAL collection made gray fashionable
with his luxurious cashmere knits,
In the wake of 1980s power dressing—which shiftlike dresses, and felted wool
emphasized clingy styles, bold color, exaggerated coats, accessorized with bare legs.
silhouettes, and embellishment—consumers in the
early 1990s seemed to tire of fashion, and the industry Discreet
struggled to lure them. New notions of antifashion buttoning
emerged with designers paring down the look and
using a plainer color palette—the Japanese avant- 1995 Simple Exaggerated
garde designers had already made all black acceptable ruf ed puff sleeve on
during the 1980s. It was a different way of dressing and Fitted but strap on
it appealed to women with professional jobs and busy not too clingy one side other side
working lives. It was a time too for deconstructivist
designers like Martin Margiela and Ann Demeulemeester
in Belgium, and Hussein Chalayan in England—all
of whom took an intellectual approach to fashion,
stripping clothes back to first principles as part
of their design aesthetic.

Sci-fi inspired Strapless
circular collar sheath

Curved pocket Slit to below the 2000
panels on side knee is dignified
Skirt fitted but
give shape gently ares
at base
Oversized
knee patches Tiered skirt
constructed
Panels on from wood
lower legs
Experimental reduction In Hussein Chalayan’s
Futuristic jumpsuit The millennium was on Studied simplicity This red strapless silk 2000 Fall/Winter collection the designer pushed
Austrian Helmut Lang’s mind when he created sheath from Calvin Klein’s Spring/Summer show the boundaries of everyday dress. In this
this take on a spacesuit for his 1999 Fall/Winter has sophisticated construction. It is held up by example he merged fashion and furniture
collection. The silk organza is layered over easy- a bandagelike bodice, then loosens around the by morphing a coffee table into a skirt.
give cotton and silk jersey to beautiful effect. torso, and drapes around the waist and hips.

Dress designed to Loosely draped Underpinned MINIMAL AND CONCEPTUAL 411
fall off one shoulder but showing by sporty style
body’s form Face-obscuring
tank dress Fun color; collar—clothes more
pared-back important than model
Sheer layer is fashion is not
slightly draped always neutral
for movement

1997 1999

Use of fine- Immaculate
quality fabrics tailoring

Extra-long, Ankle-wrap
asymmetric shoes reduced
to basic function
hemline

All white Known for her androgynous, sensual Sheer color For his 1999 Spring/Summer
clothing cut in innovative ways to drape and show Helmut Lang layered sheer, colored
elongate the body, Flemish designer Ann fabrics over white to create dressy sportswear
Demeulemeester uses black and white every that was hailed by fashion editors as sleek,
season. This is a Spring/Summer dress for 1997. desirable, and above all wearable.

Unstudied hair and Pioneer
makeup re ects the of techno
van Noten customer
fabrics

Sharp Ombré effect—
rectangular the graduation of
color in the
outline fabric—is used
obscures cleverly
body shape
Belted waist and
Oversized cropped sleeves
proportions of add femininity
jacket sleeves
Classic
2011 trench 2012
detailing
Relaxed Hybrid
Starched shape of white coat-pant suit
white fabric
cotton pants Conceptual tailoring
Simple pumps Martin Margiela naturally
Quiet elegance Flemish designer Dries van pushes the boundaries
Subversive style Belgian designer Martin Noten’s pragmatic but romantic approach is of clothing design, starting
Margiela reinvented the classic trench coat in seen in this look from Spring/Summer 2011. His with recognizable,
his Spring/Summer 2011 collection. The fabric clothes are often exquisitely decorated, but the tailored shapes and
is stretched over a two-dimensional rectangular shapes are essentially easy, and softly tailored. distorting them or
frame to completely obscure the body beneath. adding unexpected twists.
Although often accused of
creating unwearable garments,
the label retains a loyal following
for masterfully cut core pieces.

412 THE DESIGNER DECADES Beanie—typical Charms and Messy hair
grunge head wear chains with streaks
1990 – 2011
Long, plaid Luxurious
BOHO CHIC sleeveless sheepskin
AND VINTAGE tunic coat

Basic
white
T-shirt

Bohemian chic (boho) was identified by the UK 1992 Fedora
fashion media in 2004–05 to describe a stylized
look put together using aspects of bohemian, 1993
essentially hippie, dress. It was a younger—and richer
—cousin of grunge, the ultimate dressing down that Baggy, cropped, Flannel shirts
went mainstream in the 1990s. Instead of scouring skater-style reference original
secondhand stores for well-worn oversized sweaters pants
and army surplus gear, bohos went to expensive grunge wear
vintage clothing boutiques. In Paris it was called
bobo, which stood for bourgeois-bohème, implying Doc Marten- Square-toed
that it was an affectation of middle-class champagne type boots biker boots
socialists. Now major mainstream retailers display rails
of high-end secondhand clothes, and designers work High-fashion grunge American sportswear Stylish grunge A model on the streets of
with antique-clothing dealers to source pieces that designer Perry Ellis picked up on the mainstream Seattle demonstrates fashionable grunge, a
they can incorporate into their own work or simply grunge trend that was sweeping through the mix of items from a secondhand store, new
copy. Secondhand stores are no longer the down-at- US in the early 1990s. Christy Turlington models clothes that are distressed or made to look
heel places they once were; vintage is in vogue. his look from Fall/Winter 1992. worn in, and expensive designer pieces.

GRUNGE AND PEARL JAM Bright orange Natural-looking,
is hippie, feel- windblown hair

good color

Plunging Chambray
neckline peasant blouse

Metallic belt Handcrafted
for glamour look to knit
vest

2005 2008

Sequins and Dirndl skirt with
embroidery apron details
proliferate

Pearl Jam are one of the original bands Pointy-toed Folkloric charm Mirroring the boho trend, there was
of the Seattle grunge movement that gold stilettos a general interest in all things folksy and handcrafted.
kicked off in 1990. Like their music, their As trendsetting girls professed their love of knitting,
style of dress fuses many influences. Boho designers Matthew Williamson and chunky homemade sweaters became highly fashionable.
Their melange of skater, heavy metal, Alice Temperley are cited as boho-chic designers. Margaret Howell captured the mood in 2008.
ethnic, world traveler, and hippie-dandy Williamson’s floaty dresses feature butterflies
struck a chord with angst-filled American and embroidery, while Temperley, whose dress
youth. Grunge made it acceptable to pull is shown here, is cast as the English eccentric.
the sleeves of your secondhand cardigan
down over your hands in a scruffy
gesture of social alienation.

Smocking detail Recycling rules Eco-fashion BOHO CHIC AND VINTAGE 413
on dress represents the industry’s
environmental conscience, Sun-kissed
Plain, emphasizing sustainability hair and skin
workmanlike in an era of conspicuous White
consumption. British tank top
gingham designer Gary Harvey
created this 1998 dress Expensive red
from recycled materials. designer bag

1994 1998 2004

Girlish scale of Cutoff,
dress projects distressed
innocence denim skirt

Bare legs Activist designer Vintage
and black Katherine Hamnett’s cowboy
hobnail-style “Choose Life” slogan
boots
boots Antinuclear
“Clean up or Sienna style As early as 2003 the fashion press
Back to the farm Winona Ryder channels a plain, had begun commenting on Sienna Miller’s
American farm-girl. It was typical of the dressed- die” slogan signature style in which she seemed to mix
down style of the mid-1990s, part of a wider designer, mainstream, vintage, and secondhand
movement by celebrities to distance themselves store finds. The result looked effortlessly natural.
from Hollywood glitz in favor of authenticity.
Simple
Sunglasses Dress composed owing veil
endow cool of 20 organic
Small bouquet
Hippie-style cotton T-shirts adds color
hair
Shimmering
Wristbands sequins provide
and amulets
signal interest a little dazzle

in quasi- Style icon At her wedding to rock guitarist Jamie
spiritual Hince in 2011, model Kate Moss embodied the spirit
of bohemian chic. She wore the most stunningly
2011 beautiful couture, designed by John Galliano, as
casually as if she had donned a pair of jeans.
Naïve cotton
hippie dress

Suede boots, Ball-gown
part of pirate skirt

boot revival

Festival mania Jumping on the festival
bandwagon, music and literary festivals in the
21st century attract a wealthy, fashion-conscious
following, such as model Alessandra Ambrosio who
apes the hippie generation with nonchalant ease.



THE DESIGNER DECADES 415

GLOBAL

IMPACT

In the 21st century fashion is a pan-global industry. Couture
houses, which often take huge losses on their special
collections, stage glamorous events worldwide to promote
their labels and licensed goods. Their diffusion lines,
ready-to-wear clothes, shoes, perfumes, and jewelry have
internationally recognized brand names, from the Gucci
“G” to the word “Dior” dangling from a handbag. Trends
are relayed in mass TV and magazine campaigns, and
further promoted by the celebrity culture, with actors and
media personalities selling an image that the ordinary public
can copy with little effort, although at some cost.

The worldwide fashion industry generates over a trillion
US dollars a year, but there are concerns about clothing
companies taking responsibility for their impact on the
environment, workforce, and suppliers. Once dominated by
Europe and North America, there are huge fashion markets
still to be tapped, particularly in China. With stylists and
fashion devisers seeking ways to exploit aspiring consumers,
the focus on commercialism is creating fears that young
talent is getting squeezed out. Although uniformity of look
may sell well, fashion, if anything, has always been about
youth, subversion, and playful creativity.

Yes, fashion design requires
consumers to consume, but we
can do our bit for society by
running our companies in a socially
responsible way, and by creating
products that promote respect for
social and environmental issues.

GIORGIO ARMANI

◁ FAR-REACHING FACE
Kate Moss, as the face of fast-growing Spanish
fashion house Mango, looks out from a billboard
at the Villaggio Mall, Doha, Qatar.

416 THE DESIGNER DECADES

2002 ONWARD No jewels 1960s
to detract Bulgari
RED CARPET from dress necklace

GOWNS Embroidery Asymmetric Tightly
shows off haute waist softens wrapped
Rolling out a red carpet for important guests connection
dates back to Ancient Greece, but in modern couture skill between bodice torso
times it is most closely associated with the and skirt
Academy Awards. In the 1930s radio presenters Fitted skirt
would describe every detail of the stars and their creates slim 2006
dresses to a rapt audience, then in 1952 it was
presented live on television. Although there have silhouette
been fashion faux pas aplenty, screen-goddess
glamour continues to reign on the red carpet, and 2002
the Oscars have remained one of the sartorial events
of the year. In the last 10 years red-carpet events Pleated
have become a major showcase for fashion designers fishtail skirt
and determine how and what they design. This has adds luxury
filtered through to fashion retailers who provide
“occasion wear” for events ranging from prom Enormous Dark romance This deep plum creation from
dances to ladies’ days at the races. train counters US designer Vera Wang conveys intensity with
skimpy bodice its rich color, and in the way it appears to tightly
wrap Keira Knightley's body. An asymmetric
Modern hybrid Halle Berry’s deconstructed neckline and bold necklace keep it modern.
ball gown, by Lebanese designer Elie Saab, is a
clever mix of formal wear and showgirl pizzazz.
The sheer net bodice is saved from being too
overt by exquisite embroidery and a grand skirt.

SHOW-STOPPING SHOES

Two-piece
bust detail

Draped bustline
sweeps up
into collar

Gently ared Plain side
skirt is ladylike panels slim
hips and thighs

2009

Regal, Hobble
sweeping skirt with
train exaggerated
fishtail

Manolo Blahnik Wow factor Bright red needs careful handling Daring choice Beyoncé Knowles attracted praise
to maintain an appearance of elegance rather than and criticism for her tight, black, fishtail dress
In the early days of Hollywood, the stars brashness. Britain’s John Galliano conjured up old decorated with metallic gold roses, from her mother’s
turned to Salvatore Ferragamo, Charles Hollywood glamour with this tomato-colored House of Dereon clothing line. Bold patterns and
Jourdan, André Perugia, and Beth Lavine for gown with fabric wrap standaway collar. motifs are considered risky for the red carpet.
fantastic red carpet footwear. In the 1990s a
new generation took over. Credited for show
stopping heels are Christian Loubotin, Manolo
Blahnik, and Jimmy Choo, who have a cult
following. Now designers Nicholas Kirkwood
and Brian Atwood are creating chic shoes too.

Deep-cut Necklace with RED CARPET GOWNS 417
swimsuit- turquoise to
style neckline match dress Crimson goddess Anne
Hathaway’s deep red dress by
Scalloped British brand Marchesa creates
edging on impact through the interplay of
shaped bodice intense color and the classical
romance of draped silk chiffon. It
2008 Tight pleating appears to be tethered at the
and seaming
Intricately shoulder with nothing but a
beaded scales hug figure garland of roses.

cover skirt Fabric falls
from shoulder

Toga-like
draping

Intricate
pleating
shapes
the body

Turquoise
satin is classic

1950s look

Ethereal ivory White is a classic Oscar choice since
it makes a dramatic contrast with the red carpet, looks
striking on camera, and lends a pure, untouchable
quality. French designer Jean Paul Gaultier’s dress for
Marion Cotillard gives the impression of a mermaid.

Variegated Construction mastery On the red carpet at Subdued red
lamé bodice Cannes in 2008, Milla Jovovich wore a satin dress is romantic,
by Italian designers Atelier Versace that referenced not racy
Contrasting textures the 1950s with its color, fabric, and structure.
subtly merge Tight pleating wraps the torso to create an
hourglass shape with pointed bustline.
2011
Long train
Degradé effect, creates
from platinum to
lavender-gray statuesque line

Ostrich feathers
soften train hem

Feathered fantasy Italian fashion house Gucci
Première created a silver-gray lamé and ostrich-
feather gown for Hilary Swank at the 2011 Academy
Awards. Its slender silhouette and surface decoration
recall the gowns worn by 1930s screen sirens.



THE DESIGNER DECADES 419

DESIGNER

ALEXANDER MCQUEEN

One of the most important British designers of recent under his own name. His “bumsters” (low-rise pants) at his △ TAILOR AND CRAFTSMAN
decades, Alexander McQueen reintroduced tailoring second show Nihilism scandalized many, revealing the cleft McQueen was awarded British Designer
to fashion with his sharp suits and frock coats and in the models’ buttocks, at the same time as elongating the of the Year four times. He was
brought new technology into couture. With a creativity that torso and shortening the legs. This was a totally new idea, presented with a CBE and voted by
drove forward his quest for the new, he also reinvented the which launched a decade of low-slung, pelvis-hugging CFDA (Council of Fashion Designers
fashion show. “You’ve got to give them an extravaganza!” pants in mainstream stores. His shows became must-see of America) International Designer
was his philosophy. At first unsettling, by the time of his events, made on a tiny budget with a dedicated team. of the Year in 2003.
untimely death at 40, McQueen’s shows had become The Birds (Spring/Summer 1995), held in an unoccupied
theatrical events. warehouse was based on Hitchcock’s eponymous movie ◁ PLATO’S ATLANTIS
This dress from McQueen’s final
East End beginnings and, with the theme of road kill, featured tire prints on collection shows his skill in print and
dresses and corsetier Mr. Pearl with his 18” (46 cm) art and his love of the environment.
Born in 1969, Lee Alexander McQueen was the son of waist in McQueen women’s wear. Iconoclastic and
a London cab driver and the youngest of six children transgressive, it was a fashion moment that blew
growing up in Stratford, East London. Encouraged by away the cobwebs.
his mother, a teacher, the young McQueen showed
an early interest in fashion design, and at History and nature
16 enrolled as an apprentice cutter and tailor
at Anderson and Sheppard, then tailors to Skilled tailoring, revealed in the frock coats, suits,
HRH Prince of Wales. Legend has it that the and jumpsuits that were signature McQueen,
teenage McQueen wrote obscenities in the coupled with meticulous research enabled the
linings of suits for the prince and other
clients; what is certain is that he showed designer to realize his extraordinary ideas.
an extraordinary aptitude. After 18 months Shows like Highland Rape (1995), based on
he had mastered the “forward” (a perfectly historic border conflicts, were testimony to
made test jacket), then learned to cut McQueen's fascination with the past and his
trousers at Gieves and Hawkes, and finally ability to make it modern, cutting tartan on
historical costumes at Angels and Bermans the bias and updating body-molding corsets.
costumiers. Moving into high fashion, he became He was also inspired by nature, using feathers,
a cutter for the avant-garde designer, Koji Tatsuno
and for Milan-based designer Romeo Gigli. skin and bones, and even live falcons in his shows.
McQueen’s tenure as head designer at Givenchy
In spite of a lack of certain requirements in art,
McQueen was accepted to the MA Fashion course at was not always a success, given its essentially genteel
Central St. Martins, London. His degree collection Jack French signature, but he went on to find the creative
the Ripper Stalks His Victims, featuring bustled jackets, freedom he craved at the Gucci Group. The designer
papier-maché appliqué and his own hair incorporated was multilayered in his talent and vision, and his later
into linings, caught the attention of stylist Isabella own name collections, Horn of Plenty in 2009, and his
Blow, who became McQueen’s supporter and final show, Plato’s Atlantis in 2010, raised questions
advocate. McQueen immediately began showing about the future of the planet and man’s careless
approach. His label continues under the creative
directorship of Sarah Burton, designer of the
Duchess of Cambridge’s wedding dress.

1989 Employed as a 1990 Worked as a 1993 Bumster ◁ 1997 Brown 2009 Horn of 2010 Plato's Atlantis
cutter of historical cutter for designer pants unveiled ponyskin jacket with Plenty show —final collection
Romeo Gigli in Milan at Nihilism show impala horns on focuses on future of the
costumes at Angels and shoulders from It’s 2003 International planet. McQueen’s death
TIME LINE Bermans, London a Jungle Out There Designer of the Year
awarded by CFDA. 2011 Savage Beauty
1985 Begins his 1992 Jack the Ripper 1996 & 97 UK 2001 ▷ Presented with CBE retrospective exhibition
apprenticeship at graduation collection at designer of Voss dress with by HRH The Queen of McQueen’s work at
Anderson and Sheppard, the year
Savile Row, London Central St. Martin's black ostrich The Met, New York
College, London feathers

1985 1990 1995 2000 2005 2010

◁ BIRD-PRINT SILK, HORN OF PLENTY SHOW, WINTER 2009 McQueen revisited his love of birds in his penultimate collection.

420 THE DESIGNER DECADES Hair
painted
2010 ONWARD
white
A NEW
GENERATION All white
looks fresh

In recent years fashion has moved in new directions Shoulder reminiscent
to meet the desire of consumers for increasingly of Chinese armor
varied and individualistic looks. No longer satisfied
with the big labels from Paris, Milan, and New York, 2010

and suffering from “It” bag and logo fatigue, women

have been on the hunt for fresh looks and original Gold
slashes
ideas. The economy too has played a part in this Lace Deconstructed evoke
embroidery tailoring duct tape
inspired by
change. In September 2008 economic meltdown Qing Dynasty

in many markets meant that wearing overtly

expensive clothes and status labels was no longer

thought to be prudent. It was up to a new Shoes are
part of brand

generation of designers to woo women back

to fashion. Alexander Wang, for example, has

shown how street cred and savvy design can Cool kid US designer Alexander Wang,
who fuses casual elements with laidback
make millions with his global empire based tailoring and sporty separates, is admired
for being in tune with the needs of the
on grunge meets downtown, while Phoebe modern customer. He has successfully built
a global brand, while remaining edgy.
Philo’s uncompromisingly modern stance

at Céline has made the once-dowdy label

one of the hottest of the early 2010s. The

visionary Christopher Kane has his own Print
inspired by
collections but is also helping to make pop art and

Versace’s Versus line cool again. Designers owers

like these are reinvigorating fashion and Tailored
jacket with
showing the exciting possibilities ahead. Tasseled details delicate puff
appeared throughout sleeves
Fall/Winter 2012
collection Multiple
tones create
VICTORIA BECKHAM Hot pink, draped depth
satin shows
It is not unusual for pop stars to start Techno print but
clothing lines, but few have built as dressmaking mastery classic style
refined a fashion empire as Victoria
Beckham. Her wealth and exposure 2012 Chic technocrat Bringing the handmade
to luxury designer goods, combined into the realm of the high tech is a recurring
with her own sleek style, have given Young cosmopolitan theme in Holly Fulton’s work, as is the use
her the aesthetic judgement to head Manhattan-based of decorative embellishment and accessories.
her own label. Starting with a small Taiwanese-Canadian The Scottish designer’s Fall/Winter 2012
range of jeans and eyewear in 2006, Jason Wu designs luxury collection explored tonal layering.
Beckham moved on to her natural sportswear and beautiful
oeuvre in 2008, the world of high- evening dresses, like this
end ready-to-wear. She specialized in one from Fall/Winter 2012.
sculpted, sheathlike dresses, carefully First lady Michelle Obama
constructed to shape the body and chose four of his dresses in
create a long, lean silhouette. Initially 2008 to wear to public
sceptical, the fashion press have given events, including the
rave reviews, and her collections have Inaugural Ball.
been a commercial success. Beckham
has since added handbags, coats, and a
second clothing line to her fashion stable.

A NEW GENERATION 421

The prodigies Scottish brother and sister White Red ruf e at neck
Christopher and Tammy Kane collaborate turtleneck adds modernity
to produce collections with a strong, clear
vision. Technical experimentation and a is base
highly refined color sense have become
their trademarks, both evident in this Japanese-inspired Fabric mimics Black stripe
dress from Spring/Summer 2011. dragon print car upholstery with ruf es
mixes pretty
Printed fabric Blush pink is and bold
sewn in panels for subtle and
feminine
optical interest
2012
2011
Laser cutting
Technically creates sharp
challenging edges
pleated skirt
construction Tapered Pants inset
hem above with leather
Futuristic-looking stripe
platform sandal at loafers

Fire-engine red
platform shoes

toughen look

Digital imagery The minimalist British designer Philo describes The sophisticate Serbian-born designer
of crushed metal her style as “contemporary minimalism.” Roksanda Ilincic is best known for her
Whether taking her inspiration from cars, elegant dresses. Working in silks, satins,
Hyper-vivid prints buildings, or handicrafts, Philo’s collections for and velvets, she often draws on the 1970s
are a trademark French brand Céline are strong, sensible, and and 80s to create polished, structured
chic. This design is from Fall/Winter 2011. pieces, as here for pre-Fall 2012.
The illusionist London-based,
Greek-born Mary Katrantzou’s Quirky quilted Meticulously Subtle use
attention to detail in creating fisherman’s hat tailored and of white to
complex digital prints and tapered sleeves shape the
piecing them together in Sweater torso
intricate and thoughtful ways plays with Wide, notched
proportions waistband with
leaves fashion editors in awe.
Her Spring/Summer 2012 buttoned tab
collection used contrasting
Color clash
highlights prints of natural elements
and man-made objects.
man versus
nature

Asymmetric Long plaid
trailing chiffon skirt with slit
skirt, like
exotic bird Shiny platform
loafers add edge
Same print
The matchmaker London-based, Irish-born also covers
J.W. Anderson mixes a playful approach,
tailoring skills, and apparently opposing forces shoes
to great effect. This often means the
juxtaposition of masculine and feminine, kinky Print master With a talent for abstraction
and elegant, as shown here for Fall/Winter 2012. and precise construction, London-based
Erdem Moralioglu creates romantic clothes
with a contemporary edge. His innovative
prints place dense patterns next to empty
zones, often with deliberate asymmetry.

422 REFERENCE

3,000 YEARS OF

WOMEN’S WEAR

From ancient civilizations to the present day, women’s dress has been Ancient Greek chiton (reconstructed) Mid-14th Century Surcoat
shaped not only by personal taste but by economic, political, and fastened at the shoulders (reconstructed) worn over cote-hardie
technological developments. As the centuries passed, new trade routes
introduced exotic fabrics and adornments from distant lands, while the rise
and fall of monarchies overturned dress styles and inspired new ones. Major
agents of change included advances in technology, from loom to sewing
machine, and from natural cloth to man-made fabrics such as Lycra. Against
this backdrop sits self expression: in the 1920s boyish shapes and shorter skirts
celebrated new-found personal freedom; in the 1980s padded shoulders and
tailored suits symbolized female power in a male-dominated workplace.
Today the global fashion industry promotes a rapid turnover
of styles that cross all national boundaries.

1830s Cotton day dress with full 1850–54 Printed day dress with a c.1888 Bustle dress with tailored 1902 S-bend dress with pigeon- 1910–12 Lace bodice and skirt with
gigot sleeves and a flounced hem bell-shaped skirt and pagoda sleeves jacket and waistcoat (vest) pouter chest and hips pushed back sash to emphasize the narrow waist

1940s Utility dress cut to waste as 1940s Checked dress showing width 1950s Day dress and matching bolero 1950s Printed dress with fitted waist 1960s Minidress hemmed well above
little fabric as possible at the shoulders, worn with head scarf jacket, with full skirt over net petticoats and pencil skirt, in a vibrant floral fabric the knee, worn with white go-go boots

3,000 YEARS OF WOMEN'S WEAR 423

14th–15th Century Italian gown 1470–1500 Italian gown with 1581 Chambermaid wearing a full 1750 Robe à la française of blue 1799 Day dress in the classical style,
(reconstructed) with hanging sleeves a high waist and deep V-neck skirt over a hooped farthingale silk brocade in a floral pattern with very high waist and columnar skirt

1922 Green dress with a dropped 1920s Day dress in printed chiffon 1930s Floral print dress cut on 1934 Afternoon dress with boat 1937 Checked dress with the long,
sash waist and V-neck collar with a knee-length flounced skirt lean silhouette of the decade
the bias with matching smocked bolero neck detail and belted waist

1960s–1970s Belted shirt dress 1976 Silk ensemble with floor- 1980s Black dress with shoulder pads, 1994 Gingham dress worn 2005 Boho outfit of tiered gypsy-style
with red trim and buttons length skirt and matching head scarf worn with black tights and stiletto heels with heavy black lace-up shoes skirt and layered jersey tops

424 REFERENCE

3,000 YEARS OF

MENSWEAR

Since ancient times male clothes have been used as a declaration of social c.1187–1064BCE Egyptian priest 509BCE–476CE Suit of armor
distinction. Every historical age has had its own sartorial codes, either in a long-sleeved pleated robe (reconstructed) with leather cuirass
imposed by law or by social pressure—once it was the exact color of
toga that mattered; today it is likely to be the label on a pair of designer
jeans that counts. One of the most widespread and enduring items of male
clothing is the suit, which from the 19th century onward gradually evolved
from various jacket-and-pants combinations worn in earlier periods. In the
20th and 21st centuries conventions of male dress have been subverted by
youth and subcultures, and alternative notions of taste and acceptability
for menswear are well established. However, for business wear and formal
occasions, the suit remains the preferred item of male clothing.

1690 Restoration justaucorps 1760 Nobleman wearing a silk coat 18th Century Coat and breeches 1832 Shooting outfit of green 1854 Frock coat and trousers
(reconstructed) with ornate vest morning coat and fitted black pants worn with a blue embroidered vest
(close-fitting coat) worn over waistcoat with matching pants, and a cravat

1940s Tan jacket and gray 1954 Teddy boy wearing long jacket 1963 Double-breasted suit by 1968 Mr. Fish suit of striped corduroy, 1973 Belted jacket with pointed
trousers worn over knit sweater with drainpipe trousers and a string tie Pierre Cardin, worn with fedora hat worn with a black turtleneck sweater collar and zip pockets, worn open

3,000 YEARS OF MENSWEAR 425

1343 French tunic with hanging Mid-15th Century Tunic 1490–1510 Jerkin (reconstructed) 1581 Nobleman’s dress consisting 1646 Cavalier in doublet, breeches,
tippet sleeves, worn with wool cloak (reconstructed) with fur trim worn over a doublet of fabric panes of doublet, full breeches, hose, and cloak baldric (sash), and bucket-top boots

1890 Morning suit with cutaway 1908 Suit worn with gray vest, 1930s Three-piece suit of tweed 1931 Pinstripe suit with double- 1940 Drape suit with wide-leg
coat and vest, and striped trousers bowler hat, and cane jacket, vest, and knickerbockers breasted jacket and wide-leg trousers trousers and loose-fitting jacket

1984 Green linen jacket as worn in 1985 Double-breasted cropped 1998 Gray suit with long jacket, worn 2006 Trench coat and jeans worn 2012 Black suit and brown satin
Miami Vice, with white linen trousers jacket worn with sleeves rolled up
by Will Smith over dark shirt and tie by Pharrell Williams, with collar and tie tie worn by designer Tom Ford

426 REFERENCE 1600 Venetian chopine
overshoe made from kid leather,
400 YEARS OF
with punched decoration, silk
WOMEN’S SHOES
overlay, and pine sole
From the towering chopines of 16th- and 17th-century Europe, to
18th-century embroidered silk slippers and 1930s dazzling rhinestone
sandals, these diverse shoes from the past 400 years indicate much
about the status of the women who wore them. It was quite usual at certain
periods, such as the 18th and early 19th centuries, for women’s shoes to be
made of fabric rather than leather, perhaps because their wearers spent a
large part of their time indoors. In the 21st century slender stiletto heels by
designers such as Christian Louboutin, Manolo Blahnik, and Jimmy Choo
are “must-have” accessories—possibly worn only on special occasions.

1750s Mule slipper of white and gold striped and figured silk, 1790–1800 Leather shoe in pink, with cream bow trim and 1810 English boot made from pale yellow kid leather, with
with a kid-leather sole and shaped heel faint striped pattern, made in England laced front closure and yellow ribbon bow

1905 Austrian dress shoe made from kid leather, with 1918 Ribbon tie shoe in oyster glacé kid, with ribbon tie 1926 Walking shoe of two-tone calf leather and crocodile skin,
a metal-studded and cutout design over the vamp and cutout detail, designed and made by Bally of Switzerland with wood heel and tab styled like a golf-shoe flap, made by Bally

1970s Platform sandal
made from blue corduroy
with a rubber sole

1950s American sling-back shoe of brown suede and reptile 1960s Leather pump of mustard-yellow imitation leather, with
skin, with a high heel and front platform pin heel, pointed toe, and cutout sides

400 YEARS OF WOMEN’S SHOES 427

1660s–70s English forked-toe slipper made from silk, 1725 English tie shoe of white 1725–50 English latchet-buckle shoe made from green silk,
embroidered with silver thread and lined with kid leather linen, with red decoration and heel with embroidered design on the vamp and decorative trim

c.1860 English wedding boot of white kid leather, with 1860s Ankle boot made in England from red leather, with c.1880 French mule slipper, with a kilim-weave fabric vamp,
expanding ankle and decorative ribbon rosette at the toe side lacing and a black heel decorative gathered-ribbon edge, and low, fabric-covered heel

1930s Evening shoe of painted fabric in a floral design, 1938 Evening sandal made from white satin encrusted 1940s Suede shoe made in
with cutout detail, and gold kid-leather heel and ankle strap with rhinestone and lined with gold kid leather the US, with cutout vamp, high
heel, and elastic side straps
1993 Platform shoe by
Vivienne Westwood, in patent
leather with ribbon laces

1980s Stiletto heel made from leather with a metallic silver finish 2008 Heeled sandal by Jimmy Choo, in black snakeskin-effect
and an almond-shaped toe and low-cut vamp leather with silver decoration and stiletto heel

428 REFERENCE 1800 Shepherdess
hat with silk crown
200 YEARS OF
and flat straw brim
WOMEN’S HATS

Toward the end of the 18th century wide, flat shepherdess hats were popular,
being overtaken in the early 1800s by bonnets, which remained fashionable
for decades. Hat styles during the Victorian and Edwardian eras were
extremely varied, ranging from small toques to huge confections of flowers,
feathers, and even entire birds. Until well into the 20th century most women,
regardless of social status, did not think of leaving the house without a hat.
Today millinery has a place in high fashion, with
hat designers pushing creative boundaries to
ever greater levels of innovation and drama.

c. 1880 Velvet hat in bottle-green, trimmed 1896 Blue bonnet c. 1910 Straw hat with wide brim, velvet facing, 1916–18 Summer hat made from cream-
with a gold and green patterned grosgrain (ribbed) of silk-covered straw, and silk rose decoration around the crown colored embroidered net, decorated with two
ribbon, and cream and black feathers trimmed with black silk flowers and lined in silk
ostrich feathers

1940s Black felt hat trimmed with a 1940s Velour hat in 1941 Crêpe hat 1950s Velvet hat
wide satin ribbon and feather in the brim burgundy, with turned-up
brim and felt flowers in blue, with leaf with a net veil and

and berry decoration decorative beading

1960 Round hat of pale pink silk with c. 1965 Soft cap by Simone Mirman, with 1970s Summer hat of cream-colored linen 1970s Newsboy cap of turquoise crushed
an upturned scalloped brim, by Givenchy panels of white leather and striped jersey with brown floral appliqué patches and lining velvet, with peak and button trim

200 YEARS OF WOMEN’S HATS 429

1818–23 Turban-style 1840s Straw 1850s Straw bonnet 1870s Straw hat trimmed
evening hat with woven bonnet with with silk lining, lace trim, with bands of black ribbon
and floral appliqué and velvet flowers at the back
silk decoration feather trim

1930s Straw hat in a natural color with
woven black trim and flower decoration

1920s Cloche hat of black cellophane straw 1929 Cloche hat of taupe-colored felt 1938 Woven seagrass hat by Elsa Schiaparelli,
on brown silk, with ribbon and rosette decoration with a matching grosgrain (ribbed) ribbon trim with grosgrain band and metallic insects

1950s Tea hat of turquoise brushed felt, 1950s Red beret made from felted wool, 1960s Cocktail hat of plastic feathers mounted 1960s Petal hat designed by Dolores, London,
shaped into leaves around the head with long feather decoration
on an elastic net base and covered with small pink fabric flowers

2000s Trilby hat of woven 2000 Sculptural 2006 Fascinator designed
mottled straw, with striped silk leaf hat designed by Jane Corbett
ribbon band
by Philip Treacy
1982 Lilac velvet hat
with orange feathers,
designed by Stephen Jones

430 REFERENCE

200 YEARS OF

BAGS AND PURSES

Before the end of the 18th century women kept their 17th Century Purse with raised embroidery
valuables under their skirts in a girdle pouch, or a pocket in colored silk and metal threads and sequins
tied around their waist. By the 1790s, when dresses became
slim and columnar, pockets were replaced by reticules (small 1920 Beaded bag of silver and gold
decorative bags carried in the hand), to avoid spoiling the line of beads with rhinestone paste decoration
the dress. Since then myriad styles have evolved, from the exquisitely
beaded evening bag to the exorbitant designer “It” bag.

1919 Silver 1920s Beaded
finger-purse handbag with a

engraved with filigree frame and

arabesques a chain strap

1915 Silk clutch embroidered with Oriental
design and imitation-jade-encrusted filigree frame

1940s Suedette (fake suede) bag with 1940s Red snakeskin bag with clasp opening Early 1950s Lucite handbag in light blue with 1950s Pleated box purse with a mirror
pleated central panel and brass clasp and gilt-metal hardware a clear lid and handle, designed by Charles S. Khan attached inside, designed by Bienen-Davis

1970s Evening bag of brushed gold over metal, 1980s Envelope clutch designed by
with coral decoration, designed by Judith Leiber Diane Love, with sequins in a trellis design

1970s Tote bag of woven cotton with a 1980s Chainmail bag by Paco Rabanne, made
psychedelic pattern, and leather handles and trim of black leather and linked aluminum disks

200 YEARS OF BAGS AND PURSES 431

Early 19th Century
Beaded miser's purse

with rose decoration

Late 18th Century Silk reticule lined with 1887 Framed plush bag lined with kid leather, 19th Century Basket bag of woven reed
satin and decorated with embroidered floral motif
with appliqué flowers and a padded handle with painted bird decoration

c. 1925 Art deco bag of tooled leather, stained 1930s Beaded bag with curling-thread motif, 1930s Alligator-skin handbag with brass 1930s Black calfskin
in brown and black, and lined with silk designed by Josef Hand hardware, decorated with alligator feet handbag by Nettie Rosenstein

1960s–70s Waterfall-
front handbag by Pucci,

with gold strap

1950s–60s Leopard-print bag with 1960s Hermès Kelly handbag in black 1960s Plastic clutch with metal
gilt metal clasp, designed by Ingber calfskin, named after Grace Kelly frame and clasp, and fabric lining

1985–present Hermès Birkin bag in orange 1980s Backpack of black crocodile skin 1990s Manhattan bag by Louis Vuitton, 2007 Tote bag by Anya Hindmarch, designed
leather, named after the actor Jane Birkin to discourage excessive use of plastic bags
with a white metal clasp and adjustable straps in brown leather with gold monogram pattern

432 REFERENCE 1710–20 Boned bodice embellished 18th Century Stays stiffened with
with colored embroidery strips of whalebone, laced at the front
300 YEARS OF

SHAPING
THE BODY

Across the centuries, fashion’s changing forms and silhouette
have been founded on undergarments. From the 16th to the
18th century stays and bodices (or a pair of bodies), stiffened
with whalebone, were used to create a cone-shaped torso, with
narrow waist and raised bust. In the 18th century these garments
became known as a pair of stays, and then in the 19th century, in an
adapted form, as corsets. The corset reshaped women’s bodies—from
the high-waisted neoclassical look to the hourglass ideal. In the 20th
century structural underwear in the form of girdles and foundation
garments of elastic fabric helped to smooth female outlines, while
underwired bras and bustiers lifted and supported the bust.

1880–95 Corset for a fashionable hourglass 1885–95 Steel-boned corset with 1895 Corset with
silhouette, closed at front steel spoon-shaped busk (flat front panel) low, flat front for
pushing the hips back

1940s Girdle made from elastic panels,
shaped to wear around the waist

1950s Bustier with silk and lace panels,
and decorative bow, underwired for support

300 YEARS OF SHAPING THE BODY 433

SUPPORTING SKIRTS

After the advent of the farthingale in the mid-16th century came a succession
of skirt shapes and styles for women. These changing silhouettes were
achieved with the support of hooped understructures, such as panniers
and crinolines, or with layer upon layer of padded and stiffened petticoats.
Hooped supports had the advantage of being much lighter and, as
construction technologies advanced, held larger and larger skirts,
which were at their widest during the 1860s.

Bum roll 1750s This robe à la
(replica) française would have
been worn over panniers
1825 Long corset (reconstructed) to support 1875 Corset (back view) cut shorter at or hoops, to support the
wide skirts.
the bust and cover the hips, laced at the back the back, to accommodate a bustle
Fabric draped
over back

Farthingale Hoops
(replica) worn over

Kirtle skirts hips
held in shape
Panniers
c.1550 Farthingales and bum rolls were
worn under skirts from 1545 to the 1620s.
Bum rolls, fastened around the waist and tied
at the front, gave added volume at the hips.

1895–1900 Corset (back view), laced 1910 Corset with 1860 The cage
at the back through metal eyelets garter straps crinoline, made from
hoops of steel, was
much lighter than the
layers of petticoats
that preceded it.

Crinoline Crinolette

Skirts Bustled
reached overskirt
their widest
in the 1860s

1960s Girdle with sprigged floral print 1996 Bustier by Rigby and Peller, 1872–74 Crinolettes, or half-crinolines, were
and garter straps London, decorated with black lace made from half-hoops of steel. They acted as
bustles, a fashion that first gained popularity
in the early 1870s.

434 REFERENCE

ILLUSTRATED ALPACA Fine, soft fiber obtained
from the alpaca (a South American
GLOSSARY relation of the llama) and woven
or knit like wool.
Included in this glossary are a series of key terms, organized alphabetically,
that relate to the history of fashion and dress. Date ranges are given for ANDROGYNOUS STYLE Adoption of
each term, with a “▷” indicating that the garment or technique continues masculine jackets, pants, and suits
to the present day. Glossary entries that appear within the text are italicized. by women, notably Marlene Dietrich
and Katharine Hepburn in the
1930s and Patti Smith in the 1970s.
1930S ▷: SEE PP.288, 372–3

A AGLETS, AIGLETS Metal sheaths ANGORA (a) Name of the goat
ACCESSORIES Items such as hats, used at the end of the ties whose fleece is used for mohair;
NATIONAL gloves, and jewelry that are worn that join hose to a doublet; (b) light, silky fiber from the
DRESS or carried to complete an outfit. now refers to the sheaths at Angora rabbit, used like wool.
the end of shoelaces.
Panels on the following pages ACCORDION PLEATS A series of 13TH CENTURY ▷: SEE PP.71, 94 ANILINE DYE The first form of
examine examples of traditional narrow, evenly spaced pleats with synthetic dye; mauveine, one of
dress from around the world. alternating raised and recessed AIGRETTE Feather plume the first, was discovered by British
Key elements of the national edges, allowing the garment to or feather-shaped ornament scientist William Perkins, who used
costume are defined in the expand or flare with movement. for head wear. it to make the color mauve; also
glossary. 19TH CENTURY: SEE P.323 notably used to make the colors
LATE 18TH–EARLY 20TH CENTURY purple, magenta, pink, and green.
Cowboy hat ACETATE A light, silky synthetic
fiber made from cellulose, 1850S ▷
obtained from wood pulp;
invented in Germany. AKETON Quilted tunic worn under ANORAK A hooded jacket originally
armor for comfort and protection. made of animal skin or waterproofed
19TH CENTURY ▷ 13TH–15TH CENTURY: SEE P.69 cloth, and worn by the indigenous
peoples in Greenland and Canada;
Bandana ACID WASHING A technique often ALB Ankle-length vestment of white now refers to a hooded,
used on denim; involves washing linen with long sleeves and a cord weatherproof jacket usually made
garments together with pumice tied at the waist; worn by Christian of synthetic fiber with synthetic or
stones that have been soaked in clerics and monks in many churches. down insulation; see also Parka.
chlorine, which gives the fabric MEDIEVAL ▷: SEE P.57
a worn, mottled look. APPLIQUÉ Decorative technique
À LA DISPOSITION Term used for in which cutout fabric shapes are
1980S ▷ a design printed or embroidered on, sewn on to a larger piece of fabric
or woven into a fabric so it can be or garment to form a design.
Chaps ACRYLIC A synthetic fiber made made up into a specific garment. SEE PP.180, 207, 236
from a petrochemical product 1850S ▷: SEE P.205
American cowboy and used like wool; trade names ARAN Style
Cowboy hats and denim have been linked include Acrilan, Courtelle, Orlon. ALBERT COLLAR A detachable stand of knitwear
to cowboys since the 19th century, and collar fastened to a man’s shirt by a originating
their popularity persists today among 1940S button at the back. among
ranchers in the US and Canada. families in
AESTHETIC DRESS Style inspired 1850S–EARLY 20TH CENTURY the Aran
by historic dress (following from Islands off the Irish
Artistic dress) and Eastern A-LINE A triangular dress shape coast; made from undyed wool
clothing such as kimonos; created by Christian Dior (see also featuring raised patterns such as
involved use of natural fabric H-line, Y-line), or generally a dress or cables and twists. Also known as
dyes and of traditional or skirt flared like the sides of an “A.” a Fisherman knit sweater.
nature-inspired patterns; MID-1950S ▷: SEE PP.319, 455
see also Liberty print; Paisley.
LATE 19TH CENTURY: ALOHA SHIRT Traditional Hawaiian ARGYLE PATTERN Scottish pattern
SEE PP.212–14, 336–7 shirt for men, with short sleeves and comprising diamond shapes in two
made from colorful fabric; can be or more colors; made popular by
worn as business wear in Hawaii but golfers, now common on sweaters
casual wear on the mainland. and socks.

1930S ▷ 1920S ▷

GLOSSARY 435

ARISAID Long plaid cloak worn by BABY DOLL DRESS A very short BANDEAU Fabric headband first BEATNIK STYLE Style inspired
women in the Scottish Highlands minidress, with an empire waist worn by women as decoration, by intellectuals in Paris and the
and Islands, fastened by a brooch and flared skirt. but today commonly used in Beat generation in San Francisco;
and a belt. 1960S ▷: SEE P.329 sports; also refers to a strapless featured black turtlenecks,
bikini top. berets, and for women, black
TRADITIONAL BACK BREADTH Tailoring term for EARLY 19TH CENTURY ▷: SEE PP.169, 180, 291 leotards with black skirts and
the overall width of the two back stockings and flat shoes.
ARMSCYE The armhole of a garment pieces of a coat, at waist level. BANGLE A rigid band of jewelry, LATE 1940S–1960S: SEE PP.380–1
into which a sleeve is sewn. wide enough to be slipped over
BALACLAVA Wool covering for a hand or a foot. BEAVER (a) Beaver fur, used for
ARMY SURPLUS Military clothing the head and neck that leaves the gloves; (b) a wool fabric with a
that was surplus to requirements face exposed; first worn by military LATE 18TH CENTURY ▷ raised nap, used for overcoats;
and sold on to the public, such personnel during the Crimean War. (c) a felt including beaver fur,
as duffle coats and bomber jackets. BANYAN Originally a loose-skirted used for high-quality hats.
1850S ▷ outdoor coat; the term was later MEDIEVAL ▷: SEE PP.128, 162–3
1940S ▷ used for a long housecoat for men,
BALDRICK Belt worn across the body also known as an Indian gown, and BELL-BOTTOMS Style of pants fitting
ART DECO An artistic style that from shoulder to hip, from which a made from silk, linen, or cotton. closely at the hips but with widely
emerged in Paris in the 1920s, sword or drinking horn was hung. C.1650–19TH CENTURY: SEE P.131 flaring lower legs, originally worn
the name deriving from the 1925 13TH–17TH CENTURY: SEE P.123, 129 by sailors; see also Flares.
Exposition Internationale des Arts BASEBALL CAP Soft cloth cap with 1960S: SEE PP.366–7, 372–3, 382–3
Décoratifs; it influenced many areas BALLERINA SKIRT Full, calf-length a visor at the front, first used in
of art and design, including fashion, skirt with several layers of light baseball but now generally popular BELLOWS POCKET A type of patch
and featured streamlined shapes fabric, inspired by classical ballet as an item of casual wear. pocket with sides that could expand;
inspired by aerodynamic machines, costumes; especially popular in MID-19TH CENTURY ▷: SEE PP.227, 407 commonly used on Norfolk jackets.
and geometric designs. the 1950s. 1890S ▷: SEE P.453
MID-1920S–LATE 1940S: SEE PP.253, 258–9 MID-20TH CENTURY ▷ BASQUE Originally a
long, close-fitting BELL SLEEVE In women’s garments,
ARTISTIC DRESS Quasi-medieval BALLET FLATS Shoes with a flat heel bodice; today a a sleeve that fits closely from the
style adopted by female followers and a short vamp, resembling the hip-length item of shoulder to the mid-forearm and
of the Pre-Raphaelite artists; slippers worn by ballet dancers. lingerie with boning then flares widely to the wrist.
featured flowing, loose, 1950S ▷: SEE P.340 and brassière cups;
high-waisted dresses. see also Bustier. 1850S ▷
1840S–C.1900: SEE P.214 BALLETS RUSSES Avant-garde dance
company, led by Sergei Diaghilev; BASTING Joining fabric BELLY PIECES
ASTRAKHAN Lambskin from the their striking, sensuous costumes, pieces temporarily with large Shaped pieces
Astrakhan region of Russia; also inspired by traditional Russian, running stitches before permanent of pasteboard,
woven fabric resembling lambskin. Eastern, and Ancient Greek styles, stitching. or linen
still have a significant influence reinforced with
AUTOMOBILE COAT Also known on fashion today. BATEAU-NECK Also called a boat whalebone,
as a motoring coat, a garment EARLY 20TH CENTURY: SEE PP.244–5 neck, a shallowly curved neckline sewn into the
worn in early (open) cars to protect extending almost to shoulder width. front of a
against wind and cold; made of BALL GOWN A long dress made from 1920S ▷: SEE PP.295, 335, 451 doublet to
leather or cloth with a thick lining; silk or other luxury material, short- support the
see also Car coat. sleeved or sleeveless, with a fitted, BATIK Technique possibly originating abdomen.
LATE 19TH CENTURY ▷: SEE P.230 low-cut bodice and a full skirt. in Java, but used widely across the C.1620–1670: SEE
EARLY 19TH CENTURY ▷: SEE PP.181, 198–9, 326–7 world, in which hot wax is applied PP.118–19
AYLESHAM Wool or linen cloth to parts of a cloth in a pattern; the
made at Aylesham in Norfolk. BAND A shirt collar; main types were cloth is then dyed, the wax-coated BERET A soft, circular wool or felt
the standing band (a flat, starched areas resisting the dye to produce cap, sometimes worn tilted to one
13TH–14TH CENTURY collar) and the falling band (a collar the design; sometimes known simply side; originating in the Basque
that was turned down); see also as “wax” in African countries. country of France and Spain,
B Stand collar, Stand-fall collar. SEE PP.457, 460 it is now worn worldwide.
20TH CENTURY ▷: SEE PP.396–7, 445
BABY DOLL Style of night wear 16TH–17TH CENTURY BATWING SLEEVE See Dolman sleeve.
comprising a short, sheer nightdress, BERTHA COLLAR A wide, deep
frequently having an empire waist BANDANA A handkerchief, typically BAUDEKIN An expensive decorated collar of lace or silk, attached to a
and often worn with short panties; with a white pattern on a red or silk, some types having a warp of dress with a low décolletage and
inspired by the 1956 film Baby Doll. blue ground, often folded diagonally gold thread and a weft of silk. extending over the shoulders.
and worn around the neck or head. 1840S–1920S: SEE P.142
1950S ▷ 18TH CENTURY ▷: SEE P.434 MEDIEVAL

436 REFERENCE

BESPOKE Made to order and BLOUSE A smock-like cotton BUTTONHOLES PLAIN BUTTONHOLE
custom-tailored for an individual; or linen garment originally worn KEYHOLE BUTTONHOLE
see also Tailor-made. by working men, or a light, soft ROULEAU
shirt for women. LOOPS ROUND-END BUTTONHOLE
19TH CENTURY ▷ EARLY 19TH CENTURY ▷: SEE P.241
FROG BOUND BUTTONHOLE
BIAS The diagonal across the grain BLOUSON A waist-length, loose-
of a fabric, at 45 degrees to the fitting men’s jacket with elastic or BOLERO A very short-cropped, BOMBAZINE Twilled fabric with a silk
warp and weft; cutting on the bias drawstring hem and cuffs, used in decorative, open jacket for women, warp and worsted weft, first used
can enable a garment to stretch. sports, military, and casual wear; often worn with a dress; inspired by undyed and later dyed black for
MEDIEVAL ▷: SEE P.446 see also Bomber jacket. traditional Spanish men’s jackets. mourning apparel.

BICORN A wide-brimmed hat with 1950S ▷ MID-19TH CENTURY ▷: SEE PP.273, 335, 396 16TH–20TH CENTURY
the brim turned up at the front and
back, often with a slight peak at BOA A long, round-ended tippet
the front and adorned with a made of feathers or fur.
rosette or cockade. 19TH CENTURY ▷: SEE PP.178, 291

18TH–EARLY 19TH CENTURY BOATER Stiff straw hat with flat-
topped crown, straight brim, and
BIKINI Two-piece women’s bathing hatband of Petersham, or grosgrain
suit resembling a brassière and ribbon, for casual summerwear.
underpants, invented in 1946 by 19TH CENTURY ▷: SEE PP.211, 214–17
French engineer Louis Réard.
1946 ▷: SEE PP.336–7 BOAT NECK See Bateau-neck.

BISHOP SLEEVE In women’s BOBBIN LACE An openwork fabric
garments, a sleeve made from light made by braiding and twisting
fabrics, widening from the shoulder together a number of threads
and gathered into a cuff at the wrist. held on bobbins.
19TH CENTURY ▷: SEE PP.196–7, 241, 458

BLACK WORK Embroidery worked in BODICE The upper part of a BOLO TIE Also known as a BOMBER JACKET Blouson, usually
black silk thread to form geometric garment, especially a dress, between bootlace or shoestring tie, a very leather, originally worn by US Air
or scrolled designs, often used the shoulders and the waist. narrow necktie comprising a length Force crews, now generally
on collars and cuffs. 15TH CENTURY ▷: SEE P.139 of cord or braided leather with adopted as casual wear.
C.1510–1630S: SEE P.109 decorative metal aglets secured 1940S ▷: SEE P.406
BODIES, PAIR OF An under bodice with an ornamental clasp or slide;
BLANKET CLOTH Heavy wool cloth of two parts joined at the sides, worn as part of cowboy style or BONDAGE STYLE A style associated
with a raised finish, commonly used padded, and stiffened with Teddy-boy style. with punk and other youth
for overcoats. whalebone, wood, or steel. cultures, featuring clothes
16TH–17TH CENTURY: SEE P.98 1940S ▷ embellished with straps,
19TH CENTURY chains, and studs.
BOLT Industry standard unit in LATE 1970S ▷: SEE P.404
BLAZER Originally a man’s jacket for BODKIN Formerly a long, which rolled cloth is manufactured
boating, now a classic semiformal ornate hair pin; today and supplied, comprising a specific BONGRACE A flat,
jacket, widely used in school or refers to a blunt needle length and/or width. rectangular, stiffened
adult uniforms. used for threading ribbon, head covering
1890S ▷: SEE PP.217, 283–4, 448 tape, or elastic through BOMBACHAS Baggy pants gathered extending over the
a casing. at the ankle, worn for horseback forehead at the
BLOCK PRINTING Method of printing riding in Argentina and Uruguay. front and down to
fabric, in which one or more colors 16TH CENTURY ▷ EARLY 19TH CENTURY ▷: SEE P.441 the shoulders at
are applied to fabric using carved the back; also
wood blocks, each color needing BODY COAT Tailors’ term for the BOMBAST Fibrous material such refers to part of
a separate block. coat part of a suit, as distinct as cotton, horsehair, wool, or rags, a French hood.
from an overcoat or topcoat. used to pad out parts of a garment
BLOOMERS Baggy knickerbockers such as the trunk-hose or sleeves. 16TH–EARLY
worn by women for cycling and 19TH CENTURY ▷ 16TH–17TH CENTURY: SEE P.105
other sports; also loose, knee-length 17TH CENTURY
women’s underpants; invented and BODY STOCKING A stretchy body
named after Mrs. Amelia Bloomer. covering like a leotard, but also
1851–MID-20TH CENTURY: SEE P.215 covering the legs to the ankles;
also known as a unitard.
MID-1960S ▷

GLOSSARY 437

BONING Strips of whalebone, or BRAID Strands of ribbon or cord or gold threads, with an extra weft
later flexible steel or plastic, added interwoven to form a narrow strip, added to create a raised pattern.
to garments, especially bodices often used as an edging for
and corsets, to help them stay garments. MEDIEVAL ▷: SEE P.141
up and support shapes; see also MEDIEVAL ▷: SEE PP.176–7
Basque, Corset. BRODERIE ANGLAISE White work Deerskin
16TH CENTURY ▷: SEE PP.432–3 BRAIES Baggy medieval underwear embroidery featuring floral motifs dress
worn under tunics; stockinglike created from pierced holes bound
BONNET Originally a soft head hose were attached to the braies; with satin stitch; often used to
covering, but later a women’s hat as tunics became shorter and adorn underwear.
with a brim only at the front. slimmer, the braies became
MEDIEVAL ▷: SEE PP.178, 193 shorter and more fitted. 17TH CENTURY ▷
MEDIEVAL: SEE P.72
BOOT CUT A style of pants with BROGUES Durable leather shoes
a straight-leg fit from waist to BRASSIÈRE Women’s undergarment with punched-leather decoration.
knee and a slight flare below worn to support the bust; many
the knee to ankle. types have underwiring to give LATE 19TH CENTURY ▷: SEE P.301
1990S ▷: SEE P.451 extra support and shape; usually
abbreviated to bra. BROTHEL CREEPERS Suede shoes with Moccasins
BOSOM FRIENDS Wool, fur, or down EARLY 20TH CENTURY ▷: SEE P.277 crepe rubber soles, first worn by
pads fit to the bosom for warmth soldiers in World War II, and then
and as bust enhancers. BREASTPLATE A piece of plate adopted as part of Teddy-boy style;
armor worn over the front of they gained the name “brothel
LATE 18TH–EARLY 19TH CENTURY the torso to protect the chest. creepers” from the soldiers’ habit of
MEDIEVAL ▷: SEE PP.69, 92–3 wearing them to visit nightclubs.
BOUCLÉ A term for a fabric
knit or woven using looped or BREECHES In medieval times, 1940S ▷: SEE PP.341, 404
rough-textured yarn, giving the upper part of men’s long hose;
a knobbly appearance. later, men’s fitted pants ending at BUCKLED WIG Shoshone woman, Idaho, US
the knee. A man’s wig with Dress of the American Indian Shoshone
LATE 19TH CENTURY ▷ 14TH CENTURY ▷: SEE PP.88–9, 154 horizontal rolls of people is frequently made of animal skin
hair above or that is ornately embellished with natural
BOWLER A hard BRETON SHIRT Originally worn by around the ears. motifs using beading and embroidery.
felt hat with fishermen in Brittany, a long-sleeved 18TH CENTURY: SEE
a rounded garment like a T-shirt, with a boat PP.150–1 Campaign hat
crown and a neck, and traditionally with navy
narrow brim and white stripes. BUCKRAM Fine cotton or linen often Red Serge
rolled up at the MID-19TH CENTURY ▷ stiffened, and used in the 19th
sides, worn for horse century for making women’s hats. Sam Browne
riding and later as stylish headgear. BRIAL Spanish tunic made of belt
1850S ▷: SEE PP.227, 265 expensive fabric such as silk 13TH–19TH CENTURY
brocade or silk with gold thread;
BOX COAT (a) Heavy, caped overcoat laced down one side. BUCKSKIN Leather made from deer
typically worn by coachmen; hide, used for gloves and at one
(b) loose-fitting coat popular in the 12TH–14TH CENTURY time for breeches; also known
1930s and 40s, with a boxy shape as deerskin.
and squared, padded shoulders. BRISTOL DIAMONDS A type of rock
crystal found near Bristol in south- 15TH CENTURY ▷
LATE 18TH CENTURY ▷ west England and used as imitation
diamonds in jewelry. BUFF COAT A durable military coat Jodphurs
BOXER SHORTS Loose-fitting made from buffalo or ox hide; later
cotton shorts with an elastic 17TH–19TH CENTURY adopted by civilians.
waistband, worn by men as
underpants; based on the shorts BROADCLOTH Fine wool cloth 16TH–17TH CENTURY
worn by professional boxers, with a twill weave and a smooth
which allow free movement. face; an economic staple in England BUGLE BEADS Small tubular beads, Riding boots
and Flanders in medieval times. which can be smooth or faceted,
1940S ▷ used to adorn women’s clothes.
MEDIEVAL ▷
BOX PLEAT A flat pleat created 19TH CENTURY ▷
by two folds facing toward each BROCADE Luxury fabric woven
other and pressed flat. with silk and often including silver BUNDHOSEN Breeches that “Mountie” in ceremonial garb, Canada
LATE 19TH CENTURY ▷: SEE PP.145, 452 finish just below the knee, with This man wears the uniform of the Royal
a lacing or a buckle closure at the Canadian Mounted Police, who are
hem; traditional in German- distinguished by their scarlet Red
speaking countries. Serge belted tunic with gold buttons.

MEDIEVAL ▷

438 REFERENCE

Sombrero BURNOUS Long, hooded wool CAGE PETTICOAT Dome-shaped CARDIGAN A knit jacket closed
cloak traditionally worn by North structure used to support a wide with buttons or a zipper, originally
African men; also a women’s skirt, and consisting of whalebone worn by soldiers in the Crimean
evening wrap made of cashmere; or wire hoops joined by bands War, but now worn widely by both
see also Djellaba, Jebba. of tape; see also Hoop crinoline men and women.
and Petticoat.
17TH CENTURY ▷ 1850S–LATE 1860S: SEE PP.196–7, 432–3 LATE 19TH CENTURY ▷

Traje de BUSK A flat piece of whalebone, CALICO A lightweight, finely woven CARGO PANTS Loose-fitting pants
charro wood, or metal used to stiffen the cotton printed with a small floral for men and women, with large
front of a corset or stays; wood motif; also, a UK term for a heavier- pockets on the legs, based on pants
busks were often hand-carved and weight muslin. worn by US military personnel in
decorated with initials or hearts. World War II; now widely worn
17TH CENTURY ▷ as casual wear.
16TH–EARLY 20TH CENTURY
CAMBRIC A high-quality linen. 1950S ▷
Mexican mariachi in traditional dress BUSKINS Knee-
The typical dress worn by charros, similar length boots 16TH CENTURY ▷ CARTRIDGE PLEATING Tiny, soft,
to American cowboys, is today most worn by both evenly spaced pleats used to
frequently worn by mariachi musicians and men and women CAMEL HAIR Undyed hair from gather a large amount of material
consists of an ornate suit and sombrero. made of cloth or camels, or a wool fabric dyed to into an armscye, waistband, or cuff,
later of leather, imitate the color, usually light without adding bulk to the seam.
worn for riding beige or tan in color; used to MEDIEVAL ▷: SEE PP.145, 452
or traveling. make coats.
CASHMERE A fine, soft fabric made
14TH–LATE 17TH LATE 17TH CENTURY ▷ from goats’ wool and originally
imported from Kashmir; see
CENTURY CAMI-KNICKERS also Pashmina.
An item of lingerie 18TH CENTURY ▷: SEE P.197
BUSTIER Item of lingerie combining combining a
a brassière and a camisole, reaching camisole and CASSOCK Closed, ankle-length
from the bust to the waist, often loose tap pants; robe, with long sleeves and low,
with boning; see also Basque. later known as stand-up collar; usually black;
1830S–1900S: SEE P.344 a Teddy; see also worn by clerics, lay people and
Baby doll. choir members of various
Kaperraj BUSTLE Metal frame or padded Christian churches.
shapes worn under a woman’s CAMISOLE An item of lingerie that 13TH CENTURY ▷: SEE P.57
dress at the back to support the covers the upper body and is held
top of the skirt; see also Grecian up with thin spaghetti straps. CATSUIT A close-fitting, stretchy
bend, Tournure. one-piece garment for women,
1820S ▷ combining a zippered bodice
1830S–1900S: SEE PP.200–5, 432–3 and tight pants.
CAPRI PANTS Close-fitting, mid-
Huipil BUTCHER’S BOY CAP See calf-length pants for women. 1960S ▷
Newsboy cap. 1950S ▷: SEE P.337
CAVALRY TWILL Worsted or rayon
BUTTON BOOTS Short, lightweight CAPUCHIN A soft hood with a twill with a diagonally ribbed
boots fastened up the outside of deep cape and a colored lining; surface; originally used for cavalry
the ankle with buttons; worn also called a riding hood, it was in World War I, but now used for
by both men and women. worn outdoors and for traveling. men’s smart-casual pants.

1890S–EARLY 20TH CENTURY 16TH–LATE 18TH CENTURY 1914 ▷

CCorte CARACO A thigh-length women’s CHAMMER A sleeved gown for
CABLE KNIT A knitting technique jacket, fitted at the waist or with men, made from luxury material
Maya woman, Guatemala in which some stitches are crossed box pleats at the back; some styles and worn open at the front.
The huipil is the most distinctive element over adjacent ones to create a were a little longer in the back
of Central American indigenous dress. braided effect; notably used in than in the front. LATE 14TH–EARLY 19TH CENTURY
Some women also wear a kaperraj on Aran knitwear. MID-18TH–EARLY 19TH CENTURY: SEE PP.117, 163
the head, which doubles as a carrier bag. 19TH CENTURY ▷: SEE P.281 CHAMOIS Soft, cream-colored
CAR COAT A thigh-length coat leather, made from the skin of the
CAFTAN see Kaftan. worn for traveling; less bulky Chamois goat or from sheepskin
than the early automobile coats. or lambskin, used for gloves.

1940S ▷ 16TH CENTURY ▷

GLOSSARY 439

CHAPERON Medieval men’s hat; COLLARS CLIPPING In dressmaking, cutting
originated as a hood with integrated slits or notches in the edge of a
short cape that could be rolled up seam so material will fit curves
and fastened; evolved into a padded or corners.
circlet with scarflike attachment.
CLOCHE Close-fitting
MEDIEVAL: SEE PP.72–3 hat for women,
with a slightly flared
CHAPS Leg covering, often leather, MANDARIN COLLAR PETER PAN COLLAR brim giving a bell
which is buckled over pants to shape; especially
protect them while horse riding. fashionable in
the 1920s.
MID-TO-LATE 19TH CENTURY: SEE P.434
1908 ▷: SEE PP.273, 429
CHASUBLE Colorful, richly decorated
outer garment worn by priests, STAND COLLAR STAND-FALL (DRESS) COLLAR CLOTH OF GOLD / SILVER A rich fabric
bishops, or archbishops in the of silk or wool interwoven with
Christian Church for Eucharist threads or strips of gold or silver.
service or Mass. MEDIEVAL: SEE P.75
4TH CENTURY ▷: SEE PP.36–7, 57
COCKTAIL DRESS A semiformal, long
CHECKED A pattern made by or short dress for women, in luxury
crossing stripes of different- fabric such as silk or satin, worn for
colored warp and weft to create early-evening parties.
squares, or a similar pattern 1920S ▷: SEE PP.322–3
printed on to cloth.
15TH CENTURY ▷: SEE PP.205, 210, 273, 381

CHELSEA BOOTS Slip-on ankle WING COLLAR SHAWL COLLAR CODPIECE Initially a flap at the fork
boots for men, made of leather of men’s long hose or trunk hose
with elastic sides. CHINOS Cotton twill pants for men CHOKER to shield the crotch; in the 16th
and women; originally khaki and A decorative century codpieces were padded
1840S ▷ worn by US servicemen, later band or ribbon and projected from the hose.
popular as casual wear and for worn around 15TH–17TH CENTURY: SEE PP.88–90
CHEMISE A linen undershirt, first the preppy style. the throat
worn by both sexes but later used by women, COIF Close-fitting
as a woman’s undergarment. 1940 ▷ usually for eveningwear, linen cap for men,
MEDIEVAL ▷: SEE P.87 and often adorned with jewelry; or linen undercap
CHINTZ Glazed calico with bright, popular in Victorian times. for women.
CHENILLE A velvety cord used in often floral, prints, first imported LATE 19TH CENTURY ▷: SEE P.201 MEDIEVAL–19TH CENTURY:
embroidery, weaving, or knitting, from India, and used for SEE PP.61, 128
made from silk with a tufted surface; women’s clothing. CHOLI For Indian women, a
a soft, textured fabric made from 17TH–18TH CENTURY: SEE P.221 fitted bodice worn under a sari. COIFFE A cap worn by Breton
synthetic chenille yarn. SEE P.462 women, typically of linen or lace,
and usually white; can be tied under
LATE 17TH CENTURY ▷ the chin or pinned to the hair.
MEDIEVAL ▷: SEE P.442
CHEONGSAM Chinese women’s dress CHITON Garment
of silk or satin, close fitting, with a worn in Ancient CHOPINES Overshoes worn in Spain COMBING Preparation of wool or
mandarin collar, and with slits at Greece, comprising and Italy by women, consisting of a cotton to remove the shorter fibers
both sides; now worn worldwide. a large rectangle of toe cap and a raised sole of cork or and make the long fibers lie parallel,
1920S ▷: SEE P.461 linen draped around wood; often decorated with paint before spinning; used to produce
the body, held at or gilding. worsted yarn or “combed cotton.”
CHESTERFIELD A knee-length, the shoulders with 15TH–17TH CENTURY: SEE PP.111, 426
single-breasted or double-breasted brooches and under COMMODE Originally a name for a
overcoat for men, with a back vent the bust with a girdle. CHUBA A long sheepskin coat worn wire framework covered with silk
but no side vents or waist seams, C. 480–323BCE: SEE PP.24–5 in Tibet; popular in hippy style. or lace to form a tall headdress for
and sometimes with a velvet collar. women, and then the term for the
CHLAMYS A wool CIGARETTE PANTS Close-fitting, headdress itself; later commodes
CHIFFON A sheer, delicate fabric, cloak or short mantle tapered pants for women, similar had long lappets that hung down
usually of silk or rayon, woven with worn in Ancient Greece, first by to Capri pants but longer. to the shoulders or were pinned up.
twisted yarns to give a slightly grainy soldiers and later for general use. 1950S ▷: SEE P.452 17TH–18TH CENTURY: SEE PP.133, 139
surface, used for women’s clothes. :C.480–323BCE SEE PP.24–5

440 REFERENCE

CONVERSE “CHUCK TAYLOR” cork sole; often worn for swimming. COSSACKS Men’s pants with COUCHED WORK A decorative
ALL STAR® A brand of basketball tapering legs, pleated at the waist, technique in which threads are
sneakers with a high top, canvas 16TH CENTURY ▷ and with drawstrings at the ankle laid on the surface of a fabric and
upper, and rubber sole, named or straps under the instep. then secured with small stitches
“All Star” after the logo, and CORNETTE The long tail of a hood; 1814–C.1850: SEE P.184 of another thread.
“Chuck Taylor” after 1920s also refers to a type of wimple
basketball star Chuck Taylor, an made of starched white cloth, COSTUME An outfit worn for 11TH CENTURY ▷
ambassador for the brand; now folded up into two “horns” a specific event or for theatrical
globally popular, especially with (cornes in French). performance, or worn by a COUTURE From the French for
young men and women. particular ethnic group; sometimes “sewing,” the creation of high
MEDIEVAL used for a woman’s outfit of jacket fashion, often custom-made, clothing
1917 ▷ and skirt. for women; see also Haute couture.
CORSAGE
COPE A full cloak cut as a The bodice of a 1800 ▷ COVERT COAT A short overcoat
semicircle and worn by clerics woman’s dress; for men, with a fly front and vents
of various Christian churches. also a small bunch COSTUME JEWELRY Accessories in the side seams, originally for
MEDIEVAL ▷: SEE P.57 of flowers pinned made with inexpensive materials riding but later adopted generally.
to a woman’s bust such as paste, glass, or rhinestones
CORDED SILK Heavy silk with raised or shoulder, or to imitate gems, or “base metal” 1880S ▷
ribs on the surface; see also Rep. worn on the wrist. colored to resemble gold or silver.
19TH CENTURY ▷: SEE COWBOY BOOTS Sturdy riding boots,
19TH CENTURY PP.190, 205, 363 1930S ▷ usually mid-calf height and with a
Cuban heel, often with ornate
CORDOVAN Fine Spanish leather, CORSELETTE A women’s corset COTE Long garment worn over embroidery on the side; originally
originally made from horse hide, with boning and laces that pull the chemise and under the robe, worn by North American cowboys.
used for gloves and shoes. in the wearer’s waist, giving a by both men and women. MID-19TH CENTURY ▷
curvy, “wasp-waisted” shape; 14TH–15TH CENTURY: SEE PP.72–4
MEDIEVAL ▷ made popular as part of COWBOY HAT Wide-brimmed hat
Dior’s New Look. COTE-HARDIE A close-fitting, with tall crown; made from felt,
CORDUROY A cotton fabric with a soft LATE 1940S ▷: SEE PP.316, 412–3 hip-length overgarment for men, straw, or leather; first worn by
pile forming parallel ridges of varying or an overgarment for women with working cowboys in the US; John B.
widths known as wales (for example, CORSET A supportive undergarment a close-fitting bodice and sleeves Stetson is credited with making
wide wale and pinwale). for women, comprising a sleeveless, and a wide, full skirt. the first.
boned bodice worn under clothing 14TH–15TH CENTURY: SEE PP.62–3 MID-19TH CENTURY ▷ SEE P.434
1918 ▷ and covering bust to hips.
LATE 18TH CENTURY ▷: SEE PP.133, 190, 432–3 COTHURNUS An Ancient Greek boot COWBOY STYLE A casual style
CORK SHOE Shoe worn by both men worn for hunting, with thick soles of dress based on the work clothes
and women, with a wedge-shaped and reaching to mid-calf; also used worn by US cowboys, such as jeans,
as part of costumes for Greek and cowboy boots, and bandanas.
CUFFS Roman actors in tragedies.
1950S ▷
BARREL CUFF ENGAGEANTES ANTIQUITY
COWL NECK A large, softly draped
TIE CUFF COTTAGE BONNET Simple, close- collar seen on women’s sweaters
fitting straw bonnet with the sides and dresses.
FRENCH CUFF SINGLE CUFF projecting beyond the wearer’s face. 1920S ▷: SEE PP.326, 451

1808–1870 CRAVAT A neckcloth for men, said
to have originated in Croatia, today
COTTON White, downy fiber from made from patterned fabric (usually
the bolls (seed capsules) of the silk), with a pleated section to go
cotton plant (genus Gossypium), around the neck and tucked into
and fabric woven from it; first the open neckline of shirt.
used in the Americas and Asia, LATE 17TH CENTURY ▷: SEE PP.136–7, 184–5
and one of the most widely used
fabrics today. CRÊPE A thin, gauzy fabric in
which the fibers are twisted before
5000BCE ▷ they are woven to give greater
elasticity; types used today include
COTTON GAUZE Thin, loosely woven crêpe de chine (silk) and crêpe
cotton, originally from India, popular georgette (silk, rayon, or cotton).
for clothing in the 1960s and 1970s;
called muslin in the UK. 17TH CENTURY ▷

1960S ▷

GLOSSARY 441

CREPE RUBBER Natural rubber used functions like pants, first used DÉCOLLETAGE A low-cut neckline Sombrero
to make soles of shoes or boots, as for riding horses or bicycles. on a woman’s dress. campero
it is lightweight and gives protection EARLY 20TH CENTURY ▷: SEE P.297 1890S ▷: SEE PP.180–1
against heat and wet; crepe soles Poncho
usually have a rough, crinkled CUMMERBUND A wide pleated sash DECONSTRUCTIONISTS A group of
surface; see also Brothel creepers. worn around the waist, particularly designers who challenged traditional Rastro
as part of men’s evening dress. concepts of fashion by ripping Bombachas
1920S ▷ 17TH CENTURY ▷: SEE P.215 clothes, leaving raw edges on
garments, and making clothes Argentinian cattle herder
CRESPINETTE Hairnet worn by CUTWORK (a) Also known as from items such as gaffer tape. South American gauchos dress to
aristocratic women of Northern dagging, the slashing of a garment 1980S ▷: SEE PP.401, 420 accommodate a rugged lifestyle. Ponchos
Europe; woven from gold, silver, border to make decorative shapes; are carried and serve as cloaks in cold
or silk; also called crispine or caul. (b) decoration made by cutting DEEL Mongolian robe with high weather or saddle blankets when riding.
13TH–14TH CENTURY: SEE PP.64, 74 holes and filling in the spaces collar; cut in one piece and worn
with needlework. wrapped across the body and tied Felt hat
CREW NECK A round, close-fitting 14TH CENTURY ▷: SEE P.72 with a silk sash.
neckline on a shirt or sweater. 13TH CENTURY ▷: SEE P.459 Pollera
20TH CENTURY ▷: SEE P.451 D
DEERSTALKER Aymará woman, Bolivia
CRINOLETTE An undergarment that DAGGING Decorative technique A tweed cap Traditional Aymará dress, or cholita dress,
marks the transition between the whereby a dagge (pattern) is cut with earflaps includes a full, tiered skirt and a felt hat,
cage petticoat and the bustle; has a into the edge of sleeves or hems; tied at the similar to a bowler hat. This hat style was
flat front and half-hoops at the back. popular in medieval times. crown, for men first introduced to Bolivia in the 1920s.
C.1868–1873: SEE P.433 MEDIEVAL–15TH CENTURY: SEE P.74 to wear during
country pursuits.
CRINOLINE (a) See Cage petticoat; DALMATIKON A long, T-shaped
(b) a fabric made from horsehair Byzantine garment with wide 1860S ▷
mixed with cotton, used to make sleeves and slits up each side.
stiff under-petticoats. 300CE ▷: SEE PP.36–7 DELPHOS DRESS Greek-inspired
1829 ▷: SEE PP.196–7, 433 style of women’s dress created by
DAMASK A fabric of silk, linen, or designer Mariano Fortuny; made
CROCHET WORK A technique for wool in which a monochrome design of thin, finely pleated silk weighted
making fabric or lace by working is created by the contrast between down with glass beads at the sides.
yarn (or thread) into loops and the face and reverse of the satin C.1907–1950S: SEE P.237
chains, using a hooked needle weave and can be seen on both sides.
(crochet is French for “hook”). DEMI-GIGOT SLEEVE A style of sleeve
19TH CENTURY ▷: SEE P.380 MEDIEVAL ▷ that is full from the shoulder to the
elbow and tight on the forearm;
CROPPED Term used for a garment DART A stitched see also Gigot sleeve.
cut shorter than the usual length. fold on the inside
17TH CENTURY ▷: SEE PP.332, 388, 397 of a garment piece, 1820S; ALSO 1891
to create shape or
CROSS CLOTH A triangular piece to give a closer fit. DENIM A cotton twill fabric made
of cloth worn over a coif, with the with one colored thread and one
longest edge over the forehead. white thread, used to make work
clothes such as jeans.
CRUSHED VELVET Velvet with DASHIKI A loose, 17TH CENTURY ▷: SEE PP.339, 345, 373
a crumpled pile. colorful pull-on shirt traditionally
worn by men in West Africa, now DERBY SHOES Sometimes called
20TH CENTURY ▷ worn worldwide, particularly by Blücher shoes, a style of men’s
African-Americans. lace-up leather shoe in which the
CUBAN HEEL A medium-high heel shoelace eyelets are situated on flaps
for shoes or boots, with a tapered 1960S ▷ attached to the top of the vamp.
back edge; see also Cowboy boots.
DECK SHOES Nonslip shoes, also 20TH CENTURY ▷
CUFF The part at the end of a sleeve, called boat shoes or top-siders,
sometimes thickened or turned back. with rubber soles, quick-drying DESIGNER LABEL A label bearing the
uppers, and a lace around the name or logo of a major designer;
15TH CENTURY ▷ top; some types are similar in this may also be displayed on the
style to moccasins. outside of a garment as a sign of
CULOTTES Divided skirt worn by quality or a badge of status.
women, which looks like a skirt but 1935 ▷
LATE 20TH CENTURY ▷

442 REFERENCE

Bearskin DEVORÉ A velvety fabric on which DOLMAN SLEEVE A loose-fitting DRESS REFORM Various initiatives
some areas of the pile have been sleeve cut as part of the bodice; taken in Europe and North
Kilt burned away with chemicals, so that often used on women’s sweaters; America, associated with suffrage
Sporran the remaining pile forms a pattern. popular in the 1980s; see also movements, to make clothing
Batwing sleeve. more comfortable and practical,
Spats LATE 19TH CENTURY ▷ 1930S ▷: SEE P.458 especially for women; see also
Bloomers, Culottes.
Royal Scots Dragoon Guard DHOTI A long, cotton loincloth DONKEY JACKET Short wool work MID-19TH CENTURY–1940S: SEE P.283
Many regiments of the British Army wear traditionally worn by Indian men. jacket for men, often with PVC on
uniforms based on traditional Scottish SEE P.462 the yoke; popular with students and DRILL Sturdy linen or cotton twill
dress. This Guard wears Queen Elizabeth II's radicals from the 1950s onward. used for summer clothing. Also
personal tartan, Royal Stewart. DIAMANTÉ UK term for rhinestones. 20TH CENTURY ▷: SEE P.448 preferred for corsets.
19TH CENTURY ▷: SEE PP.258–9
Coiffe DOUBLE-BREASTED A garment, 18TH CENTURY ▷
DIAPER A fabric woven so that the usually a coat or jacket, with
Embroidered surface shows a diaper pattern of overlapping panels at the front DR. (DOC) MARTENS Lace-up
bodice interlocking lozenge or diamond and two vertical rows of buttons. walking boots with a high top
shapes when the light catches it. 18TH CENTURY ▷: SEE PP.589, 366, 448 and air-cushioned sole, worn
by skinheads and other youth
15TH CENTURY ▷ DOUBLE-FACED A term for a fabric subcultures; see also Grunge,
with a finish on both sides (two “right Punk style, Skinhead style.
DIFFUSION LINE Also known as a sides”), so usable on either side. 1960 ▷: SEE PP.404–5
Bridge collection. A clothing line
produced by a high-profile 19TH CENTURY ▷ DROP WAIST A waistband that sits
designer at a moderate price. lower than the natural waist of the
DOUBLET A close-fitting padded wearer, fashionable for women's
20TH CENTURY ▷ jacket worn over the shirt, usually dresses during the 1920s.
by men; doublets could have a 1920S ▷: SEE PP.240–1, 252–5
DIMITY A lightweight cotton fabric buttoned front; see also Pourpoint.
with some of the warp threads 14TH–LATE 17TH CENTURY: SEE PP.90–1, 118 DUCHESSE A heavy, luxurious satin
standing out to form fine cords. with a lustrous sheen.
DRAINPIPE PANTS Very close-fitting,
18TH CENTURY ▷ straight-legged jeans or casual pants DUCKS Pants made from coarse
first worn by men in the 1950s and white linen or cotton, often worn
DINNER JACKET A man’s jacket for later adopted by women. in hot climates and by sailors.
formal eveningwear, often with 1950S ▷: SEE P.340
silk-faced or satin-faced lapels; 19TH CENTURY
also known as a tuxedo. DRAPE SUIT Men’s three-piece
1890S ▷: SEE P.289 suit with a loose cut through the DUFFLE COAT A coarse serge coat
shoulder and armscye, light padding, first made for the British Royal
DIRECTOIRE STYLE Neoclassical style a narrow waist, and wide sleeves, Navy, later adopted by students
of dress for men and women, creating a V-shape silhouette. and activists; often fastened
popular in France at the end of the 1930S ▷: SEE PP.286–7 with toggles.
18th century and briefly revived at MID-19TH CENTURY ▷
the end of the 19th century.
18TH–19TH CENTURY: SEE P.156

Tavancher DIRNDL Traditional style of dress DRAWERS An undergarment for the DUPATTA Long scarf, often in sheer
for women in Austria and southern lower body, usually made of linen material, traditionally worn with
Woman from Pont l’Abbé, France Germany, including a lace-up bodice, or cotton. women’s shalwar kameez, draped
Costume from Brittany is distinctive for its a full, gathered skirt, and an apron. 15TH CENTURY ▷: SEE P.171 around the shoulders or head.
use of fine lace, especially in coiffes. There SEE P.446
is an impressive variety of these caps, each DRAWN-THREAD WORK A fabric DUTCH BOY CAP A man’s peaked
village having its own unique style. DJELLABA Long, hooded wool robe decoration in which some warp and cap, usually of wool and with a flat,
traditionally worn by men and weft threads are removed and the circular crown; originally worn by
women in northwest Africa. remaining threads are sewn to form a fishermen in Europe, and later
pattern; see also Pulled-thread work. popular with youth and left-wing
DOGTOOTH See Houndstooth. subcultures such as bikers.
16TH CENTURY ▷
DYE Natural or synthetic substance
DOLLY VARDEN BONNET A wide- DRESS CLOTHES Formal garments used to color a fabric; see also
brimmed bonnet with wide ribbons for men, particularly for evening, Aniline dyes.
that are tied under the chin. such as the tailcoat. SEE PP.38–9

1880S–EARLY 20TH CENTURY: SEE P.219 19TH CENTURY ▷

GLOSSARY 443

E ETHNIC DRESS Traditional clothing FASCINATOR FLAMENCO DRESS Ankle-length dress
from certain ethnic groups that has A delicate head with a low neckline; fitted bodice,
EASING Technique for joining two been adapted for Western fashion, ornament made waist, and hips; and frilled skirt;
fabric edges of slightly different such as the poncho or the kaftan, or from materials traditional in Andalusia, Spain;
lengths, in which the extra fullness harem pants. such as feathers derived from local Romani dress.
on the longer edge is evenly and net, derived EARLY 19TH CENTURY ▷: SEE P.329, 445
distributed along the seam; more 1950 ▷ from the cocktail
subtle than gathering. hats of the 1960s. FLANNEL Wool fabric with a plain
ETON COLLAR A large, stiffly 1970S ▷: SEE P.429 or twill weave and a slight nap on
starched, detachable white collar, both sides.
notably worn by students of Eton, FASHION PLATES Mass-produced
a prestigious British school. illustrations showing the general MEDIEVAL ▷
features of new fashion styles; used
19TH CENTURY ▷ until the advent of photography. FLANNELETTE A cotton fabric like
flannel, with a nap on one or both
EMBROIDERY Decorative stitching EYELET A hole made in a garment 17TH–EARLY 20TH CENTURY sides; also called cotton flannel.
applied to a fabric, using materials for ribbon or laces to pass through,
such as silk, wool, and metal thread. often with the edges strengthened FEDORA A felt hat with a crease 1870S ▷
SEE P.109 by stitching or metal rings. along the crown and two “pinches”
MEDIEVAL ▷: SEE P.63 at the front, first worn by women FLARES Pants that fit tightly around
EMPIRE LINE A term used for but now a classic style for men. the upper legs but flare out widely
women’s dresses in the early 19th F 1890S ▷: SEE PP.225, 303 from the knee down; see also
century, featuring a high-waisted Bell-bottoms, Loon pants.
bodice and long, slim skirt. FACE, OF FABRIC The “right side,” FELT A fabric made from wool LATE 1960S ▷: SEE PP.366–7, 372–3, 382–3
C.1800–1820 ▷: SEE PP.170–1 the surface that faces outward on a and/or fur matted together by
finished garment; see also Double- heating, moisture, and friction. FLAT CAP A soft, round cap of cloth
ENGAGEANTES A French word for faced cloth. or leather, with a low, flat crown
ruffles, especially detachable ruffles FEZ Also called and a small, stiff brim at the front.
worn at the cuffs by women. FACING Attaching a strip of fabric or a tarboosh, a 16TH CENTURY ▷: SEE PP.227, 282
LATE -17TH–MID 19TH CENTURY: SEE PP.142, 157 binding to a raw neckline or other red wool felt cap
edge of a garment, to give a neat with cylindrical or FLOUNCE A deep ruffle of gathered
EPAULETTES Ornamental shoulder enclosed seam. conical sides, and a or pleated fabric used as decorative
pieces originally worn on jackets as flat crown, frequently trimming for women’s garments.
part of a military uniform; now also FAGGOTTING (a) Joining of two with a tassel, traditionally 18TH CENTURY ▷: SEE PP.133, 143, 146–7
a term for detachable shoulder fabric pieces by a network of worn by Muslim men in Turkey
pieces with insignia of rank, worn by stitches; (b) drawn-thread work in and North Africa. FLY FRONT A fold of cloth on a pair
members of the armed forces and which some threads are removed SEE PP.113, 453 of pants covering a row of buttons
other uniformed personnel such as and the rest tied in bundles to or a zipper.
pilots. form a pattern. FIBER Strands of cotton, silk, or 19TH CENTURY ▷: SEE P.217
other natural or synthetic substances
18TH CENTURY ▷ FAILLE A soft silk or rayon fabric that are twisted into yarn or felted to FOLK COSTUME Style of dress
with a slight luster and a ribbed make fabric. traditionally worn by the inhabitants
ERMINE The winter fur of the ermine weave creating a textured feel. of a certain region, such as the
(stoat), which is white with a black FICHU Worn Dirndl and Lederhosen in Germany.
tip, and in medieval Europe was a 1860S ▷ by women,
symbol of high status. a triangle of FONTANGE A headdress for women
MEDIEVAL ▷: SEE PP.86–7, 192–3 FAIR ISLE A traditional knitting muslin or linen first appearing in the French court,
style from Fair Isle in the Shetlands, draped over the comprising a tower of lace or linen
ESPADRILLES Canvas shoes with with bands of repeating motifs shoulders and loosely knotted at the frills supported by a commode.
twisted rope soles, and sometimes in various colors or natural bust or tucked into a low neckline. LATE 17TH–EARLY 18TH CENTURY: SEE P.139
laces, first worn by Spanish peasants fleece tones. EARLY 18TH–EARLY 20TH CENTURY: SEE PP.147, 178
but now popular as summer shoes. 1860S ▷: SEE PP.286, 304 FOUR-IN-HAND A simple and
1920S ▷: SEE P.406 FILLET A thin headband of linen or commonly used way to tie a necktie,
FARTHINGALE An underskirt gold, or a headband of satin with forming a narrow and slightly
with wicker, whalebone, or rag pearls for eveningwear. asymmetrical knot.
hoops sewn in to hold a top skirt MEDIEVAL ▷: SEE PP.49, 61, 64 1890 ▷: SEE PP.211, 263, 288
in a particular shape; see also
Spanish farthingale, FISHNET Open-weave material used FRENCH CUFF Also called a double
Wheel farthingale. for women’s stockings and tights. cuff, a long cuff that is folded back
LATE -15TH–MID 17TH CENTURY: SEE PP.432–3 LATE 19TH CENTURY▷: SEE P.401 on itself and fastened with cufflinks.
1850S ▷: SEE P.440

444 REFERENCE

FRENCH HEEL FROGGING A coat closure comprising GALLIGASKINS Wide, loose breeches. GIGOT SLEEVE A sleeve that is very
A medium- decorative braid and a spindle- full from the shoulder to the elbow
high heel shaped “frog button” that passes 1570S–END OF 17TH CENTURY and fitted from elbow to wrist; also
for women’s through a loop in the braid. called a leg-of-mutton sleeve.
shoes, in which 17TH CENTURY ▷: SEE PP.113, 205, 436 GARÇONNE LOOK A style named 19TH CENTURY: SEE PP.179, 206–7, 209, 458
the back curves inward and for the French equivalent of the
then flares out slightly just at FRONTLET A decorative band worn “flapper,” with short hairstyles GINGHAM Checked or striped plain
the base; also called pompadour across a woman’s forehead, under and an often androgynous shape weave fabric, usually cotton, in
heel and Louis heel. a veil or other head covering. to the clothes. which the pattern is made by stripes
1920S: SEE PP.252–3 of warp and weft threads.
18TH CENTURY ▷ MEDIEVAL–EARLY 17TH CENTURY 19TH CENTURY ▷: SEE P.413
GARTER A band,
FRENCH HOOD A small, round FULL-BOTTOMED WIG A large wig of often decorative, GIORNEA Tabard-style overdress
hood with a stiff frame, worn far closely curled hair, shoulder length used to hold up the with open front and sides, worn in
back over the crown of the head, or longer, with a center part. top of a stocking. Renaissance Italy by wealthy women
with the ends extending forward 1660–EARLY 18TH CENTURY: SEE PP.131, 137 MEDIEVAL ▷: SEE PP.101, 104 as a way of displaying expensive
over the ears. fabric; especially popular in Florence.
FUN FUR A furlike material made GATHERING To make a fabric LATE -14TH—MID 15TH CENTURY: SEE P.81
1520S–1590 from synthetic fiber, often dyed a edge shorter and more full by
bright color, or a garment made sewing a line of running stitch GIPON A close-fitting, padded
FRENCH KNICKERS A variety of from such material. and bunching the material closely jacket worn by men over the shirt;
(usually loose-fitting) women’s along the thread. the forerunner of the doublet.
underpants, extending from the 1960S ▷
waist to the upper thighs like a pair MEDIEVAL ▷ 14TH CENTURY
of shorts, typically made of lace or FURBELOW A flounce, or a wavy
satin; see also Teddy, Lingerie. line of fabric, usually on a woman’s GAUCHO PANTS Wide, calf-length GIRDLE (a) A belt or cord fastened
garment and often made of the same pants first worn by the gauchos around the waist or hips to secure
1930S ▷ material as the main garment. of South America but made popular the clothing; (b) An elastic corset.
by film star Rudolph Valentino. ANTIQUITY ▷: SEE PP.25, 87, 107
FRENCH POCKET An early form of 18TH CENTURY
flap pocket, comprising a horizontal 1920S ▷ GODETS Triangular
slit with a flap to protect the FUSTANELLA White pleated skirt panels sewn into the
opening; used on men’s clothing. traditionally worn as part of military GAUNTLET An armored covering seams of a skirt to
17TH CENTURY: SEE P.453 dress in Albania and Greece; made for the hand; also a sturdy glove create a fluted, flared
from thick linen, often dipped in with a flared cuff extending over shape at the bottom.
FRENCH RUFF animal fat for waterproofing. the wrist.
Also called the C.13TH CENTURY ▷: SEE P.453 19TH CENTURY ▷
cartwheel ruff, 15TH CENTURY ▷
a large, deep G GOFFERING Creation
ruff forming a GAUZE A thin, fine fabric made from of frills on cotton, linen,
horseshoe GABARDINE A worsted or cotton/ silk or a similarly sheer material, used or delicate garments,
shape or full worsted twill with diagonal ribbing, for veils and dress trimmings; see by pressing the edges with
circle around invented by Thomas Burberry; used also Cotton gauze, Organdie. heated tongs (goffering irons).
the neck. to make weatherproof raincoats
and the Burberry trench coat. 13TH CENTURY ▷ 16TH CENTURY ▷
1580S–C.1610
1879 ▷ GEORGETTE A light, sheer fabric of GO-GO BOOTS Knee-high boots
FRENCH SEAM A seam in which the silk or synthetic fiber, with a crêpe for women, with a low or flat heel
raw edges are enclosed within the GABRIELLE DRESS Dress with a texture, used in dresses and blouses. and often a chunky toe, inspired
body of the seam; especially suitable skirt front, a bodice cut from one by Space Age style, usually made
for sheer fabrics. panel of fabric, and box pleats 1914 ▷ in shiny white or brightly colored
at the back; also known material such as patent leather
FRET A coif or skull cap made as fourreau. GHILLIES Soft, open-topped leather or vinyl.
of gold fretwork or of fabric. shoes secured by laces across the 1960S ▷: SEE PP352, 361
1860S foot and around the ankle, worn
FROCK Old term for an informal with traditional Scottish dress. GOLLAR Short, fitted cape that
gown or a child’s dress. GABRIELLE SLEEVE A sleeve used on just covers the shoulders, upper
women’s dresses, full from shoulder GIBSON GIRL SKIRT A straight-sided, chest, and upper back; closure
MEDIEVAL ▷ to elbow and tapering to a deep flat-fronted skirt with gathers at at the front; worn in Renaissance
cuff; also a sleeve with a series the back to give fullness. Germany with low-cut gowns;
FROCK COAT A man’s coat reaching of puffs from shoulder to wrist. 1890: SEE P.457 often fur-lined.
to the knee, buttoned down to EARLY–MID 16TH CENTURY: SEE P.86
waist level, and with full skirts. 19TH CENTURY GIBUS HAT A top hat with a
18TH–EARLY 20TH CENTURY: SEE PP.184–5 collapsible crown; see also Opera hat.

19TH CENTURY ▷

GLOSSARY 445

GORES Tapered panels used to make GROSGRAIN A heavy silk fabric or H Beret
a skirt fit closely around the hips but ribbon with ribs across the surface.
flare out at the bottom. HABERDASHERY (a) British Gerriko
19TH CENTURY ▷ dressmaking term for small items
14TH CENTURY ▷ required for sewing, such as thread, Basque dancer, southern France
GRUNGE An anti-materialistic, buttons, and zippers; see also The beret worn by this dancer is a style
GOSSAMER A very light, fine, filmy antifashion style originally from Notions; (b) in the US a term traditionally worn by Basque shepherds.
fabric, often used for veils. Seattle, which featured recycled for a men’s clothier. Popularized in the 19th century, it has
clothing or outdoor wear and a MEDIEVAL ▷: SEE P.214 become synonymous with French culture.
19TH CENTURY ▷ messy appearance.
LATE 1980S ▷: SEE PP.412–3 HABIT (a) A woman’s dress or skirt, Fringed
GOWN Originally a term for a long, worn for riding horses; (b) the shawl
loose outer garment for both sexes, G-STRING Skimpy underpants, with traditional attire of monks or
but later a long, usually formal, dress a narrow elastic back that exposes nuns; see also Vestments. Flamenco
for women, such as a ball gown. the buttocks, worn to give a smooth MEDIEVAL ▷: SEE P.214 dress
line under clothes; see also Thong.
GRAIN The lie of threads in a fabric, HABOTAI SILK A light, inexpensive silk Woman in Andalusian dress, Spain
which affects the way a garment will 20TH CENTURY ▷ from Japan, also called China silk. Commonly associated with flamenco
hang; see also Warp, Weft, Bias. dancing, this style of dress originated
GUERNSEY A close-knit wool sweater EARLY 19TH CENTURY within the gypsy community and is now
GRASS SKIRT Traditional form of first worn by fishermen in the a symbol of Andalusia the world over.
dress, usually made from leaves; Channel Islands, now a classic HACKING JACKET A single-breasted
worn in Polynesian cultures, as well garment for both men and women. tweed jacket with slanted pockets
as by coastal tribes of Papua New and a back vent, first worn in the UK
Guinea and Maori in New Zealand. 16TH CENTURY ▷ for riding horses, now a classic style.
SEE P.463 SEE P.448
GUSSET A piece of fabric, usually
GREATCOAT A heavy overcoat for triangular or diamond in shape, HAFERLSCHUH Sturdy, traditional
men, worn especially by those which can be inserted into a Bavarian shoe with textured sole
in the armed forces. garment seam to give extra width for traction on alpine terrain; low-
18TH CENTURY ▷: SEE P.184 or improve the fit. cut under the ankle, with side
lacing on the vamp.
GRECIAN BEND A fashionable forward- GYPSY STYLE An interpretation EARLY 19TH CENTURY ▷: SEE PP.304, 446
tilted posture in women, often of Romani gypsy dress worn by
emphasized by a bustle and skirts that women, with layered skirts, hoop HAIK A long wrap of translucent
were puffed up at the back. earrings, and scarves tied around linen worn by high-status women
the head or hips. in Ancient Egypt; today, a wool
19TH CENTURY cloak worn by both men and
20TH CENTURY women in Morocco.
1500BCE ONWARD: SEE P.456
GRAIN
HALF BOOTS Ankle boots with the
SELVEDGE top reaching the base of the calf.
LENGTHWISE GRAIN LATE 18TH–EARLY 20TH CENTURY: SEE P.225

BIASCROSSWISE GRAINHALF-WINDSOR KNOT A way of
tying a necktie in which the wider
The diagram above illustrates the elements that make up the grain of a end of the tie is looped around the
woven fabric: the warp threads form the lengthwise grain, while the weft narrower end and through the neck
threads form the crosswise grain. The edges of the weft threads are loop once (rather than twice, as in
looped back into the fabric to create the selvedge. The bias runs at 45 the Windsor knot), producing a
degrees to the crosswise and lengthwise grains. neat, asymmetrical triangular knot.

20TH CENTURY ▷

HALTER NECK A soft, sleeveless
bodice that is held up by straps
tied behind the neck.
20TH CENTURY ▷: SEE PP.309, 382

446 REFERENCE

Tyrolean hat HAND A term for the feel of a fabric HIMATION A rectangular wool cloak, HOSE Leg coverings for men,
when touched or rubbed between worn over a chiton, draped over the or an older word for stockings for
Dirndl the fingers. left shoulder. men and women; used for any
ANCIENT GREECE: SEE PP.24–5 garment covering male legs and
Woman from Zillertal, Austria HAND RUFF A small ruff attached lower torso, separate until the
Originally worn by peasant women, to the wrist. HIPPY STYLE A style mixing Renaissance, then joined; see
Dirndls were adopted by the upper classes handmade or recycled clothes, also Trunk hose.
in the 19th century and are now worn for 1560S–1630S bell-bottoms, ethnic dress, tie-dye, MEDIEVAL ▷: SEE PP.84–5, 90–1
festivals and other special occasions. and psychedelic colors.
Tyrolean hat HANGING SLEEVES Long, tubular 1960S ▷: SEE PP.374–7 HOUNDSTOOTH A twill weave
sleeves with a slit at elbow level in which two colors of yarn are
Loden through which the forearm fits, with HIPSTERS Pants cut to sit low used to create a broken checked
the rest of the sleeve hanging down. on the hips; also referred to as pattern or a pattern of abstract,
Lederhosen C.1400–MID-16TH CENTURY: SEE PP.81, 85 “low-rise” in the US. four-pointed shapes.

Haferlschuh HAORI A short, loose Japanese coat LATE 1960S ▷ 1930S ▷
Man in Tyrolean dress, Austria with an open front, traditionally
Like their Bavarian neighbors, Tyroleans worn over a kimono. H-LINE A slim, lean shape created HOUPPELANDE A sumptuous
wear Lederhosen, but the most distinctive by Christian Dior for dresses, with outer garment for men or women,
features of their dress are the green loden HAREM PANTS Loose, baggy a small bust and slim hips. thigh length to full length, which
jacket and the feathered Tyrolean hat. pants for women, gathered at the 1954 ▷: SEE P.319 is fitted at the shoulders and
ankles and worn under a tunic; then flares into folds, and has
inspired by Eastern dress and the HOBBLE SKIRT very wide sleeves.
costumes of the Ballets Russes. A long, slim skirt that 1380S–MID-15TH CENTURY: SEE PP.66, 72–5
C.1909 ▷: SEE P.367 was very narrow at
the ankles, and HUIPIL Loose tunic in a rectangular
HARRIS TWEED A handwoven sometimes included shape, worn by women in southern
tweed cloth made in the Western a decorative band Mexico and highland Guatemala;
Isles of Scotland, now widely used, around the knees. based on garments worn by the
mainly for suits. 1909–15: SEE P.416 Maya people, huipils are colorful
and elaborately decorated.
1846 ▷ HOLLAND A fine PREHISPANIC TIMES ▷: SEE P.438
linen imported to
HAUTE COUTURE The highest form of Britain from Holland; later the I
fashion, particularly from the great term was used for any fine linen.
fashion houses of Paris; in France the
term is protected and regulated by 15TH–18TH CENTURY
the Chambre Syndicale de la Haute
Couture and can only be used by HOMBURG A men’s hat of stiff felt IKAT An Indonesian term for a
fashion houses who follow strict with a dent running along the center technique in which yarn is tie-dyed
guidelines; see also Couture. of the crown, a grosgrain ribbon before weaving, producing a blurred
19TH CENTURY ▷: SEE PP.326–7 band, and a slightly up-curved brim; design when woven.
see also Trilby.
HENDIRA Arabic word for a 1870S ▷: SEE PP.288–9, 303, 342–3 INDIGO A deep violet-blue dye
blanketlike shawl traditionally made originally obtained from the indigo
and worn by Berber women; often HOMESPUN A coarse wool cloth, plant (Indigofera species), but now
striped black, cream, and indigo; often made at home or locally; also made synthetically, mainly to dye
called tamizart or taderdouat refers to tweeds made in Ireland or blue jeans.
in Berber. the Western Isles of Scotland. ANTIQUITY ▷: SEE PP.38–9
ANTIQUITY ▷: SEE P.456
16TH CENTURY ▷ INTARSIA A term for a knit
HERRINGBONE A twill weave in fabric in which several colors are
which the diagonal twill forms HOOP PETTICOAT An under-petticoat used, with separate yarns for
a zigzag pattern. that incorporated hoops of cane, each colored area, to create an
19TH CENTURY ▷: SEE PP.310–11 wire, or whalebone. “inlaid” look.
EARLY 18TH–EARLY 19TH CENTURY: SEE P.141

HIJAB Head scarf worn by Muslim HOPSACK A wool or cotton fabric INTERFACING A stiffening material
women to cover the hair and neck; woven with every two weft threads that is placed between the lining
from the Arabic word for veil; a crossing two warp threads, making and the outer fabric of a garment
symbol of Islamic religious belief. a pattern of tiny squares. piece to strengthen it and
give structure.
1ST CENTURY CE▷: SEE PP.456, 458 1860S ▷

GLOSSARY 447

INVERNESS COAT A full, knee-length J JEBBA Traditional outer robe JUSTAUCORPS A man’s knee-length
overcoat for men, with a cape over of Tunisia; rectangular in shape, coat, close-fitting on the body but
the shoulders; different versions are JABOT A lacy or frilled with deep V-neck, usually edged with flared skirts, and with large
made for day and eveningwear. ruffle extending from with embroidery. turned-back cuffs.
the neck down the
1859 ▷ front of a blouse, shirt, ANTIQUITY ▷: SEE P.454 MID-17TH–EARLY 18TH CENTURY: SEE PP.130–1
or dress.
INVERTED PLEAT A box pleat that is 19TH CENTURY ▷: JEGGINGS Tight, stretchy leggings K
reversed, causing the fullness of the SEE PP.154, 208–9 styled to look like denim jeans
fabric to go inward; commonly used (hence the name, a combination KABOTEC Blouse with short
in straight skirts to allow movement JACKET A short coat for informal or of “jeans” and “leggings”), and puffed sleeves and a narrow
when walking. outdoor wear; see also Hacking often made of denim-like fabric. collar; once worn by the highland
SEE P.451 jacket, Norfolk jacket. Silesian women of Poland as
EARLY 21ST CENTURY everyday dress, but now as
ITALIAN CLOAK A short, hooded 18TH CENTURY ▷ folk costume.
cloak for men. JERKIN A close-fitting jacket for 18TH CENTURY ▷: SEE P.450
men, worn over the doublet, and
16TH–17TH CENTURY usually sleeveless, but with “wings” KAFTAN Traditionally this was a long
over the armholes. robe worn in the Middle East and
ITALIAN HEEL On women’s shoes, JACQUARD FABRIC A fabric, such as 1450–1630: SEE PP.88, 101, 110 central Asia; from the 1950s it
a small heel that tapers sharply a damask or a brocade, in which a denoted a long, loose tunic with a
toward the base and then flares design is woven into the cloth on an JERSEY (a) A fine, stretchy knit slit neckline and decoration around
out slightly, similar to the modern automated loom following a pattern fabric; (b) a knit garment covering the neck and cuffs.
kitten heel. punched in holes on a card. the torso and arms; (c) a team shirt ANTIQUITY ▷: SEE PP.112–3
worn in sports.
1770S ▷ 18TH CENTURY ▷ KALASIRIS A long, slim-fitting linen
JOCKEY BOOTS Calf-length leather dress, covering the shoulders or with
IVY LEAGUE Term describing the JEANS Sturdy pants made of denim, boots like those worn by jockeys, shoulder straps, worn by women.
conservative styles worn by affluent which were first worn by miners in often with a band of lighter- 2700BCE ▷: SEE PP.16–17
students of the prestigious American the US, then made widely popular by colored leather at the top.
“Ivy League” colleges and cowboys in American movies; now KERSEY A coarse wool cloth widely
universities; similar to Preppy style. worn universally by men and women. 1680S ▷ used for making clothing
in medieval times.
1930S ▷ 19TH CENTURY ▷: SEE PP.339, 345, 373 JODHPUR BOOTS Ankle boots for
riding, made of sturdy leather and MEDIEVAL–19TH CENTURY
JACKETS often with elastic sides; these gave
rise to Chelsea boots.

19TH CENTURY ▷

BLAZER DINNER JACKET DONKEY JACKET DOUBLE-BREASTED JODHPURS Pants of Indian origin KICK PLEAT An inverted pleat (with
worn for riding horses; pre-1960s, the folds pointing inward) in the
HACKING JACKET MANDARIN JACKET NEHRU JACKET NORFOLK JACKET usually made from cotton twill with lower back seam of a tightly fitted
voluminous thighs for ease of skirt, to allow ease in walking.
PEA JACKET SAFARI JACKET SINGLE-BREASTED SMOKING JACKET movement; now made of stretch SEE PP.275, 331, 396
cotton, with fabric or leather
patches on the inner knees. KID LEATHER Fine leather made from
LATE 19TH CENTURY ▷: SEE PP.236, 280 the skin of young goats or lambs,
used for gloves and shoes.
JULIET CAP A lace or
mesh cap worn by 17TH CENTURY ▷
brides, named for
the cap worn by the KILT A knee-length plaid skirt,
heroine in William pleated with a flat front and
Shakespeare’s traditionally worn by Scotsmen;
Romeo and Juliet. now also a style worn by women.
LATE 18TH CENTURY ▷: SEE PP.390, 442
LATE 19TH CENTURY ▷
KIMONO A Japanese garment for
JUMPER (a) A tunic with a square women or men made from cotton
yoke and skirt with box pleats, or silk, full-length and with very
derived from girls’ school uniform; wide sleeves, worn crossed over at
(b) UK term for sweater. the front and fastened with an obi.
10TH CENTURY ▷: SEE PP.213, 459
EARLY 20TH CENTURY ▷

448 REFERENCE

KIMONO SLEEVE Wide sleeve like the LAPELS Continuation of the turned- LEVI’S® 501 Jeans created by the Levi LONG STOCKING
sleeve on a kimono, cut as part of back collar on the front of a coat Strauss Co. in 1873 and popularized The stocking part
the bodice, with a deep armscye. or jacket. by US cowboys; in the 1960s they of trunk-hose,
became an icon of rebellious youth; joined to the
LATE 19TH CENTURY ▷: SEE PP.48–9, 458 19TH CENTURY ▷: SEE PP.153, 263, 301 very fashionable in the 1980s, they upper part
are widely worn as casual wear. halfway up
KIRTLE In medieval times, a long LAPPETS Pieces 1873 ▷ : SEE P.373 the thigh.
supportive garment for women, worn of fabric that
over a smock but under a gown. hang from LIBERTY PRINTS Handprinted 16TH–EARLY
10TH CENTURY–C.1650: SEE PP.62–3, 75 an indoor designs on Indian silk, created by
headdress, at the Liberty of London, with floral or 17TH CENTURY
KITTEN HEEL On women’s shoes, a sides or the back. paisley patterns; now often used
low heel that tapers sharply inward 18TH–19TH CENTURY: on cotton; see also Aesthetic dress. LOON (OR ELEPHANT-LEG) PANTS
at the back, with a very narrow base. 1875 ▷: SEE P.237 Flared pants similar to bell-bottoms
SEE PP.86, 132, 191 but with a much wider flare from
1959 ▷ LINEN A strong, fine fiber made the knees down.
LATCHET Leather strip used to from the stems of the flax plant
KNICKERBOCKERS Loose-fitting close shoes, from the Old French (Linum usitatissimum); one of the LATE 1960S–EARLY 1970S
breeches, gathered just below the word “lacet,” to lace; a latchet oldest woven fabrics in the world.
knee, mainly worn by men for golf shoe has a single lacing; often LOUIS HEEL See French heel.
and country pursuits. with open sides. LINGERIE French for linen, used to
1860 ▷: SEE PP.217, 226–7, 283 13TH CENTURY ▷: SEE PP.104, 142 refer to women’s underwear, often LOUNGE SUIT The most common
made from light, silky materials form of suit for men, comprising
KNIFE PLEATS A series of pleats LAWN A fine, semitransparent cloth and trimmed with frills or lace. a jacket and pants (and sometimes
facing in one direction around a of linen or cotton. C.1830S ▷: SEE PP.228, 252, 277, 316, 432–3 a vest), and used for day or
garment, as on a kilt. business wear.
SEE PP.230, 452 14TH CENTURY ▷ LINING A thin layer of fabric added C.1860 ▷: SEE PP.224, 288
to the inside of a garment to cover
KNITTING A method of making LEDERHOSEN Traditional leather raw edges and improve comfort. LUREX® A brand name for a type
fabric by interconnecting loops of shorts with suspenders, worn by of synthetic fiber yarn coated with
yarn to form a weblike material. men in the high-altitude Alpine LIST The selvedge of a fabric; “list aluminum, or a metallic fabric
areas of Germany and Austria; see slippers” were slippers made from made with this yarn.
KURTA PAJAMA An outfit, usually also Bundhosen and Dirndl. strips of selvedge.
of cotton or silk, worn by Indian SEE P.446 1940S ▷
men; it comprises a kurta (a 18TH–19TH CENTURY
loose, knee-length shirt with LEGHORN HAT A women’s hat with LYCRA® A brand name for a
slits up the sides) and pajama a wide, soft brim, made from Italian LIVERY Distinctive colors, insignia, or synthetic fiber with high elasticity,
(lightweight pants). Leghorn wheat straw. symbols attached to clothes, denoting added to fabrics for use in garments
SEE P.462 a person of rank and his or her such as underwear and swimwear;
EARLY 18TH CENTURY ▷ soldiers or followers; used to identify see also Spandex.
L servants of an aristocratic household. 1958 ▷: SEE PP.382, 388
LEG-OF-MUTTON SLEEVE See 14TH CENTURY ▷: SEE PP.84, 117
LACE (a) A delicate ornamental Gigot sleeve. M
fabric with a weblike pattern; LOAFERS Slip-on leather shoes like MACKINTOSH Rubberized cotton
(b) a cord used to tie garments or LEI Garland of fresh flowers moccasins, often with decorative invented by Charles Mackintosh
shoes, often with aglets at each end. worn as decoration in Hawaii leather strips or tassels on the vamp. and used to make coats; now
MEDIEVAL ▷: SEE PP.98–9, 120–2 and originating in Polynesia; also 1930S ▷: SEE PP.407, 421 describes any waterproof coat.
made from other materials such 1836 ▷: SEE P.356
LAMCHU Indigo-dyed or black as bone, shell, and feathers. LODEN A thick, napped wool fabric
collarless jacket, with colorful C.6TH CENTURY ▷: SEE P.463 made in Austria and Germany, used MADE-TO-MEASURE A term for a
embroidery around the neckline, for coats and jackets and typically garment made from a base pattern
front edges, and sleeve hems; LEOTARD A stretchy, close-fitting dyed forest green; also a classic coat but adapted for an individual wearer;
worn by the Dao hill tribe of body covering worn by dancers made from this fabric, with a long see also Bespoke, Couture, Haute
southeast Asia. and gymnasts, but also adopted pleat at the back. couture, Ready-to-wear.
SEE P.460 for fashion; see also Beatnik style, 19TH CENTURY ▷: SEE PP.227, 446
Body stocking. MADRAS Patterned cotton
LAMÉ A fabric woven with threads 1880S ▷: SEE PP.217, 388 LONG POCKET A vertical pocket on a or silk fabric originally from
of gold- or silver-colored metal. coat or overcoat. Called a slash Madras (now Chennai) in India;
1920S ▷: SEE PP.274–5, 291 LE SMOKING A dinner jacket or pocket in the US. sometimes treated to give
tuxedo suit for women, first created 18TH–19TH CENTURY: SEE P.453 a lustrous surface.
by Yves Saint Laurent; see also
Androgynous style.
LATE 1960S ▷: SEE PP.372–3, 381