|
简介 缝合，绗缝和镶边技术的发展 粉色的真丝塔夫绸和粉红色的丝绸缎带。(英语,1660 - 1670) 1660年代和1670年代过渡几十年女人的时尚。那时的时尚女性的服装由一块两个或三个系综的丰富装饰上衣搭配,同时还有丰富的衬裙和半裙。在这段时期里，前襟改变了其功能从一个外罩成为内衣穿在了外面,被保留了下来，比如曼图亚。被保留下来的这一部分功能。主要支撑曼图亚比较松散的非结构化长袍，这种长袍没有任何骨架组织。长袍在前面打开，在前中腰,留下了一个三角形的空隙，这样就能保留了之前可见的三角胸衣 。 这套双袖保留了handstiched，它贯穿在粉色丝线中，和丝绳一起缝在边缘，骨架部分很好在现实生活中运用，强调了1660年到1670年代的时尚。被保留下来的部分大概有十处，每个部分的主要部分都覆盖着丝带，我们可以在图纸上清楚地看到。底部的骨架延长至腰部，这些细节显示的是后背的形状，以及中间和尾端的形状而不仅仅是其功能性。 Transitional decades for women Introduction Stitching, Seams, Quilting and Cording A sleeved pair of stays and busk of pink watered silk trimmed with pink silk taffeta ribbons. (English, 1660-1670) The 1660s and 1670s were transitional decades for women's fashions. Until then fashionable women's dress consisted of a two or three piece ensemble of a richly decorated bodice worn with and equally rich petticoat and overskirt. It was during this time that the bodice changed its function from an outer garment to become an undergarment, the stays, worn under an outer layer, such as the mantua. The function of the stays was to be a support or stay for the mantua which was a loose unstructured robe without any boning. Such robes were open at the front and met at the center front waist, leaving a triangular portion of the front of the stays visible which was covered by a stomacher. This pair of sleeved stays are handstiched throughout in pink silk thread, and all the edges are bound with corded silk ribbon. The boning is extremely fine and arranged to achieve and accentuate the fashionable attenuated figure figure of the 1660 to the 1670s. the stays are constructed in ten sections. The main seams of each section are covered in ribbon which can be seen clearly in the drawings. The boning extends below the waistline. The detail shows the center back with the shaped central tab or tail of the stays and silk ribbons which are decorative rather than functional. The sleeves are elbow length, and cut straight without any shaping. They are attached at the armholes by pink taffeta ribbons matching those on the tail of the stays. The sleeves are optional and could be removed if desired. The busk was placed at the center front and held in position by lacing, allowing for an adjustment in fit as well as protecting the wearer from the discomfort of the lacing. A woman's jacket of linen embroidered in silk thread and trimmed with bobbin lace. (English, 1620s) Narrow bobbin lace in black and white linen, inserted between the edges of the black sleeve seams, echoes the colour scheme of this blackwork jacket dating from the 1620s. The undyed linen is embroidered in black silk in a pattern typical of the early 17th century. Scrolling stems bearing a variety of flowers, insects and birds, worked in a range of decorative stitches. The high waist and fairly narrow sleeves indicate the transition period between the long-waisted, tight sleeved style of the late 16th and early 17th century, and the short-waisted, full sleeved jacket which became popular for women during the reign of Charles I. Pair of pockets, quilted silk with linen tape. (English, 1740s) Eighteenth century women's gowns did not include pockets. They were separate items worn under the hoop, singly or in a pair, suspended from a tape around the waist. Access to the pockets and their contents were gained through openings in the side seams of the petticoats and its overlying gown. A rich buttercup yellow silk, quilted in a simple pattern, makes up this beautiful pair of mid 18th century pockets. They are wedge shape in form, with backs of undercoated yellow silk. A diaper pattern fills the center, with a scrolling wave design around the border. A woman's gown of corded linen. (English, 1775-1780) An example of a bed cover being given a second life can be seen in this exquisitely corded linen gown of the late 1770s. It has been made from a bed cover dating from the mid 18th century. One edge has been transformed into a border of the skirt with a densely corded spiral ground, over which curl stylized fruits and flowers worked in diaper quilting. Above the border's shaped gable edge float more corded floral and fruit motifs. A fine running stitch in linen outlines the compartments through which the cotton cord was drawn. Gathers, Pleats and Looped Drapery A woman's gown of printed cotton with gold polka-dot overprinting (Dutch, 1780s) The fullness of the skirt is contained by the tightest possible gathers around the waistline of this 1780s open gown of printed cotton. A fashionable gown for day wear, it has a tightly fitted bodice with low décolletage and elbow length sleeves. The open-fronted skirt would have revealed a petticoat of either a light-weight silk or matching printed cotton. The characteristic cut and style of the 1780s can be seen in the back of the bodice with its deeply pointed centre reaching well below the waistline. A man's formal day coat of felted wool with silver-guilt buttons (English, 1750s-1760s) The fashion of the 1740s for extravagant full-skirted coats made with stiff interlinings had declined by the 1750s and 1760s. The pleats of this coat flank the open seams which extend from hip to hem on each side of the coat, and are partially closed by a pair of button stays. The open seams in men's coats were partially due to the fact that 18th century gentlemen were entitled to carry a sword.#p#分页标题#e# Softly rounded side pleats on the skirt of this cloth coat are quiet full and have been interlined so that they hang in heavy folds. Mantua and petticoat of red silk embroidered with silver thread (English, 1740-1745) This red silk mantua is an example for the height of formal fashion and the professional embroideress's skill. The style of the mantua was perfectly suited for maximum display of wealth and art, the wide hoop petticoat a canvas for the needle, and fitted, trained mantua offering ample potential for elegant drapery. Collars, Cuffs and Pockets A man's embroidered Court dress coat and waistcoat of embroidered velvet and silk (French, 1780s-1790s) The style of men's dress by the end of the 18th century was slim and fitted the figure. Full side skirts with stiffening and padding had completely disappeared from coats to be replaced with curved or cut- away fronts, flat pleats and longer skirts which formed tails at the back. Sleeves were longer and tighter and cuffs smaller. Waistcoats lost their skirts and were cut straight across at the waist. Short stand collars appeared on coats in the 1760s and became fashionable in the 1770s when they also appeared on men's waistcoats. As coat collars rose in height over the next two decades, waistcoat collars almost matched them in size. A man's dress coat of sprigged silk velvet embroidered in silver-guilt thread (French/Italian, 1760s) This dress coat is extravagantly embroidered in silver- guilt thread, purl and sequins. It forms part of a suit with matching waistcoat. The embroidery extends down each front and around the pockets and the open cuffs. The detail shows the cuffs from the back revealing a richly embroidered white satin lining. A mantua of white satin embroidered and trimmed with chenille (English, of French embroidered silk, 1775-1785) This late 18th century mantua is decorated with chenille embroidery and braid on a white satin ground. Colored silk twist and chenille thread in a pattern of flowers and leaves decorate the fabric. A wired braid of chenille threads wound into a shape of more flowers and leaves, trims the edges of the sleeve ruffles, neck and sides of the mantua train. A blond and chenille bobbin lace edges the braid and outlines the neck. It has the characteristic wide band of fabric of the time, trimmed and gathered across the back waist. The side panels have disappeared. The long train is an extension of the two panels of silk used for the bodice back. By the 1780s the wide hoop had been modified to a round shape of more modest dimensions, similar to those worn with informal dress. Sleeve ruffles remain but are reduced from three tier to two tier. A man's waistcoat of blue ribbed silk embroidered in silver thread, foil and spangles (English, 1730s-1740s) Glistening silver-thread embroidery combined with silver foil and spangles decorate the pocket flap of this silk waistcoat. The embroidered decoration is applied down the front edges and all around the pockets and pocket flaps. The flared skirts of the waistcoat are stiffened with buckram or horsehair to retain their shape. The buttons down the front extend from neck to hem though the corresponding buttonholes only extend to the waist. The detail shows a pocket flap which has a button stitched on each corner and four stitched below the flap. All of them are decorative, there are no buttonholes. This outfit could have been a part of a wedding outfit. Knitting A woman's jacket of hand-knitted silk and silver-gilt wrapped silk, lined with blue linen (English? 1630s?) A deep coral-pink silk and yellow, partially wrapped with silver-gilt strip, make the pattern of curvilinear floral sprigs on this 17th century knitted jacket. It is comprised of rectangular panels of varying dimensions which constitute the sleeves, fronts and back. The design has been worked in stocking stitch, with a basket-pattern border at the hem. This eye-catching garment, and others like it, pose many questions concerning their method and date of production. Opinions are divided as to whether they are Italian or English, frame or hand-knit. The design consists of separate floral sprays rendered in a curvilinear style, suggesting a date comparable with jackets embroidered with similar motifs, that is the 1630s. With only eight stitches to the inch, the knitting frame was a fairly crude instrument at this period, and there was no means until the 1730s of accommodating the purl required for ribbing or the basket pattern shown here. So the gauge of seventeen stitches per inch and the ribbed squares at the hem rule out a stocking frame for this jacket. What is perplexing is the strictly rectilinear shaping and sawn bindings, rather than knitting methods, to finish the neck and front edges. It would appear that knitters in the 17th century had not yet discovered how best to exploit the elastic properties of knitting for garments covering the upper torso. The use of rectangles with, in some cases, sawn-in gores, reflects the traditional cut and construction methods using woven fabrics. The linen lining and bindings are also conventional ways of finishing edges and ensuring the garment keeps its shape. It is possible that these jackets were purchased as a set of panels and made up at home thus allowing adjustments to be made to fit the wearer. While these jackets were originally thought to have been made in Italy, recent research in to the knitting industries in Britain indicate that by the third quarter of the 16th century, the silk for such knitwear was being imported from Naples and made up in London.#p#分页标题#e# Stomachers A stomacher of embroidered silk (English, 1700-1720) Stomachers are decorated V- shaped panels which cover the front of the bodice and were a part of women's dress from the 16th to the 18th centuries. The detail shows a lavishly embroidered stomacher. It has a ground of laid and couched silver thread with branched flowers embroidered in long, short, satin and chain stitch and French knots. On very grand occasions stomachers offered a perfect background for the display of superb jewels. A stomacher of cotton whitework (English, 1730s-1740s) The entire surface is quilted and embroidered in linen thread, in running and back stitches and French knots. The bold design includes floral and leaf motifs, pomegranates and shells. This stomacher would have been worn with a day ensemble. A stomacher of embroidered silk with lacing (English, 1730s-1740s) A silk stomacher embroidered in coloured silk, laced with silver cord and trimmed with silver braid. The set of tabs at the bottom and the criss-cross lacing are survivals from late 17th century stomachers. Ribbons are sometimes used instead of cord. The laces served a dual purpose being decorative and providing and anchorage for the ends of a kerchief. The meandering floral embroidery was designed specifically for the stomacher and includes carnations worked in satin, stem and back stitches with laid work in silver thread. Most stomachers are lined in plain linen but this one is lined with a block print in madder dye of the 1740s or 1750s. A stomacher of embroidered silk (English, 1730s-1740s) A colourful stomacher embroidered in coloured silks and silver thread in satin stitch and couching. It resembles the previous one though it lacks lacing and has a broader, less elegant shape. Gloves and Shoes A glove of embroidered leather (English or French, 1610-1625) Silver and silver-guilt embroidery and fringing decorate the gauntlet of this leather glove. Silver guilt spangles are scattered between the embroidered motifs. A variety of metal threads have been used, creating subtle changes in texture. To enliven the design, part of the embroidery has been worked over pieces of red satin. The pattern is based on leaf shapes formed by a raised pad of linen stitches over which the silver-guilt thread is couched. Gloves for men and women were often perfumed. A glove of embroidered leather (French, 1660s) This richly decorated leather glove has silver and silver-guilt embroidery on the gauntlet. As the century progressed, the shape of the gloves changed. The gauntlets became smaller and the fingers less elongated. Embroidered decoration often revealed a preference for purely metal thread embroidery, the designs arranged in simple shapes and using a wide variety of threads. Metal bobbin lace and silver and silver-guilt fringing retained their popularity. A mitten of embroidered velvet and silk (English, about 1600) Crimson silk velvet with richly embroidered silk gauntlets. The embroidery is worked in silver and silver-gilt thread and purl with couched work, and the coloured silks are worked in long and short and satin stitches. Familiar flowers, favourites of the embroiderers, such as borage, pink and lilies, as well as insects and fruits, scattered among elaborate foliage, decorate the gauntlet cuffs. A woman's shoe of leather decorated with braids (English or French, 1670s) Narrow red silk braid has been meticulously applied in close parallel lines, to create an attractive linear pattern on this woman's buff leather shoe. The use of decorative braid was a popular feature of fashionable shoes in the late 17th and early 18th century. The shoe has an elegant shape with tapered uppers finishing with a narrow square toe. The heel is moderately high and thrust well beneath the foot. Until the 1660s and 1670s shoes for both men and women were usually fastened across the instep by ribbons. This shoe has tiny holes in the tongue and latches that probably accommodated a narrow silk ribbon finished with points or a small buckle. This shoe was probably perfumed. Scented clothing in the 17th century was popular, and as personal hygiene was not a priority, helped to mask body odours. A woman's slipper of embroidered velvet (English or French, 1650s-1660s) A woman's slipper of red velvet richly embroidered in raised and couched silver-gilt thread. A number names have been used for such shoes including pantoffle, pantacle or pantable. Historically these terms have been used somewhat indiscriminately. In the 17th and 18th century both men and women wore the style known as slipper, but men had low heels while women's slippers had elegant high heels. |
 |
|||
| 网站地图 |
