By Matilda Embling
Women and fashion are often explicitly linked. One only has to consider the media coverage of the new Duchess of Sussex to uncover how frequently a woman’s identity is equated to, or even entirely subsumed by, the clothing she wears. In a recent Guardian article , the more conservative muted wardrobe she has opted for after her marriage was equated to the muting down of her opinionated, questioning personality.
This rhetoric is not new and has not been limited to public figures. In the letters of eighteenth-century women for example, descriptions of new female acquaintances are almost always accompanied by long reports of their dress. An East Anglian gentlewoman, Barbara Ward described a relative’s fiancé as ‘genteel and agreeable’ before immediately documenting her dress ‘the best cloths she has apeard in last sonday at church was blue and gold rich silk and black laced hood’.[i]
by Katy Bond
“Everyone’s way is made known through clothing” said Hans Weigel, author of a 1577 costume book of Nuremberg which illustrated the dress of a variety of nations.[i] In Renaissance Europe, it was expected that one’s countrymen would be identifiable through distinctive modes of dressing.
by Katy Bond
When Cesare Vecellio published his celebrated book of world dress in 1590, the Earth’s horizons must have seemed to the Venetian artist, to be ever-expanding. First published under the title, ‘Degli habiti antichi et oderni di diverse parti del mondo’ (‘Of the clothing, ancient and modern, of diverse parts of the world’), his work claimed to offer its readers an encyclopaedic reference for the appearances and cultural habits of people the world over. Having been republished as a facsimile edition – with English translations – by Thames & Hudson in 2008, Vecellio’s invaluable research is now easily accessible to the historian interested in early modern clothing.