Au cours des XVIIe et XVIIIe siècles, les tissus de soie en Europe échappent aux influences orientales de leur origine première et des styles nouveaux apparaissent. Continue reading “D” for Damask: “The Night Watch of the costume world.” Claude Fauque, Textile and Dress historian
“Lace is largely consumed. All different sorts of Lace -of all sizes and qualities- from Normandy, du Puy and Lorraine have a great debit.”(Translated from Jean de Monségur, 1709, Chap. XXXVI)
When looking at early modern colonial portraits, the viewer’s attention is invariably drawn to the subjects’ clothing. Continue reading “L” for Lace: Thinking about Lace. Michael Yonan, Associate Professor of Eighteenth and Nineteenth Century Art, Director of Graduate Studies, University of Missouri
“There is nor Church nor private in the Western Indies, who does not consume this kind of gold silk brocade; it has then to be considered for significant and its consumption shall rather increase than diminish, especially on occasions where vice-royalties looking for pomp and glory will walk through Mexico without wearing the golilla.” (Translated from Jean de Monségur, 1709, Chap. XXXVIII)
In early modern Europe, a man’s complete suit consisted of a coat (long vest or justaucorps), a vest (or waistcoat) and breeches. Continue reading “A” for Appearance: The Culture of Clothing. “The Art of Tailoring”
