The papal tiara is a crown that is worn by popes of the Catholic Church from as early as the 8th century to the mid–20th century. It was last used by Pope Paul VI in 1963, and only at the beginning of his reign.
Vestments are liturgical garments and articles associated primarily with the Christian religion, especially by Eastern Churches, Catholics, Lutherans, and Anglicans. Many other groups also make use of liturgical garments; among the Reformed (Calvinist) Churches this was a point of controversy in the Protestant Reformation and sometimes since, in particular during the ritualist controversies in the Church of England in the 19th century.
The mitre or miter is a type of headgear now known as the traditional, ceremonial headdress of bishops and certain abbots in traditional Christianity. Mitres are worn in the Catholic Church, Eastern Orthodox Church, Oriental Orthodox Churches, the Anglican Communion, some Lutheran churches, for important ceremonies, by the Metropolitan of the Malankara Mar Thoma Syrian Church, and also, in the Catholic Church, all cardinals, whether or not bishops, and some Eastern Orthodox archpriests.
A chemise or shift is a classic smock type of women's undergarment or dress. Historically, a chemise was a simple garment worn next to the skin to protect clothing from sweat and body oils, the precursor to the modern shirts commonly worn in Western nations.
Papal regalia and insignia are the official items of attire and decoration proper to the Pope in his capacity as the visible head of the Catholic Church and sovereign of the Vatican City State.
The origins of the papal tiara remain somewhat nebulous and clouded in mystery, first appearing in the Early Middle Ages, but developing a recognizable form in the High Middle Ages, after the Great Schism of 1054. The word tiara itself occurs in the classical annals to denote a Persian headdress, particularly that of the "great king". A camelaucum which was similar in shape to papal tiaras, was part of court dress in Byzantium; it was also inspired by the Phrygian cap, or frigium. Given that other rituals associated with the papal coronation, notably the use of the sedia gestatoria, were copied from Byzantine and eastern imperial ceremonial, it is likely that the tiara is also of Byzantine origin.
Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.
Fashion in the period 1650–1700 in Western clothing is characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.
Fashion in the period 1700–1750 in European and European-influenced countries is characterized by a widening silhouette for both men and women following the tall, narrow look of the 1680s and 90s. This era is defined as late Baroque/Rococo style. The new fashion trends introduced during this era had a greater impact on society, affecting not only royalty and aristocrats, but also middle and even lower classes. Clothing during this time can be characterized by soft pastels, light, airy, and asymmetrical designs, and playful styles. Wigs remained essential for men and women of substance, and were often white; natural hair was powdered to achieve the fashionable look. The costume of the eighteenth century, if lacking in the refinement and grace of earlier times, was distinctly quaint and picturesque.
The hennin was a headdress in the shape of a cone, steeple, or truncated cone worn in the Late Middle Ages by European women of the nobility. They were most common in Burgundy and France, but also elsewhere, especially at the English courts, and in Northern Europe, Hungary and Poland. They were little seen in Italy. It is unclear what styles the word hennin described at the time, though it is recorded as being used in French areas in 1428, probably before the conical style appeared. The word does not appear in English until the 19th century. The term is therefore used by some writers on costume for other female head-dresses of the period. This headgear was inspired by the headgear then current in the Mongol court.
Bands are a form of formal neckwear, worn by some clergy and lawyers, and with some forms of academic dress. They take the form of two oblong pieces of cloth, usually though not invariably white, which are tied to the neck. When worn by clergy, they typically are attached to a clerical collar. The word bands is usually plural because they require two similar parts and did not come as one piece of cloth. Those worn by clergy are often called preaching bands or Geneva bands; those worn by lawyers are called barrister's bands or, more usually in Ireland and Canada, tabs.
The kokoshnik is a traditional Russian headdress worn by women and girls to accompany the sarafan. The kokoshnik tradition has existed since the 10th century in the ancient city Veliky Novgorod, part of Kievan Rus' then. It spread primarily in the northern regions of Russia and was very popular from 16th to 19th century. It is still to this day an important feature of Russian dance ensembles and folk culture and inspired the Kokoshnik style of architecture.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Fashion in 15th-century Europe was characterized by a series of extremes and extravagances, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing doublets and hose of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jeweled, and feathered.
A fontange, or frelange, is a high headdress popular during the turn of the late 17th and early 18th centuries in Europe.
The Medieval period in England is usually classified as the time between the fall of the Roman Empire to the beginning of the Renaissance, roughly the years AD 410–1485. For various peoples living in England, the Anglo-Saxons, Anglo-Danes, Normans and Britons, clothing in the medieval era differed widely for men and women as well as for different classes in the social hierarchy. The general styles of Early medieval European dress were shared in England. In the later part of the period, men's clothing changed much more rapidly than women's styles. Clothes were very expensive and both the men and women of lower social classes continued also divided social classes by regulating the colors and styles these various ranks were permitted to wear. In the early Middle Ages, clothing was typically simple and, particularly in the case of lower-class peoples, served only basic utilitarian functions such as modesty and protection from the elements. As time went on the advent of more advanced textile techniques and increased international relations, clothing gradually got more and more intricate and elegant, even with those under the wealthy classes, up into the renaissance.
Headgear, headwear, or headdress is any element of clothing which is worn on one's head, including hats, helmets, turbans and many other types. Headgear is worn for many purposes, including protection against the elements, decoration, or for religious or cultural reasons, including social conventions.
A pelerine is a small cape-like garment that covers the shoulders. Historically, the pelerine possibly originated in a type of 15th century armor padding that protected the neck and shoulders by itself, if the padded fabric was reinforced internally with metal, and/or acted as padding between armor and the skin in the neck-to-shoulder region. The pelerine often had fasteners so that pauldrons could be attached.
An escoffion was a piece of female medieval headwear which was popular during the Late Middle Ages (1250–1500). It originated and was popular in European countries such as England, France and Germany, and other Balkan states. The headpiece was made out of a thick, circular roll of material like wool, felt or silk. The material was shaped, by sewing or starching, into a double-horned configuration, with each horn sometimes being up to a yard long. Over the headdress, gauze or silk was sometimes draped for weight distribution or aesthetic purposes. The escoffion style was a sub-branch of a popular style of headwear called hennin.
