ДЕПАРТАМЕНТ ОБРАЗОВАНИЯ города Москвы
СЕВЕРНОЕ ОКРУЖНОЕ УПРАВЛЕНИЕ ОБРАЗОВАНИЯ
ГОСУДАРСТВЕННОЕ ОБЩЕОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ
СРЕДНЯЯ ОБЩЕОБРАЗОВАТЕЛЬНАЯ ШКОЛА №651
125413, Москва, ул.Флотская,д60
Телефон: 453-44-25,факс (495) 453-44-25 SCH 651 mail.ru
ОКПО 29061867, ОГРП 1037739161624, ИНН/КПП 7743071519/744301001
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ДЕПАРТАМЕНТ ОБРАЗОВАНИЯ города Москвы
СЕВЕРНОЕ ОКРУЖНОЕ УПРАВЛЕНИЕ ОБРАЗОВАНИЯ
ГОСУДАРСТВЕННОЕ ОБЩЕОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ
СРЕДНЯЯ ОБЩЕОБРАЗОВАТЕЛЬНАЯ ШКОЛА №651
125413, Москва, ул.Флотская,д60
Телефон: 453-44-25,факс (495) 453-44-25 SCH 651 mail.ru
ОКПО 29061867, ОГРП 1037739161624, ИНН/КПП 7743071519/744301001
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CLASSIFICATION OF FASHION IN BRITAIN SINCE THE MIDDLE
AGES
Tudor Magnificence and Elizabethan
Imagery (1500-1600)…………………………….
Excess, Revolution and
Restoration (1600-1700)………………………… 5
The Age of Elegance (1700-1800)………………7
Domesticity and the Industry of
Fashion (1800-1900)……………………………..
Modern Women and Radical
Fashion (1900-nowadays)……………………….. 1
Modern Styles…………………………………….15
Clothes and Fashion of the Teens…………………16
The Power of Colour………………………………18
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carrying out scientific-research work;
analyzing and systematization the material about the main types of the
British Fashion from the Middle Ages till nowadays;
systematization of the of the main types of the Russian clothes;
searching for some material how fashion in Russia was influenced by the fashion of British;
searching for the material about the history of the development of fashion;
carrying out the integration of school subjects – World Art Culture,
Literature, History and English.
- British Studies;
- Russian Studies;
- World Culture Studies;
- systematization and analysis;
- studying of the fashion heritage;
- linguistic component.
searching for the material about British Fashion;
searching for the material about Russian Fashion;
systematization and analysis;
presentation of the project in Power Point.
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I am fond of fashion. I know that nobody has analyzed and systematized the material the fashion in Britain from the Middle Ages till nowadays and how it influenced the fashion in Russia, so I decided to do it. Then I systematized the main types of the Russian clothes and searched for some material how the fashion in Russia was influenced by the fashion in Britain. I wrote a brief survey about each period of the fashion in Britain and Russia and proved that fashion in Russia was influenced greatly by the fashion in Britain.
It goes without saying that fashionable clothes are masterpieces of Art, people admire them, they give people a lot of positive energy, they are often breathtaking and catching and they teach people to appreciate the beauty of the world and the history of their own land.
Costume and clothes are the most visible means we have of expressing ourselves. For hundreds of years they have been used to signify status, power, political messages and wealth, while for ordinary people they have been adapted for various trades and professions. At the period when this guide begins, the 16 th century, fashionable dress was the preserve of the privileged few. Only the wealthiest in the land- that is, royalty and the court- could afford to purchase the luxury fabrics, furs and jewels that cost many times more than the annual earning of a working man. Conspicuous consumption was the most important ingredient in fashion.
Gradually, however, with the rise of the middle classes and general improvements in standards of living for most people over the centuries, it has become a commodity to which we can all aspire. In this way, the direction of the influence of fashion has been reversed – instead of fashionable trends being passed down from the higher echelons of society to the lower, the democratization of society and fashion means that innovation now often comes from street level.
Perhaps because very few people, past or present, are immune to the seduction of beautiful clothes, we can relate our own experience of fashionable though it might be, fashion is not only one of the most sensitive barometers of society, but it also touches all of our lives.
I have read a lot of material concerning fashion and set up its classification according to the different historical periods and in the project gave a short description of each style: Tudor Magnificence and Elizabethan
Imagery (1500-1600), Excess, Revolution and Restoration (1600-1700), The
Age of Elegance (1700-1800), Domesticity and the Industry of Fashion
(1800-1900), Modern Women and Radical Fashion (1900-nowadays).
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1500-1600 .
Henry VIII wears a sable lined crimson gown with
hanging sleeves embroidered in gold brocade doublet.
The prominent codpiece, lined massive bulk and dominant
posture portray Henry’s personification of Tudor power.
Ivan IV
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The most important change in women’s dress during Elizabeth’s reign was the introduction of the drum-shaped farthingale in the 1590s, worn under the skirt
(petticoat), now separate from the bodice. The bodice, stiffened at the front by a triangular stomacher, extended in a long point over the petticoat. The width of the farthingale was balanced by the ever widening ruff and enormous sleeves, padded out in a tubular shape. Hair, dressed high on top of the head, was pinned with jewels and feathers. Lead-based make-up was worn to lighten the skin, and veins on the neck and bosom were painted in blue to heighten the effect.
1600-1700
The tendency towards a poetic notion of melancholic effeminacy in male dress during Elizabeth I s reign reached a crescendo during the reign of James I. The foppish king, the wisest fool in Christendom, surrounded by his male favorites, encouraged an air of decadence at his court rarely seen before, or since. This was reflected in fashions which become ever more extravagant until the accession in
1625 of Charles I, who, with his queen, Henrietta Maria, introduced a taste for more sophisticated, styles at court. Until then, the Jacobean passion for surface decoration help sway –polychrome embroidery covered outer garments, while underclothes and coifs were decorated in the more restrained blackwork.
The 3 rd Earl of Dorset’s wealth and importance are highlighted in this dazzling display of Jacobean dress. Every item is decorated, from the collar, edged with spiky Italian reticella lace, to the stockings with their embroidered clocks
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The sheen of fabric was more important that surface decoration, though it was enlivened by pinking, slashing, trimming of braid, ribbon bow and rosettes. Lace, an extremely costly accessory, was worn in profusion, edging collars, caps, cuffs, handkerchiefs and boothose. Men wore cloaks over their high-waisted doublets with tabs at the waist and longer, slimmer breeches.
Women could wear either a low-necked bodice, sometimes worn with a folded kerchief for modesty, or a doublet-style jacket, fastening high t the neck. The high, frizzed hairstyle popular in James I’s reign gave way to small buns, curls and ringlets, while pearls, their sheen enhanced by the glossy silks and satins that were worn, made up the most fashionable jeweler. Women loved to wear masculine styles; as well as the doublet style of bodice, the widebrimmed beaver hat could be worn with a swagger, attracting criticism from Puritan moralists, a reflection of the growing unpopularity of the court and its fashions.
The Restoration of the monarchy in 1660 brought back with in not only a new king, but also a renewed love of luxury dress. Having spent much of his exile at the court of Louis XIV, it was inevitable that Charles II would introduce fashions influenced by those worn in France. Wide petticoat breeches, or “Rhinegraves”, festooned with loops of ribbon and bows, were worn with a doublet by own so short that acres of shirt were visible between the two. However, in 1666 an important development took place in male fashion when the king introduced a more rational from of dress at court-along coat worn over an equally long, sleeved vest, or waistcoat, worn over slimmer breeches.
Charles II’s coronation robes comprised an ermine – lined cloak
and surcoat over silver tissue petticoat breeches,
trimmed with loops of ribbon. The short sleeves of the doublet display the lacetrimmed cuffs. Across his chest is the Order of the Garter sach.
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1700-1800
One of the most elegant periods in our history, it was a time when the impetus of fashion became unstoppable. Increased prosperity, improved communications, foreign travel and avid consumption of luxury goods meant that styles changed more rapidly than before.
The male suit varied in minor details only-the cut of a sleeve, the length of waistcoat, the choice of fabric were the only variables, though generally it became less bulky and slimmer in fit with the front edges of the coat curving towards the back. As the century progressed, there was an increasing preference for informal clothing derived from elements of country clothing and working dress .
The influence on fashion of casual country clothing is illustrated in this portrait by
Gainsborough.Mr Andrews wears a double – breasted frock – coat, while his wife wears a jacket and skirt over wide, square hoops, and a cap under her straw hat.
We can see the simpler, more functional clothes suited to life on an English country estate. Greater choice in dress than ever before was by now available to women-the mantua was worn on formal occasions, while for informal wear a lady could choose a sack dress, loosely pleated from the shoulders, and a variety of open or closed gowns, as well as jacket and skirt styles for travelling, such as the riding habit. The currently fashionable silhouette, always a vital ingredient, as achieved by the use of hoops, lighter and more flexible than the farthingale.
Circular in the 1730s, in the 40s they were replaced by square side hoops which reached extraordinary proportions, and when worn with a stiff, boned corset which
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pushed up and flattened the breasts, produced a two-dimensional effect. During the1750s, smaller side hoops were worn, but were finally dispensed with in the following decade in favour of pads tied around the waist, although wide hoops were still required at formal court functions and remained in use until the early
1800s.
During the middle of the 18 th century the rococo style swept through all the decorative arts. Curving lines, asymmetrical details, floral motifs and a new lightness of decoration were all typical of the Romantic naturalism associated with the period. This elegance was expressed in female dress through the use of floral patterned silk, frills and flounces, masses of ribbon and lace trimmings, costly accessories such as fans, and high hairstyles pinned with flowers and feathers. For outdoors, a flattish straw hat tied with ribbon was worn, tilting forwards on the head to accommodate the hair.
By the 1780s rococo had been superseded by neo-classicism, a result of the excavation of Greek and Roman sites such as Pompeii and Herculaneum. Classical simplicity in dress was now the desired effect, and brocaded silk was abandoned in favour of diaphanous muslins, sprigged cottons and spotted dimities imported from
India. The ‘chemise’ dress was the most significant development in female fashion at this period. Made in sheer white muslin, with its waistline high under the bust, it recalled in its simplicity.
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The trend – setting Duchess of Devonshire was the fist lady in Britain to wear
Chemise dress, seen here in a portrait drawn by John Downman in 1787
1800-1900
By the beginning of the 19 th century, the Industrial Revolution was gathering pace, the mechanization of the textile industry being one of its main driving forces.
Manchester’s cotton and lined mills, Nottingham’s lace factories, ribbon and silk manufacturing at Macclesfield and the woollen mills of Norwich and Paisley played their part in the industrialization of a formerly rural economy. The mass production of good-quality cotton and linen fabrics, which by 1783 could be printed by metal rollers, saw the demise in importation of Indian goods. It also meant that these fabrics were affordable for the working and middle classes; the fact that they could be washed, unlike silk, was an added bonus which resulted in an improvement in general standards of hygiene.
Shopping became a form of national entertainment – by the beginning of the century, gas lighting was widely used in the London shops, considered to be among the finest in Europe. Oxford Street, St James’s, Pall Mall and Regent Street, completed in 1830, provided unparalleled opportunities for purchasing clothing and accessories.
As male tailoring reached new heights of sophistication by the turn of the century, the dandy came into being. Beau Brummell, friend of the prince Regent, epitomized the English style – perfect fit, attention to detail, spotless white linen and a faultlessly tied cravat were among the high standards demanded by this arbiter of fashion. Breeches were replaced, at first by pantaloons then, by 1825, with trousers, which were originally worn only by working men and boys.
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These dresses from the last quarter of the century show the wealth of detail and decoration fashionable during this period. Frills, flounces, braid, ribbon, fringing and lace proliferance.
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Advances in textile technology and mechanization continued to contribute to mass production of clothing. The divergence of the role of the sexes in Victorian society was reflected in dress- male clothing, increasingly standardized and sober, expressed the new concept of the professional man. Women, as mere dependents, were expected to be decorative accessories, hidebound by numerous changes of dress required in the course of the day according to strict codes of convention, with on turn ensured a high consumption of fashion.
The invention in 1856 of the crinoline, a light, sprung- wire cage, freed women from layers of cumber-some petticoats-up to as many as five- worn to achieve the required fullness of the skirt. Despite the benefits of the sewing machine, the garment trade was rife with sweated labour, dress-makers, seamstresses and tailors worked long hours in bad conditions to meet the voracious demands of the customer. The fashion for surface decoration in the form of embroidery, beading, fringing, tassels and lace still required hours of manual work.
This ‘tailormade’ is typical of women’s clothing at the turn of the century.
Masculine elements are combined with practicality and physical freedom, encourage by sport, dress reform and the struggle for female emancipation.
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1900-till nowadays
For the upper classes, the Edwardian era (1901-10) was unparalleled in opulence. The king, Edward VII, unlike his more sedate mother, enjoyed an unceasing round of social activity – house parties, shooting weekends, court functions, balls and dinners. Society women could purchase fashionable clothing from a couturier, an unknown phenomenon until the middle of the previous century. Paris became the hub of the fashion empire; its couture houses began to produce seasonal collections attracting a wealthy clientele from the USA and
Europe.
Female enfranchisement and emancipation, fought for by the suffragettes, brought new freedoms. Single women, liberated from the domestic environment, began to go out to work or attend university or art school. Despite this, pre – war fashions were constricting – the S – bend corset and wasp waist produced one of the most awkward shapes that fashion has ever decreed, while the hobble skirt, introduced in 1910, further restricted movement. The Russian Ballet inspired a vogue for all things Oriental – vibrant new colours, harem trousers worn under tunics, turbans and black kohlrimmed eyes, influencing the vampish heroines of the silent movies. With the outbreak of the Firs World War, the spirit of fashion was dampened. Women who joined in the war effort required more practical clothing, with some, such as those working in munitions factories or on the land, wearing trousers.
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Camillle Cliford, a comedy actress, epitomizes
the curvaceous lines of the Edwardian era.
The dress extends out in a swathe of fabric
at the hem, while the hat and fan reflect the
popularity of ostrich feather as trimmings
During ‘The Roaring Twenties’, a boyish look was the rage- hair was bobbed,
‘flatteners’ were worn to conceal the figure, and hemlines went above the knee in
1927. Tunic tops, blouses and jumpers, sometimes knitted, were worn long over the hips; hats consisted of head-hugging cloches. However, by the end of the decade a more sophisticated, modern look emerged. Femininity was once more desirable-sleek, streamlined dresses cut on the bias in floaty, printed fabrics with flared hemlines, or sophisticated tailored suits worn with witty little hats.
At the outbreak of the Second World War, restrictions were placed on the purchase of textiles and clothing; but, as ever, fashion did not stop at the onset of war. Great ingenuity was applied to maintaining a stylish appearance, while the influence of military wear showed itself in the use of belts, square-cut shoulders and breast pockets.
The youth movement, involved in political and student unrest, often expressed through the new medium of pop music, brought together the twin cultures of music and fashion. In Britain, designers such as Bill Gibb and Zandra Rhodes made colourful, mix-and-match patterned clothes trimmed with beads and feathers, while high-street fashion was led by boutiques such as Biba, whose twenties-inspired look – vampish eye make-up, cloche hats and all – was typical of the Swinging
Sixties. Suddenly, strict codes of dress, still in force in the previous decade, were under threat and, for the first time, what was worn on the streets began to influence designers rather than vice versa.
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By the end of the century, the concept of ‘fashion’ had fragmented and become, as never before, a matter of unlimited personal choice – today, individual identity can be expressed by choosing from a myriad of available styles. Yet the perennial demand for novelty in dress often relies on nostalgia; in this way, the history of fashion repeats itself and is always present.
The queen of punk fashion, Vivenne Westwood,
has emmerged as one of the most innovation
British designers. Here, a tartartan ensemble worn with black patent boots acknowledges British cultural heritage
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Fashion, or clothing style, is always changing. Fashion is never permanent.
Long skirts, short skirts, pants for women, make up for men – these are some of the fashions that come in and out of style. A style that is popular one year is out of style the next.
In the middle of the eighteenth century, some of the most fashionable rich young men in Britain copied the latest Italian fashions. They wore extravagant clothes, lots of make-up to look pale, and high wigs that were powdered and tied with ribbons.
In Europe at the end of the eighteenth century, women’s dresses began to get wider and their hair began to get longer. The widest dresses measured nearly two metres, making it difficult to move around and sit down. To make themselves prettier, some women had enormous hairstyles. These were often decorated with flowers, feathers and even fruit!
After the First World War, the clothes of the swinging 1920s shocked many people. Fashions for women became more relaxed and freer than before. Their hair became much shorter and dresses were not as long and wide as before. Their clothes became brighter and less formal, to match the new music and dances like the Charleston.
Punk fashions were as aggressive as punk music, which arrived in the
1970s. Punks chose the less conventional hairstyles possible. They cut their hair in strange ways and often dyed it brightly. They usually wore large boots, torn jeans and painted leather jackets.
In many countries today, people wear modern fashions most of the time.
They sometimes wear their traditional clothing on special days such as holidays.
For example, in Japan, people often wear kimonos, or long silk dresses on New
Year’s Day. Yet fashion is more than clothing. If you look at fashion magazines, you see many tall, slim models. These models show that height and weight are an important part of fashion. Many people admire fashion models and wish that they could look more like them. As long as people have the desire to be beautiful, there will be fashion. There will always be people who follow the latest styles because they want to look their best and be more attractive. These people think that their appearance is very important. They will spend much of their time and money trying to look like the ideal man or woman.
Many people, especially young people, take no notice of the clothes the designers produce. They wear things, which express their ideas and feelings about life. If a boy has very short, almost shaven hair, people expect him to have right wing politics. But boys with very long hair are thought to have left wing politics. A boy who wears a leather jacket covered in bits of metal will probably ride a motorbike. A girl who wears Laura Ashley dresses will probably have middle-class ideas.
Some young people, of course, have fun with all the latest “street styles”.
They cut their hair into strange shapes, wear lots of cheap jewellery, or paint their lips blue. These “street styles” come and go. But a lot of young people try to look
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as clean and tidy as possible. Clothes with a sporty look are popular. They make people look healthy and energetic.
Street styles are not created by the fashion designers. In fact, the fashion designers often use ideas from street fashions when their own designs are made.
But some leaders of British fashion have enough ideas of their own. One of them is
Jean Muir, whose designs let her be one of the best designers.
Why is it that when you look around the streets all the young people seem to be wearing the same clothes? Why does every single one of them appear to have had their hair cut-or not cut- at the same hairdresser’s? Just watch a few music videos and you will begin to understand how it all works. Popular music seems to have become the most important means of self-definition for young people.
Whether they prefer heavy metal, grunge or pop, the musicians they see on TV soon become their role models. They not only want to hear the sound, they want to copy the musician’s style. The result is long, straggly hair, which is shaved at the sides, multiple earrings, baggy shirts and trousers and trainers as big as shoe boxes.
Comfort is not essential either. Big shoes may be easier to slip out of than to actually walk in, but if you want to keep up with the trends you wear them anyway.
Peer pressure is another influence. To most young people, dressing to look like their friends seems to be the surest way to be accepted. Unfortunately, the first victim of “fashion victimisation” is individuality. While style should ideally be a way of showing people who you really are, following the trends means that you end up being - or seeming to be- exactly like everyone else.
Teenagers would rather not go out at all than go out wearing the “wrong” clothes or footwear. Even in cold weather they prefer to go out without wearing a jacket if it means avoiding wearing something, which does not make them look cool. The problem is the clothes that teenagers think are cool, tend to be more expensive than those which are not. Also, the “uncool” clothes are often much warmer than the trendy ones, but unfortunately kids can’t stand wearing them.
Certain brand names are not as popular, for some reasons, as others.
Take boots, for example. Many teenagers like wearing Nike’s shoes. Nike is an American manufacturer of sports clothes and shoes. He has become very fashionable with young people. Nike is pronounced “nickey” and is the goddess in
Greek mythology. Nike, who sat at the side of Zeus, was usually represented as a winged figure. And nowadays, the Nike “swoosh” logo appears on every pair of
Nike shoes.
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Today, fashion dictates not only the clothes we wear, but the colours, too. It’s interesting to know that colours have had important meanings since ancient times.
If you go to the fashion departments today, you’ll be dazzled by the variety of colours, patterns and textures available. But there is nothing new in this. The truth is that ancient people already recognized the magical power of colour. For the ancient Egyptians, the Celts in Britain, the Aztecs in South America colour was an important part of fashion.
In many ancient civilisations people painted coloured circles and lines around their eyes and mouths. They did it to scare away evil spirits. But soon they realized that colour could be used to make their bodies and faces beautiful – and cosmetics were born. Ancient people used cosmetics to distinguish different tribes, and also males and females. Women used colour and pattern to emphasise their body shape.
Ancient Celtic women painted their bodies blue. Men used designs that emphasised their strength and skills. So body painting is one of the most ancient arts and today it is coming back into fashion, for example, in tattoos.
Eventually, the colours of our clothes became very important. Clothes are a symbol of power. The power in the clothes affects both the person who wears them and the people around that person. So it’s important to choose the colours you wear carefully. For example, recent researches show that wearing a red sweater or jacket can increase your energy levels. The colour green, on the other hand, is known to calm the nerves and soothe emotions.
The Aztecs and Maya civilizations didn’t know wool, linen or silk. But they dyed their textiles with great artistry. For them every colour had a meaning, either positive or negative. For example, yellow was the symbol of the sun and ripe corn, and blue meant that the wearer had royal ancestors. Red stood for blood. Black symbolized war and death. In ancient Egypt gold was the colour of the Sun god and the symbol of the power. In Asian cultures white is the colour of sorrow. The blue of the sky, the red of the sun and the paleness of the moon were associated with religious rituals, legends and poetry.
Nowadays fashion has become international. Today the same fabrics, colours and designs are available all over the world. Fashion dictates not only the clothes we wear, but the colours, too. All colours are available nowadays. And the best thing is to choose the colour that suits you best, that doesn’t make you look too pale, one that doesn’t clash with your hair colour, and one that reflects your personality. Remember that colours can influence the way you feel. So wear colours that make you feel confident and relaxed. Nowadays just as in ancient times, the right clothes give you power, make you look good, and help to identify you as part of your social group.
So your colour choices match your personality. Let’s see what each colour means.
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Purple : caring, calm. Pink : outgoing and romantic. Brown : conventional and conservative. Red : passionate, extrovert. White : tidy, orderly. Blue : serious, logical. Green : calm, trustworthy. Black : daring, introvert. Orange : creative, energetic. Yellow : joyful. Grey : indecisive, passive. Beige : easily persuaded, indecisive.
So the task of this project is fulfilled. The main idea that British fashion since the Middle Ages till nowadays has influenced the fashion in
Russia greatly is proved. I have read a lot of material concerning fashion and set up its classification according to the different historical periods and in the project gave a short description of each style: Tudor Magnificence and
Elizabethan Imagery (1500-1600) , Excess, Revolution and Restoration
(1600-1700), The Age of Elegance (1700-1800), Domesticity and the
Industry of Fashion (1800-1900), Modern Women and Radical Fashion
(1900-nowadays).
I compared different styles of the fashion in Britain with the fashion in Russia and showed that they had much in common. It goes without saying that fashionable clothes are masterpieces of art, people admire them, fashionable clothes give people a lot of positive energy and confidence.
Modern clothes teach people to appreciate the beauty of the world and understand the history of their own land better. When we see this or that fashion we can learn a lot about the historical period of the country. Costume and clothes are the most visible means we have of expressing ourselves. For hundreds of years they have been used to signify status, power, political messages and wealth, while for ordinary people they have been adapted for various trades and professions. At the period when this project begins, the 16 th century, fashionable dress was the preserve of the privileged people.
Conspicuous consumption was the most important ingredient in the fashion.
Gradually, however, with the rise of the middle classes and general improvements in standards of living for most people over the centuries, it has become a commodity to which we can all aspire. In this way, the direction of the influence of fashion has been reversed – instead of fashionable trends being passed down from the higher echelons of society to the lower, the democratization of society and fashion means that innovation now often comes from street level.
So, fashion is not only one of the most sensitive barometers of the society, but it also touches all our lives and tells us about the history of the country. That is why it is the theme of my project.
This project can be used at different lessons - Literature, World Art
Culture, History and English.
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I’d like to thank my scientific tutor for her help, pieces of advice goodwill and cooperation.
1.The Pitkin Guide ‘Costume’
2.Internet Resources
3.Encyclopedia
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