Dress Design: An Account of Costume for Artists & Dressmakers Informative Summary

Overview:

This historical handbook of English costume, written by Talbot Hughes in 1913, takes the reader on a comprehensive journey through centuries of dress. From the basic garments of prehistoric Britain to the extravagance of the Victorian era, the author meticulously documents the evolution of styles, trimmings, and decorations, offering insightful analysis and a wealth of practical information.

Hughes highlights the importance of understanding the driving force behind fashion trends, particularly the desire for freshness and novelty, and how this influences the ephemerality of modern clothing. He argues for a greater appreciation of craftsmanship and the potential for preserving elements of dress beyond their initial use.

Key Findings:

Fashion is cyclical: Styles, while evolving, often revisit previous themes and motifs. Understanding historical dress offers a unique opportunity to discover recurring patterns in fashion and find inspiration for modern designs.
Importance of craftsmanship: The author emphasizes the beauty and importance of skilled craftsmanship in dressmaking, highlighting the decline of handcrafted details in favor of mass-produced garments.
Decoration as language: Hughes views ornamentation as a language addressed to the eye, showcasing how designers used color, texture, and placement to communicate specific ideas and cultural influences.
The impact of heraldic design: Heraldic design, with its emphasis on color contrast and geometric patterns, significantly influenced the decoration and even the construction of clothing from the 13th century onward.
The influence of men’s fashion on women’s clothing: Throughout history, women’s fashion has often mirrored or borrowed elements from men’s attire, contributing to a cyclical interplay between styles.

Learning:

The power of simplicity: The author praises the elegance and natural beauty of dress design in the 12th to 15th centuries, emphasizing the importance of embracing the natural proportions of the body. He discourages the use of corseted waists, advocating for a more fluid and graceful outline.
The art of layering and drapery: The text demonstrates the versatility and beauty of layering garments, particularly the chasuble-shaped tunic and the sack-back dress of the 18th century. Understanding these historical techniques can inspire contemporary draping and layering techniques.
The role of trimmings: Hughes analyzes how trimmings like lace, embroidery, braids, and slashes were used throughout history to enhance form, add visual interest, and express specific cultural or social messages.
The evolution of footwear: The reader gains an understanding of the evolution of footwear styles from the simple sandals and leather wraps of early Britons to the intricate boots and shoes of the 16th, 17th, and 18th centuries.
Fashion and social change: The book demonstrates how fashion is not only a reflection of aesthetic preferences but also a powerful indicator of social, economic, and political changes within a culture.

Historical Context:

Roman influence: The Roman occupation of Britain brought with it advancements in weaving, needlecraft, and decoration, shaping the development of costume through the subsequent centuries.
The rise of heraldic design: The increasing importance of heraldry in the 13th and 14th centuries heavily influenced the color palettes, patterns, and overall aesthetic of costume.
The Elizabethan era: Known for its extravagant and opulent styles, the Elizabethan era (1558-1603) witnessed the rise of the farthingale, the fan ruff, and the slashed and puffed techniques of decoration.
The English Civil War: The Commonwealth period (1649-1660) saw a shift towards a more sober and austere approach to dress, mirroring the political and religious climate of the time.
The Restoration: The reign of Charles II (1660-1685) marked a return to flamboyant styles and elaborate trimmings, particularly the use of ribbons, lace, and heavy braiding.

Facts:

Prehistoric Britons were skilled weavers: Evidence shows they wove flax and wool, using simple dyes like red, blue, yellow, and brown.
The Gauls cut their hair from the back of the head: Often tying the remaining hair into a tuft on top.
Bronze torque was a symbol of authority: This twisted rod of gold was worn as a mark of dignity.
Early clothing was often made of animal skins: These were worn both inside and out, depending on weather conditions.
The chasuble form originated from a garment made of two skins: This simple wrap, later developed into a more formal garment, became an important style element in later centuries.
Women began to bind their hair and faces with nets in the 10th century: This trend continued for centuries, evolving into intricate and ornate head-dresses.
The art of arranging drapery was an important aspect of early dress: Girdles, belts, and clasps were used to create elegant folds and drapes in fabrics.
The corselet, a garment fitting from waist to hip, made its first appearance in the 10th century: This was a precursor to the corset and became a dominant feature of dress in later periods.
Heraldic colors and patterns influenced the clothing of the 13th century: This trend continued well into the 16th century, particularly in the use of parti-colored garments.
The chasuble-shaped front piece developed into the stomacher: This decorative element became a prominent feature of dress in the 14th and later centuries.
The square-toed shoe became popular in the 16th century: This shape was often decorated with slashing, pricking, and punching techniques.
The fan-shaped ruff was introduced during the Elizabethan era: Supported by a wooden framework, the ruff grew to extravagant sizes and became a defining feature of the period.
The first mention of a leather umbrella was in 1611: However, umbrellas didn’t become widely used in England until the 18th century.
The first silk stockings were worn by Queen Elizabeth in 1560: Worsted stockings were made in England two years later.
The “maccaroni” fashion emerged in the 1760s: This trend was marked by absurdly small hats, clubbed wigs, and very short coats.
The sack-back dress became extremely popular in the 18th century: This style, with its flowing back and often elaborate trimmings, became a defining silhouette of the period.
The calash, a large hooped hood, was introduced in 1777: This was worn to protect the elaborate hairstyles and head-dresses of the time.
The first use of white powder for hair was in the 17th century: This practice continued into the 18th century, reaching its peak of extravagance in the 1770s.
The “grand dress” of the Victorian era was characterized by elaborate drapings, heavy fringes, and braids: This style marked a return to more ornate and cumbersome designs.
The crinoline, a stiff underskirt, was introduced in 1855: This innovation revolutionized the shape of women’s dresses, creating a very full and wide silhouette.
The bustle, a padded undergarment, was introduced in the 1870s: This brought a new shape to the back of the dress, emphasizing a rounded and voluminous form.
The bowler hat gained popularity in the Victorian era: This short, round hat became a staple of men’s fashion during the 19th century.

Statistics:

1564: The year starching methods for ruffs were introduced in England, leading to increasingly elaborate and massive ruffs.
1564: The year worsted stockings were first produced in England.
1590: The year the full pleated skirt, supported by a farthingale, reached its peak of popularity.
1611: The first recorded mention of a leather umbrella in England.
1776: The year white powder for hair reached its peak of extravagance, with hairstyles becoming wider and more elaborate.
1780: The year the large mob cap, often worn with a hat, became fashionable.
1780: The year the use of dull pink powder for hair became popular among men.
1800: The year the circumference of quilted petticoats could reach 120 inches, demonstrating the grand scale of the fashion.
1808: The year the classic high-waisted dress began to decline in popularity.
1810: The year the round-toed low shoe began to supersede the pointed shoe, tied sandal fashion, as the preferred style.
1814: The first appearance of the Vandyked lace collar and fan setting for the shoulders.
1816: The year piped shapes decorated with pearls or beads became a popular feature of women’s dress.
1822: The year the pointed bodice, with a normal length of waist, started to gain popularity.
1823: The year the gathered shoulder first appeared in fashion, quickly becoming a defining feature of dress styles.
1824: The year the full-topped sleeve began to develop in size, with the upper sleeve gradually disappearing.
1827: The year the sloped appearance in the bodice began to be noticeable as the sleeves were set lower.
1830: The year the flat cape replaced the high set-up collar and neck frill.
1835: The year the large round sleeve, sometimes tightly pleated into quarters, became popular.
1837: The year Queen Victoria ascended to the throne, marking the beginning of the Victorian era in fashion.
1845: The year trousers became buttoned down the front rather than using a flap.
1850: The year the large flat Leghorn hat with a small crown came into fashion.
1855: The year the crinoline was introduced, significantly altering the shape of women’s dresses.
1860: The year the three-cornered French hat, with feathers set in the brim, made a comeback.
1860: The year the crinoline reached its fullest extent in size and influence.
1864: The year the bell-shaped sleeve reached its fullest shape in popularity.
1870: The year the bustle was introduced, shaping the back of women’s dresses.
1878: The year the clumsy, full, square-cut sleeve began to fade from fashion.
1880: The year the hideous chignons, a style of hair bunched at the back, started to decline in popularity.

Terms:

Chasuble: A liturgical vestment worn by priests, typically a long, sleeveless garment that falls from the shoulders.
Corselet: A garment fitted from the waist to the hip, worn to shape the figure and support the weight of clothing.
Stomacher: A decorative piece, often shaped at the point, that fills the front opening of a bodice or jacket.
Farthingale: A type of hoop skirt, often used during the Elizabethan era, that creates a very full and round silhouette at the hips.
Jerkin: A close-fitting, waist-length jacket, typically worn with breeches or trousers.
Justacorps: A very tight-fitting suit, with a padded, round-shaped body, that became popular in the 12th century.
Panniers: Large hoops worn under a dress, typically in the 18th century, to create a very wide and voluminous silhouette at the hips.
Calash: A large, hooped hood, often worn in the 18th century, to protect elaborate hairstyles and head-dresses.
Polonaise: A style of dress that is fitted at the waist and has a long, flowing skirt, often gathered or looped up at the back.
Spencer: A short, fitted jacket, typically worn with a dress or other garments, that was popular in the 19th century.

Examples:

The long-trained muslin dress (frontispiece): This elegant dress, dating back to around 1800, exemplifies the beauty and simplicity of the classic high-waisted style, with its flowing lines and delicate fabric.
The Herald’s Coat (Plate VII, a): This richly embroidered coat, dating from the first half of the 17th century, showcases the intricate craftsmanship and heraldic influences prevalent in the period.
The portrait of a lady in embroidered costume (Plate III, b): This example from the period between 1620 and 1640 highlights the use of elaborate embroidery, particularly the black-stitch design, as a decorative element.
The “jump” or jacket (Plate III, a): This 16th-century jacket, measuring 100 inches in circumference, demonstrates the large and flowing silhouettes favored in the period.
The three suits of the Charles II period (Plate VIII): These examples, spanning from the 1660s to the 1690s, highlight the use of ribbons, lace, and braiding as decorative elements, and the transition towards a more tailored and fitted silhouette.
The embroidered muslin bodice (Plate XXIV, b): This bodice, from the period 1816-1830, illustrates the delicate use of white embroidery to create a graceful and intricate effect.
The silk dress with court train (Plate XXXIII, a): This dress, dating back to 1828-1838, shows the evolving silhouette of the 19th century, with a more defined waist and a flowing train.
The riding habit (Plate XXXI, b): This riding outfit from the period 1845-1875 showcases the adaptation of men’s fashion elements, like the jacket and trousers, into women’s attire.
The blue silk dress (Plate XXXII, a): This dress, dating back to 1860-1870, is a fine example of the dramatic silhouettes and bold color choices characteristic of the Victorian era.
The silk coat and skirt (Plate XXXIII, c): This ensemble, from 1855-1865, illustrates the combination of a fitted jacket and a full crinoline skirt, a popular style of the period.

Conclusion:

Talbot Hughes’s “Dress Design” provides a comprehensive and engaging journey through the history of English costume. The author’s meticulous attention to detail, combined with his insightful commentary on design principles and social trends, makes this book a valuable resource for anyone interested in fashion history or modern dress design.

The most important elements for the reader to take away from this work are:

Fashion is a cyclical art: By understanding past trends, we can gain a deeper appreciation for the evolution of fashion and discover inspiration for modern designs.
Craftsmanship matters: The author advocates for a renewed emphasis on high-quality, handcrafted garments, emphasizing the beauty and artistry that can be achieved through skilled workmanship.
Fashion is a powerful tool of communication: Designers use color, shape, texture, and decoration to convey specific ideas and messages about social, cultural, and political identities.
The study of history is essential for modern designers: Understanding the nuances of historical styles and techniques offers valuable insight into the roots of fashion and inspires new possibilities for contemporary expression.

By embracing the lessons and insights of this historical handbook, readers can gain a deeper understanding of dress design and cultivate a greater appreciation for the artistry and evolution of clothing throughout the ages.

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