The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558–1603). Historians often depict it as the golden age in English history. The Roman symbol of Britannia was revived in 1572, and often thereafter, to mark the Elizabethan age as a renaissance that inspired national pride through classical ideals, international expansion, and naval triumph over Spain.
A surcoat or surcote is an outer garment that was commonly worn in the Middle Ages by soldiers. It was worn over armor to show insignia and help identify what side the soldier was on. In the battlefield the surcoat was also helpful with keeping the sun off the soldier and their armor which helped prevent heat stroke and heat exhaustion. The name derives from French meaning "over the coat", a long, loose, often sleeveless coat reaching down to the feet.
William Harrison was an English clergyman, whose Description of England was produced as part of the publishing venture of a group of London stationers who produced Raphael Holinshed's Chronicles. His contribution to Holinshed's work drew heavily on the earlier work of John Leland.
A waistcoat or vest is a sleeveless upper-body garment. It is usually worn over a dress shirt and necktie and below a coat as a part of most men's formal wear. It is also sported as the third piece in the traditional three-piece male suit. Any given waistcoat can be simple or ornate, or for leisure or luxury. Historically, the waistcoat can be worn either in the place of, or underneath, a larger coat, dependent upon the weather, wearer, and setting.
A coat is typically an outer garment for the upper body, worn by any gender for warmth or fashion. Coats typically have long sleeves and are open down the front, and closing by means of buttons, zippers, hook-and-loop fasteners, toggles, a belt, or a combination of some of these. Other possible features include collars, shoulder straps, and hoods.
A farthingale is one of several structures used under Western European women's clothing - especially in the 16th and 17th centuries - to support the skirts in the desired shape and to enlarge the lower half of the body. The fashion originated in Spain in the fifteenth century. Farthingales served important social and cultural functions for women in Renaissance Europe as they expressed, primarily when worn by court women, high social position and wealth.
The corset is a supportive undergarment for women, dating, in Europe, back several centuries, evolving as fashion trends have changed and being known, depending on era and geography, as a pair of bodies, stays and corsets. The appearance of the garment represented a change from people wearing clothes to fit their bodies to changing the shape of their bodies to support and fit their fashionable clothing.
A frock coat is a formal men's coat characterised by a knee-length skirt cut all around the base just above the knee, popular during the Victorian and Edwardian periods (1830s–1910s). It is a fitted, long-sleeved coat with a centre vent at the back and some features unusual in post-Victorian dress. These include the reverse collar and lapels, where the outer edge of the lapel is often cut from a separate piece of cloth from the main body and also a high degree of waist suppression around the waistcoat, where the coat's diameter round the waist is less than round the chest. This is achieved by a high horizontal waist seam with side bodies, which are extra panels of fabric above the waist used to pull in the naturally cylindrical drape. As was usual with all coats in the 19th century, shoulder padding was rare or minimal.
A doublet is a man's snug-fitting jacket that is shaped and fitted to a man's body. The garment was worn in Spain, and spread to the rest of Western Europe, from the late Middle Ages up to the 17th century. Until the end of the 15th century, the doublet was usually worn under another layer of clothing such as a gown, mantle, or houppelande when in public. In the 16th century it was covered by the jerkin. Women started wearing doublets in the 16th century, and these garments later evolved as the corset and stay. The doublet was thigh length, hip length or waist length and worn over the shirt or drawers.
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 years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.
Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.
Fashion in the period 1795–1820 in European and European-influenced countries saw the final triumph of undress or informal styles over the brocades, lace, periwigs and powder of the earlier 18th century. In the aftermath of the French Revolution, no one wanted to appear to be a member of the French aristocracy, and people began using clothing more as a form of individual expression of the true self than as a pure indication of social status. As a result, the shifts that occurred in fashion at the turn of the 19th century granted the opportunity to present new public identities that also provided insights into their private selves. Katherine Aaslestad indicates how "fashion, embodying new social values, emerged as a key site of confrontation between tradition and change."
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.
Fashion in the years following World War II is characterized by the resurgence of haute couture after the austerity of the war years. Square shoulders and short skirts were replaced by the soft femininity of Christian Dior's "New Look" silhouette, with its sweeping longer skirts, fitted waist, and rounded shoulders, which in turn gave way to an unfitted, structural look in the later 1950s.
A chaperon was a form of hood or, later, a highly versatile hat worn by men and women in all parts of Western Europe in the Middle Ages. Initially a utilitarian garment, it first grew a long partly decorative tail behind, and then developed into a complex, versatile and expensive item of headgear after what was originally the vertical opening for the face began to be used as a horizontal opening for the head. The chaperon was especially fashionable in mid-15th century Burgundy, before gradually falling out of fashion in the late-15th century and returning to its utilitarian status. It is the most commonly worn male headgear in Early Netherlandish painting, but its complicated construction is often misunderstood.
The French hood is a type of woman's headgear that was popular in Western Europe in the 16th century.
A justacorps or justaucorps is a knee-length coat worn by men in the latter half of the 17th century and throughout the 18th century. It is of French origin, where it had developed from a cape-like garment called a casaque. It was introduced into England as a component of a three-piece ensemble, which also included breeches and a long vest or waistcoat. This ensemble served as the prototype for the modern-day three-piece suit. The justacorps itself evolved into the frock coat.
Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.
Lusty gallant is a colour that originated in 16th century Elizabethan England. Named after a popular Tudor dance, it is a shade of light pink.
