B.sc.afd Cb0002-01 History Of Costumes. Marks60.

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Answer the following questions: Q1.Highlight the remarkable changes that the Egyptian skirt. (05 marks) Ans. There were a number of changes in the length & method of wearing a skirt 1) There were two skirts worn- the outer of a finer material and an inner skirt. During this period the under skirt became longer & wider. The outer skirt was looped in the form of puffs arranged over it 2) Gradually there was again a change in the skirts which were worn by men. The under skirt was developed into a full skirt and plaited. The outer skirt was worn as a strip or sash & tied in the form of a knot in the front or at sides

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Q2.Explain the following: a) Bustle. b) Tilter. c) Canezou. Ans. Tournuer or Bustle: Tournuer is any device used by women to expand the skirt of a dress below the waist. These were considered an absolutely indispensable part of all kinds of dress. These were the part of the old fashion hoop skirt and were run in the skirt lining. When not worn as a part of the skirt; these were adjusted separately to the figure. Some of those of the period were made four inches in diameter and placed side by side vertically. These were encased in cloth and attached to an adjustable belt. The dress now became a construction of flounces, fringes, loops and puffing and the great mass trailed a yard or two after the wearer. Tilter: By way of variety came the bustle-skirt; combining a bustle and petticoat in one. These had a hoop on the back that stopped at the sides and tapes attached to the side were tied underneath the loop to give the desired effect. This particular style was known as the tilter. Canezou: These were worn with skirts of different materials. This was used in place of the capes. Thus, skirts whose bodices were partially worn could be utilized to advantage. Soon crinoline was supplement by the hoop. A correct hoop consisted of four narrow steels each covered with tape and run into the muslin or calico petticoat. The nearest the waist usually measured one and three quarter yards in length, while that at the lower edge of the skirt was two and one half yards in length. The hoop skirt and crinoline continued to be worn well on towards 1870. About this time skirt was cut in gores. This was approved as a point of economy; the sixteen or seventeen yards of material necessary for a correct gown were now reduced to ten or twelve.

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Q3. Explain the mode of draping Greek Toga and enumerate the varieties of toga. Ans. The different types of Toga used by Romans are as follows: • Toga Praetexta • Toga Picta • Toga Viliris • Toga Candidae • Toga Sordida • Toga Vitrea • Toga Gabiana Toga Praetexta – The toga praetexta was developed in the middle years (400 -100) and used by emperors, priests, magistrates. It was white in color with purple border. When worn by children (below sixteen), it was bordered with red trim. Toga Picta – The toga picta was an elegant wrap made of purple cloth, usually silk. This toga was exclusively worn by victorious army officers. It was embroidered with golden thread and the designs were geometrically arranged in repeat patterns. Toga Viliris – It was generally made of unbleached woolen or linen fabrics. This toga was adopted by young males upon completing the manhood rites. All citizens and freemen of Rome wore toga viliris. Toga Candidae – This toga was of pure white color where white was the symbol of purity and integrity. This toga was worn by the political officers. With this white toga they even used to chalk their faces. Toga Sordida – The toga sordida, made of rough spun wool of grey or brown color, was the wearing badge of peasants and slaves. Toga Vitrea – It was more decorative body covering, and was made of transparent silk fabric. The transparent toga with palmate was a favorite style of more eminent men of the late period of the empire.

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Toga Gabiana – it was worn by soldiers in the Roman cavairy. It was worn from the waist down and tightly secured at the waist so that it would stay in place white on horseback. Q4. Explain the following men’s costumes: a. Trousers b. Hose c. Cravat d. Garters Ans. Trousers: The trunk hose were now replaced by ‘trousers’ This is derived from a French word ‘trousers’, which meant to tie up, to tuck or to gird. Now the short trousers were usually extended to the knee or a little below. They were made of linen, batiste and were often trimmed with edging of lace, ruffles and ribbons. These short trousers were named as ‘Rhingraves’.

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(CONT ans4…….) Hose: With the fanciful short trouser the hose became of great important. The hose (stocking) was indispensable with the Rhingraes. Green, grey russet black and white was worn. White however took the lead especially with those who had adopted the high boot when the great tops of the boots began to turn down displaying the hose. White silk hose were in demand. Garters: A garter is an elastic band worn around the leg to hold up a stocking or sock. This had been transformed into sashes with fringed and lace trimmed ends. These were carried around the leg below the knee and tied in fanciful loop and bows.

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(CONT ans4…….) Cravat:The cravat is the forerunner to the modern tie, and in modern usage one can refer to a necktie as a cravat. We owe the cravat to Croatians, who in the 17th century commonly wore either silk or cotton scarves tied under the collar. Cravat is actually a corruption of Croat, the French term for Croatians. The tied scarves worn by Croatians were a part of normal wear for battle, and were noted in the German 30 Years War by the French. King Louis XIV became especially enamored of the cravat in secret talks that were meant to exert French control over Croatia. In fact, Louis was unsuccessful in these talks, and the Croatians conquered him from a fashion viewpoint. He quickly adopted the cravat for the court, enhancing its popularity in many of the large European countries. Most early cravat styles were much shorter than the modern necktie, and were almost always white. However, when England adopted the cravat for wear, many changes

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occurred. They altered the length and color of cravats, and created numerous styles of tying the cravat. Symbolism became attributed to wearing various colors of cravat, which still may be observed when one wears neckties. Actually the term tie comes from cravat and is simply a shortened version of the phrase tie.

Q5.Explain the costumes for women during 1900-1920 in America. Ans. Costumes for Women During the opening years of 1900, there were many changes seen in the type of skirts worn by women. None of the period show as many changes in the skirts as the changes seen during 1900-1920. It is very interesting to see how the skirt changed during this period. Some of them are listed below: • The full skirt grew more clinging, fitting the figure snugly to the knees and then flaring out into great flute like ripples. At times, the skirt was as much as ten or twelve yards around. Often rippling gores trailed behind in a kind of demi-train. • Frequently, the skirt was cut in two sections the fitted upper section and the gored flounce. The latter was set on the upper section at about knee height. This type of skirt was known as ‘the morning glory’ or ‘serpentine skirt’. The bodies of these skirts were semi fitted with varieties of collars. • The jackets worn with these costumes were snug in fit with long close sleeves.

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By 1904 skirts cut in this form may said to have been disappeared from the horizon of go style. At this period the skirts began to grow wider from the waist down falling in a sweep over the hips, forming broad undulation about the feet.

Tailored Suit: The tailored suit continued to be a great favorite among all women who could afford it. The simplicity of line and the distinctive mark of the tailor made put this popular costume in a class by itself. Though at first, all skirt of the tailored suit was long, extending to the floor, they gradually began to shrink and soon reached the ankle. Walking Skirt: The trotteur or walking skirt as it was called was indispensable. The trotteur is the French name given to the walking skirt. This was a straight, off-theground skirt that allowed ease of movement and rapidly became a classic. The walking skirt and the hobble skirt was introduced by Paul Poiret. The walking skirt was always finished in tailored effects. Shirtwaist: This was usually worn along with the walking skirt. In its general form, it is a blouse or shirt worn with the walking skirt. The neck of the shirtwaist was rounded or was with a tailored collar. The shirt waist had proved itself of such value that the skirt was found in every woman’s wardrobe. The shirtwaist was also worn with the short skirts.

(CONT ans5…….) Shirtwaist Suit: The natural outcome of the shirtwaist and the short skirt was the shirtwaist suit. During 1905 and 1907 the plaited skirt was the popular one for the tailored suit, and the jackets all of close fit were either shirt or three quarter as milady preferred. In the following year 1908, the emphasis fell most decidedly upon the tunic or drapery. In both evening gowns and day toilettes the most pronounced feature of these draperies were the overskirts, which offered many possibilities for trimmings for they were invariably bordered in one way or another gave the final touch to the costume inclining towards the Empire or Directory. The long curve from the tip of the hat to the lowermost edge of the following skirt produced that pleasing and picturesque effect, which made perfect the tout ensemble.

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Hobble Skirt: Towards 1910 we find another revolution imminent in the matter of dress. The most pronounced innovation was skirt, which had reduced to almost unbelievably small proportions, it became flat and narrow ignoring the hips and keeping the lines of the figure as straight as possible. The silhouette had completely changed; skirts were not only narrower and tight waisted, but shoulders and sleeves were narrower. It was ridiculed as the hobble skirts, the halter skirt and the sheath. Theses skirts were tight ankle-length skirts that grew narrower at hem. These skirts were extremely slim to the point of forcing women to take tiny steps and hence they named it as hobble skirt. Consequently the hobble skirt continued, became even more scant until it was impossible even to hobble. The skirts were slashed at the lower edge. Sometimes the slash was at the sides and sometimes the front and the back were slashed. These opening were often filled with a narrow plaited panel of silk cloth or chiffon. With the narrow skirt came the collarless blouse with the open flowing sleeve. These simple blouses were made of soft clinging materials, which emphasized the fine lines of the shoulder and the arm. The narrow skirt continued to be played upon in varying ways if fashion were toying with the old in the effort to evolve new. Shortly tunics were added to the narrow skirt they were usually of chiffon crepe or net and inclined towards much fullness. Towards 1914 the narrow skirt still lingered, though the silhouette gradually changed. Instead of the straight figure, the drooping boneless pose took its place.

(CONT ans5…….) Peg-top Silhouette: During 1914, the narrow skirt was still a favorite, though the silhouette gradually changed. More fullness was adopted in skirt. This fullness was adopted at the top rather than the lower edge. The new figure was narrow at the top rather than the lower edge. The new figure was narrow at the foot and full at the hip was termed as peg-top silhouette. Often the fullness of these skirts was laid in plaits around the hips or arranged in gathers. The extreme lower edge was left open at the front that it might slip up over the instep in walking. This simple plaiting about the hips of these skirts merged gradually into huge puffing ruffles and draperies giving the panier

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effect. In fact, caution in the sue of drapery was thrown to the winds and the queen of fashion was simply wrapped upon materials. Basque Dress: After a few years, the Basque dress became a vogue. It was the revival of old dress of the thirties but was tampered with the feeling of comfort and ease. The skirt worn with Basque dress was narrow. After sometimes the waist lines was dropped at the hip. Towards 1915 a welcome change appeared in the skirts flaring a little at the lower edge. By the end 0f 1916 the new mode was at its height – this was a full skirt and the well defined waistline with the faintest suggestion of crinoline. Basque and Crinoline: The fashions of 1916 take us decidedly back to the Basque and crinoline of 1870. Skirts were full and their width emphasized by horizontal trimmings and panier drapery. They had also become short Crinoline was imminent and already the new frocks had also become short whalebone between the hip and knee. Four years of the Great War made their inevitable demands upon the fashion world. The great problem in the feminine world lay in selecting the clothes, which might reflect in their dignity and simplicity. With the strict conservation of wool, silk, satin, crepes and chiffons became the mode. Lines were simple; colors subdued and unobtrusive. The dye situation in the dye markets of the world had become acute and a shortage of dyestuffs with which to color materials threatened. These quite coloring was called sympathetic hues. One Piece Dress: It was during the war period that the strictly one piece dress became the favorite. The attractiveness of these war time dresses grew out of their simplicity of line and the lack of trimming. The coat suite and the one piece frock slight trimmed were the all occasion costume of war time. During this time many women skilled in domestic science entered the canteen kitchens, while others took their places in the Red Cross Service. The material of outdoor uniforms was strong durable stuff serge and whipcord, often leather coats with removable fleece linings were often worn over the uniform. The Red Cross nurse in her service at home wore a uniform of fine white cloth. Q6.Explain the following: a. Costumes of women – Rajasthan b. Bandhanis Ans. Costumes of Women: The Rajasthani women’s attire is one of the most colorful costumes. Zit includes four major items namely the ‘Ghagra’, ‘Odhni’ the ‘Kurti’ and the Kanchi. Apart from this the women use sari also.

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•

The ghagra is the lower garment. It is a skirt around the waist and runs up to the ankle. The skirt is kept narrow at the waist by tiny pleats that open up and swin into a wide umbrella at the base. It is gathered four to six times more than the waist it is made of bright colored cotton fabric. The basic fabric is decorated with all over bandhani work. It is also dyed in ‘labaria’, ‘mothra’ and ‘chunari’ styles. • Skirt used for special occasion are enriched with mirrors and beads. During important festivals especially the festival conducted in the invocation of the rains during monsoon seasons women wear bright orange ghagras with sixty-four pleats. The ghagra is made by sewing up a number of triangular pieces called a kali means petal of flower. • Generally elaborate ghagra requires twenty five yards of cloth. Women of the upper class wear a narrow piece of cloth over the front of the ghagra with a different color and design. This traditional consume indicates that the wearer’s husband is living. • The ‘Odhni’ or Odhna’ is a decorative scarf, which is used like a vail over the head. It gives continuity to the ghagra, the lower garment and the blouse which is the upper garment. It is normally three meter long and one and a half meter wide. One end of the odhni is tucked in the ghagra and the other end is taken over the head and right shoulder. An odhni with yellow back ground and red lotus motif in the centre is called a ‘Pila’. This is presented by the parents to their daughter when she gives birth to a baby boy. The odhni is pulled over the face to show respect to elders. • Married women of upper classes wear an additional white covering when going out. According to one school of thought, Rajasthani women’s sense of modesty is indicated by the length of the scarf. Daily wear odhni are made of cotton, voil dyed or printed and decorated with edges of gota or kinari. For special occasions odhnis are dyed in various colours and costly borders are used as decoration. • ‘Kurti’ and ‘Kanchali’ are blouses. Kurti is a long sleeveless blouse coming up to the waist. It has a back open, which is fastened with tie strings. This style of blouses is used by unmarried young girls. The Kanchalli are short ¾ sleeved blouses. These blouses have the back covered in recent days. These style of blouses are used by married women. Like the ghagras, the kurtis and kanchalis . (CONT ans6…….) • •

are also made of bright colored dyed cotton fabrics. For special occasions they are decorated with mirror and beads. Saris are also used by girl and women. The length and width vary for small girls and women 1 ½ to 2 meters and 3 to 6 meters respectively.

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The lehenga – choli is the common wedding costume of the Rajasthani women. It is also used in Gujarat and Haryana. It is a decorated silk ghagra and kanchal. The costume is enriched with mirror work, patch work and metallic yarns.

(CONT ans6…….) Bandhanis Colored tie and dyed saris an odhnis found in Gujarat, Kathiawar, Rajputana and Singh were called Bandhani or Choonaris. These fabrics were referred to as garments of

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laughter and as symbol of youth and romance. The fabric was first tied at specific points. After that, it was folded several times and reduced into a small square or rectangle. Generally the piece of fabric was damped in soft water and then pressed with wooden block. The required design was carved on the block. The impressed portions are picked up by the finger nails and tied tightly with cotton threads. The width of the tied portion results in the resistance if the dye and shows the actual design. This work was done specially by the trained women known as ‘Bandhanari’. In order to make their work easy, most of the women grew long nails. Care was taken to pick up all the layers at once and tie the fabric. The women start the work from one corner and move onto different points without cutting the thread. After that, the fabric was tied and dyed in the lightest shade of dye as per the colors used for the particular design. Then the fabric was tied once again and dyed in the next dark shade. This process was repeated until the fabric was dyed in all the shades required for that particular design. The fabric was dried in shape after each dyeing Finally the tied thread were cut away or pulled off. The fabric was pressed neatly. The common motifs used for bandhanis represent animals, birds, flowers and dancing dolls. Today geometric motifs are also found in Bandhani work, which is known as ‘Gharchola’. For special occasion the gharchola are made in squares or checks with golden threads, which are incorporated in the weaving processes in other words the basic fabric was a checked fabric where golden yarns were used. The tie and dye design was pressed in the centre of these checks. These fabrics were very rich and beautiful. Another classification of the bandhanis was the ‘Choonaries’. These fabrics were very light with design for dots or pin heads irregularly spread al over the field of the cloth. Some times the dots were grouped together to from a design, and the designs were known as ‘Ek bundi’ meaning on dot, ‘Char bundi’ meaning four dot and ‘Sath bundi’ meaning seven dots.

(CONT ans6…….)

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Bandahanis were made on cotton, fine muslin and silk fabrics. Even today this art is found in some parts of Gujarat, but the intricacy in the designs does not exist any longer. Some of theses traditional design is incorporated on roller printer fabrics.

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Q7.Explain the following: Ans.Slip on costumes – This is made with a single piece of skin or fabric. A hole is made, the head passes through this hole and the fabric falls on the shoulder covering the upper part of the body. eg: poncho, Paenula of the Romans.

Body tattooing – This process is a well known means of body decoration in almost all the tribes irrespective of their nationality. Tattooing involves a permanent change in body base and colour. Tattooing creates a permanent mark on the skin. It is a custom seen among the south sea islanders, the Burmese, the Chinese and the Japanese. Various designs and elaborate patterns are created by tattooing. Tattooing was done by drawing designs using sharp needles made of bones and later with brass needles. Needles were pressed deeply into the flesh. Once the injury heels up, it leaves black marks on the body. the Indian kings followed the custom of tattooing the country’s symbol on infant’s upper arm or thigh as a mark of identification.

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(CONT ans7…….) Lotus foot – The “lotus foot” of the Chinese is one of the methods for common body modification followed even now. This is an ancient custom, which is considered as the ultimate feminine beauty and eroticism. The feet of a female infant are tied tightly resulting in a human-made artificial heel, called “Lotus foot”.

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Q8. Explain the head accessories and hair styles worn by women of France during the period of Renaissance . Ans. ● Nun-like hoods made way during Renaissance. Hoods were fashionable in France, England, Italy, Spain, and Germany. The first little hoods were till shoulder length but soon the variation started.

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○ First, the sides were cut upward; forming lapped, which hung on each side of the face. ○ Next the lapped were pinned up to the crown and shortly all short of fanciful arrangement were invented by the women them self. ● Usually the hair was covered with white ‘coif’ or with the clothing covering of silk or brocade. ● After some, hoods came with a little flaring brim, it was set back on the head and often tight under the chin. ● A long veil usually hung from the back known as the French hood. ● The general head dress was a little cap pointed in the centre, coming down to the edge of the forehead making the face look heart shaped. This is the particular style known as ‘the marie stuart’. Black velvet and silk hood were also much in vogue. ● Another style of head-dress which was popular with queen Elizabeth was that of wigs of different colors, red being the great favorite. They were dressed with tight curls, and decorated with pearls and precious metals, feathers, or glass ornaments. ● Women wore the low- crowned hat in the same fashion as the men. Women either wore their hair with elaborate structures in their hair like the Germans or with just a kerchief. They had the hair covered with some kind of headdress. Some names of headdresses are: crescent, kennel, gable, transparent half-dome bonnet, or the gorged and wimple. ● Peasant women wore the coat of the earlier period and handkerchiefs or collars around their neck.

Q9. Explain the following: a) Costumes of Gabon women – The tribes of Gabon are known as Pongue. In Gabon, both men and women drape a piece of coloured fabric around their body.

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Women wear it on their bust, whereas men have it draped around the hip. The fabric falls up to the knee. The fabric is normally fastened with a belt. Women also have a small rectangular fabric to be worn over both the shoulders from the back. They wear decorative twigs around the neck, along with beads, which add ornamentation known as “Moondah”. This includes nails and bones of animals. The most common is “tiger’s nail”. b) Costumes of Japanese women ● The women used a skirt and a fabric over the bust. Later, they used long robes knotted with belts. Slowly, trousers were introduced. Later small felt caps were fastened with silk ribbons. ● Half robes with lining and deep armpits came into the next stage of costumes. Silk covering were worn over the lower legs. This helped to secure the greaves to them. When the greaves were in place, the archer lifted up his trousers and inner robe until they were tight, high and fastened with cords. ● Japanese women are well brought up. They learn many skills and most of them are educated. Their costumes play a very important part in their life. The women’s outer wear is called as ‘Kimono’. It is a long loose robe from the neck to the ankle. It is similar to the costumes used by men. ● The rich have robes of silk with elaborate and beautiful embroidery. ● The poor used calico robes. The robes have overlap on the front at the centre. It resembles a shawl collar. Some variation show a small stand up collar in the kimono. Normally, the robes are flowing. They are hitched at the back to enable them to walk easy. Their sleeves are wide at the end. The bottoms of these sleeves are closed and folded. They also serve as pockets. ● Women carry fans, pins and white sheets of paper with them. Since it was a custom of guests to take home the unbeaten food, the folded sleeves severed as pockets for this purpose also. ● The long robes are fastened by a broad belt ‘Obll’. It is made of silk. It is wrapped twice around the waist from the bottom of the bust. The belt is knotted into bows. ● The young unmarried girls knot the bows at centre back, whereas the married women knot it to the sides. Sometimes this narrow belt is used upon a broad belt for beauty.

(CONT ans9…….)

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● In winter, women use long quilted robes. They even use one or two costs. While going out women cover their heads with quilted hoods. The folded sleeves act as gloves in winter. While traveling in chilly areas women carry a pole with a paper lantern to keep themselves warm. The robes are colourful with floral motifs embroidered on them. ● While at work, women wear cotton robes with striped or flower pattern, and a laced apron.

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Q10. Explain the following: Ans. a) Dalmatica –‘Dalmatica” was worn by men of upper class and sometimes women of the period. This was considered as an over garment. The dalmatica was similar to the tunica and was a long piece of fabric stitched together along the sides and up the sleeves. The garment had a hole cut for the head through which the garment was worn. Sometimes the sleeves were enlarged making them large.

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Q11. Explain the following: Ans. a) Campaign wig – The campaign wig was curled and had long side pieces twisted at the ends.

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Q12. Explain the difference between the Doric and lonic chitons. Ans. a) Doric chiton – The Doric chiton, was used by men and women, and resembled the peplos. However, softer material was used. The salient features of the Doric chiton are as follows: ● It fell in numerous folds. ● It was girdled at the waist. ● The superfluous length was pulled up through the girdle, which fell in a baggy effect called the ‘Kolpos’. ● The folded upper portion was known as the ‘apotygma’. Great variety was introduced into the Doric chiton by varying the length of the apotygma. ● When the apotygma was short, the chiton was longer and consequently the Kolpos was larger. ● With longer apotygma, the length of the chiton was necessarily shortened and the girdle was worn over the thickness of material. The male Doric chiton was ankle or thigh length. The longer version was worn by more elderly men, and by young and old, during festival. The dorian women were athletes (Dorian, were dwellings in the area called Sparta). As we have discussed earlier the baggy effect of the chiton was due to kolpos – the baggy effect, which was due to superfluous length pulled up through the girdle. This hindered the freedom of movement of the Sparta women who were athletes. So, they wore a double girdle chiton. In this form the second girdle was worn and adjusted about the hips. Then the material was pulled through this second and girdle and encircled at the waist. b) Ionic chiton – The salient features of the ionic chiton are as follows: ● The ionic chiton was an oblong piece of linen. ● The length of the fabric was twice the span of the arm in width. ● The length from shoulder to feet was always greater than the wearer. The method of wearing the ionic chiton was as follows: ● The front and back of the chiton were held over the shoulder and arm by means of clasps or brooches. This was done by wrapping the fabric around the wearer and

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pinning the fabric along the length of the shoulders and arms at eight to ten places by means of clasps. ● The hands were passed through the open spaces at the corners. ● The front edge was two or three more inches more than the back. This gave the easy fail to the front, which is the characteristic of Greek dress. ● The chiton was belted at the waist by means of a girdle. The material was then adjusted forming the kolpos. (CONT ans12…….) Once the chiton was belted, the pinned shoulders formed elbow-length sleeves that covered the arms with soft folds of the fabric. ● The curved kolpos or the line above the hip was secured by dressing the material deeper at side making the shirt of equal length. ● A band or ribbon was also used to hold the kolpos.