A Handbook of Costume Drawing

Second Edition
A Handbook of Costume Drawing
A Guide to Drawing the Period Figure for Costume
Design Students

Second Edition

Georgia O'Daniel Baker

IIIastrated by
Helen Redel Pullen
First published 2000
This edition published 2013
by Focal Press
70 Blanchard Road, Suite 402, Burlington, MA 01803
Simultaneously published in the UK
by Focal Press
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Focal Press is an imprint of the Taylor & Francis Group, an informa business
Copyright © 2000 by Taylor & Francis.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Notices
Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described herein. In using such information or methods they should be
mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any
injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or
operation of any methods, products, instructions, or ideas contained in the material herein.
Cover credit: Color costume designs by Georgia O’Daniel Baker. Additional black and white line drawings reprinted with
the permission of Scribner, a division of Simon & Schuster from The Mode in Footwear and The Mode in Hats and
Headdresses by R. Turner Wilcox. Copyright 1948, 1946 by Charles Scribner’s Sons; copyright renewed © 1976 by Ruth
Wilcox; and Racinet’s Full-Color Pictorial History of Western Costume by Auguste Racinet, Dover Publications, 1988;
originally published by the Librairie de Firmin-Didot et Cie, Paris, 1888.
Library of Congress Cataloging-in-Publication Data
Baker, Georgia O’Daniel.
A handbook of costume drawing : a guide to drawing the period figure for costume design
students / Georgia O’Daniel Baker; illustrated by Helen Redel Pullen.—2nd ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-240-80403-3 (pbk. : alk. paper)
1. Fashion drawing. 2. Costume design. I. Title.

TT509.B35 2000
741.6’72—dc21 99-087664
ISBN-13: 978-0-240-80403-3 (pbk)
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
To my children Caroline and Christopher; who have created with
me a family of warmth, support, challenge, negotiation, growth,
and love.
G. O’D.B.

For the loving support of my parents, Helen Mueller Redel and

Milford Lawrence Redel, and my son Anthony Alexander Pullen.
H. R. P.
Contents

Preface

Acknowledgments

Chapter 1: The Basic Figure and How Clothes Fit the Body

The Figure

Standing Figure

Back View

Profile View

Muscle Structure

Skeletal Structure

Relaxed Figure

The Face

The Eyes

The Hand
 The Foot

Rendering the Details

Capturing the Mood of the Period

Chapter 2: Materials and Techniques

Pencils

Inks

Watercolors

Watercolor Pencils

Felt-Tip Pens

Papers

Brushes

Drawing File

Light Table

Chapter 3: Learning to See Color

Hue

Value

Saturation

Complements

Simultaneous Contrast

Warm/Cool Color Usage

 Changing Color

Color in Light

Summary

Definitions

Chapter 4: Rendering Fabrics

Satin

Velvet

Crepe

Chiffon

Fur

Chapter 5: Computer Aids for Costume Rendering

Areas to Consider for Computer Rendering Enhancement

The Face

The Background

The Pose

Color Changes (Hue and Value)

Lettering

Special Effects

Makeup

Personalizing Your Sketch

Chapter 6: Creating a Period Silhouette 3000 B.C.–1969 A.D.

Egyptian 3100–30 B.C.

Biblical (Assyrian, Persian, Hebrew) 1250–333 B.C.

Archaic Greek 800–480 B.C.

Classic Greek 480B.C.–A.D. 146

Roman 753 B.C.–A.D. 476

Byzantine 324–1453

Romanesque 900–1200

Early Gothic 1200–1325

Middle Gothic 1325–1425

Late Gothic 1425–1485

Early Renaissance (Italian) 1485–1520

Late Renaissance 1520–1560

Elizabethan 1560–1590

Late Elizabethan and Jacobean 1590–1620

Cavalier 1620–1660

Restoration 1660–1680

Baroque 1680–1715

Rococo 1715–1774

Neoclassic 1775–1789

Directoire 1790–1799
 Directoire 1790–1799

Empire 1800–1815

Romantic 1815–1848

Crinoline 1840–1868

Bustle 1868–1890

1890s 1890–1900

Edwardian 1900–1909

Teens 1910–1919

1920s 1920–1929

1930s 1930–1939

1940s 1940–1949

1950s 1950–1959

1960s 1960–1969

Chapter 7: Creating a Portfolio

Overview

Costume Sketches

Number of Pieces

Variety

Budget/Prices

Photographs
 Research

Presentation

Practice

Bibliography

Index
Preface

Clothes may or may not “make” the man or woman. However, clothes do
change the shape of the human body through the different periods of
costume history. The purpose of this book is to help the students of
costume design and costume history do what Ingham and Covey call
“seeing accurately.” By seeing how fashion changes the human form to
create a “desirable” shape or image for an historical period, they can more
easily make the transition from a contemporary look to a period silhouette
in costume research and sketching. These period images can be utilized to
create the “mood” of a play or playwright.
This text looks at changes from a “normal” silhouette to the waist,
neck, shoulders, arms, and hemlines throughout costume history.
Whatever “beauty” is in the eye of the current beholder, it is always
affected by the look of the clothing silhouette today and in the past.
Each historical period illustrates how the period look is often created
by constricting or adding to the body in some manner. Large clothed male
and female figures appear in each section dressed in some of the major
garments from this period. The text and drawings make every effort to
present a clear and easy-to-”read” figure for the student learning to draw a
period costume.
Adjacent to the large figure are detail drawings of hairstyles, footwear,
undergarments, neckwear, and often accessories from that historical
period. Of course, there are many types and items of dress that have not
been included. This is just one silhouette typical of the period. The hope is
that by seeing this silhouette clearly you may more easily draw this
silhouette or others from this period. The text tries to give a clear
description of major garments from each period, but does not try to be
comprehensive in covering all aspects of costume history.
The style of artwork in each section reflects the dominant rendering
style of that period. The faces, shape of the figure, pose, posture, and
hairstyles are designed to convey the mood or feeling of the period.
This book has evolved after years of teaching costume history and
costume design to students without fine arts training but with a desire to
learn to draw and design costumes. Seeing a period costume clearly makes
learning to draw easier. This book aims to make drawing period clothing
easier and more enjoyable.

Georgia O’Daniel Baker

A principal aim of this book is the presentation of visuals which will help
the designer produce images reflective of a period and its mood. To that
end, the drawings are based upon characteristic renderings of the time.
The introduction of details in Chapter 1, such as eyes, ears, gathers,
and pleats-mysteries to most beginning designers-has been included to
help the student reach the goal of a clearly presented idea.

Helen Redel Pullen

Acknowledgments

My appreciation to those who have helped me create a joyous and

satisfying career in costume design: Doug Russell for his unwavering
standards of excellence and his personal integrity. Teachers and mentors
Herb Camburn, Tanya Moiseiwitsch, Paul Berman, C. Richard Gillespie.
Cheryl Partridge, who makes the costumes come alive on stage. Judy
Dolan, Sheila Kehoe, William Crowther, Marianne Wittelsberger, Steve
Bauer, and the many students who inspire and energize me as professional
colleagues and friends. And to my parents who always valued and
encouraged education.

Georgia O’Daniel Baker

Baltimore, Maryland

As an educator and artist, it has been exciting to develop a project one

hopes will be of value to students. Of the many colleagues and friends
whose support and advice has been important to me, I would particularly
like to thank Bernadine Basile, Jocelyn Curtis, George Fondersmith, and
Jane Warth.

Helen Redel Pullen

Chapter 1
The Basic Figure and How Clothes Fit the
Body

THE FIGURE
Figure 1.1 This diagram shows a method of arriving at correct proportions for the human figure
using a rectangle to show proportions of the width and length of the figure.
Figure 1.2 A correctly proportioned male and female figure using the specifications established in
Figure 1.1. The hip hits at the center line of the rectangle, line #3. Line #2 is the center line of the
chest or bustline. Line #4 is at the knee.
Figure 1.3 a. One-half of each the male and female figures without the box s tructure. b. The back
view.
Figure 1.4 An illustration of the body proportions from a side view of the female and male figure.
Figure 1.5 The muscle structure of the male body illustrating the thicker neck and shoulder
muscles, a wider waist, narrower hip, and more developed thigh muscles. The female muscle
structure constitutes a thinner neck, bust point at the armpit, narrower waist, and fuller hips.
Figure 1.6 The S Curve. In this drawing of the relaxed figure the weight is predominately on one
leg, with one side of the hip dropping lower than the other. The upper torso tilts in the opposite
direction from the dropped hip to balance the body weight. The weight then distributes itself evenly
on either side of the center of the body from neck to floor. The shoulder swings out in one direction
to balance the hip swinging out in the opposite direction. Since one shoulder is elevated, one elbow
is slightly higher than the other. It is important to know how to draw the relaxed figure, because
people usually stand at ease and this type of figure drawing creates a more natural and graceful look
to the body. Some important things to note are the longer leg created by the dropped hip, and that
the relaxed knee allows the foot to take on many positions.

Figure 1.7 The relaxed figure as it is first seen in Greek sculpture.

THE FACE
Figure 1.8 The value of the square diagram is to show the regularity of the human face. It can be
divided horizontally at the one-half point to easily place the eyebrows. The top quarter mark is the
bottom of the nose. The bottom eighth marks the cleft in the chin, and halfway between the cleft
and the bottom of the nose marks the line of the lips.
Figure 1.9 The female and male face, front view, based on the square diagram showing placement
of the features. The male face has a wider jawline, thinner mouth, and more pronounced nose
bridge. The eyebrows are thicker and less arched.

Figure 1.10 The child’s face is smaller in relationship to the skull. The proportion of a child’s head
to the body is one to four. The eyes are the same as the adult, but the nose and mouth are smaller.
Figure 1.11 A contrast of youthful faces with aging faces. In the aging faces eyebrows are shaggier
and hair thins. Muscles lose elasticity, creating folds above and below the eye socket area. The
nasal labial fold starts in the bottom fold of the nose and ends just above the mouth. Small folds
appear on the forehead and around the mouth.

Figure 1.12 The grid on the profile of the face shows the correct placement of the ear. The one-
quarter vertical line on the left marks the back of the skull. The one-quarter vertical line on the right
marks the placement of the jawline at the bottom of the face.

Figure 1.13 Illustrations of different treatments and ways to indicate front views of the eye and
eyebrow for males and females.

Figure 1.14 Profile of eyes and eyebrows.

Figure 1.15 A three-quarter view of the face. Note the eyes and eyebrows, as well as how the
straight hair is drawn.

Figure 1.16 Wavy hair.

Figure 1.17 Simple ways of indicating the shape of the nose. Sometimes only the tip of the nose
will be enough to create the whole look.

Figure 1.18 It is important when drawing the mouth to indicate the line between the two lips, the
expression line, and the bottom or top lip.

Figure 1.19 A side view of an ear.

Figure 1.20 A variety of relaxed hands showing front, back, and side positions. Additional views
include the hand on the hip, gloved, and several ways of drawing a relaxed, partially closed hand.
THE FOOT
Figure 1.21 Barefoot poses from the front and the side.
Figure 1.22 The large bone structure of the foot.

Figure 1.23 Various shoes, boots, flat heels, and high heels.
DETAIL DRAWING FOR CREATING REALISTIC CLOTHING ON
THE HUMAN BODY.
Figure 1.24 It is important to remember that clothing doesn’t lie flat on the human body. Instead, it
curves and follows the natural curve of the figure. Notice how the cuff curves around the wrist at
both the top and bottom of the cuff; how both the wrist and arm can be thought of as a cylinder; and
how the fabric folds in the bent sleeve of the elbow, showing the movement of the fabric Figure
1.26 When the clothing is belted at the waist, as the arm is placed on the hip. Cloth also folds and
folds may appear in the fabric above and below the waistcurves when coming in contact with other
clothing. line. Observe how the sleeve curves as it sets into a jacket or blouse.
Figure 1.25 An example of how the collar curves as it goes around the neck.

Figure 1.26 When the clothing is belted at the waist, folds may appear in the fabric above and
below the waist-curves line.
Figure 1.27 An indication of how the crown of the head fits into the hat to create a more accurate
look where the hat brim hits the forehead.

Figure 1.28 One way of drawing gathers or ruffles in fabric.

Figure 1.29 When drawing a hemline going around the body, note the depth of the vertical folds
and how they get shorter as they go around to the side and back of the body.
Figure 1.30 Two illustrations of how to draw patterning on fabric. Note that the pattern does not
need to cover the complete garment to capture the look of checked or plaid patterning. Spaces can
be left out as they are in the diamond-shaped patterning in the skirt. Where highlights would hit the
skirt, the pattern would appear to be less detailed.

Figure 1.31 Usually, inexperienced artists draw something resembling a comic book illustration,
lacking any subtlety of line. Common mistakes that students often make include drawing the heads
too large with wide and staring eyes. The lips have a heavy definition with a straight line separating
them. Hair is often either too complex or too simple. Hands and feet are too small and the clothing
seems pasted onto the body. The figure seems to float, not stand on any real surface.
Figure 1.32 An example of a wash on a figure to create a more three-dimensional effect. The wide
wash of diluted black India ink down the left side of the clothing creates a shadow and highlight
effect on the figure. Smaller shadows are on the right sleeve, on the collar, and in the fold of the
skirt. This helps to create a stronger sense of reality and movement in the clothing.
Figure 1.33 An India ink wash creates a shadow at the left side and bottom of the figure. A parquet
wood floor treatment is at the right.
Figure 1.34 A more abstracted India ink wash. For beginners, note these take practice to perfect.
Initially, use a photocopy of the illustration and practice washes until they look natural. The plant
stand, floral arrangement, and carpeting effect create the mood of an 1870s room.

Figure 1.35 The gentleman stands on a stone walk with a hint of wrought iron fence and a tree.
Figure 1.36 This gentleman is “grounded” by a few lines indicating a floor or walk.

Figure 1.37 An example of a floor and background wash. Costume sketch for The Devil’s Disciple
by Sheila Kehoe
Chapter 2
Materials and Techniques

In learning about media for drawing and painting costume sketches, it is

important to try varieties of media and find one you are comfortable using.
It needs to be a style of drawing and rendering that you can use with
speed, flexibility, and a high level of artistic skill. Below are some of the
media with which you will want to be familiar.

Pencils
Sketching starts with pencils. It is important to start with a 4B or 6B
drawing pencil and a pencil sharpener of some type. The softer leads of
these pencils make drawing easier and more fluid. You need to keep your
pencils sharpened so the line you draw is the line you want. To a beginner
this may not seem important to the quality and accuracy of your drawing,
but it is. If you can afford an electric pencil sharpener, it is a great
convenience. If not, use a manual sharpener available in art supply stores
at nominal cost. In addition to sketching, pencils are used to add detail to
finished watercolor sketches to sharpen the image as a final step in
completing the costume rendering. Prismacolor pencils can also be used
for drawing as well as for coloring sketches. They are especially useful for
mixing flesh tones.

Inks
Preliminary sketches are made in pencil, and it is useful to photocopy
them for experimenting with ink and watercolor. You can also draw on top
of the original sketch. Going over sketches in permanent black, gray, or
sepia India ink gives them additional clarity. You can add ink washes for
shadow effects. Ink drawing is easiest with a regular fountain pen or a
crow-quill pen. It will take a little practice to get used to the feel of the pen
and the flow of the ink if you are a beginner.
Colored inks can be used alone to create saturated colors if you need
bright hues. They do not mix as easily as watercolors with other media
because they are alcohol-based instead of water-based. Permanent black,
gray, or sepia ink is useful for detailing sketches after you have completed
watercolors. It can give the sketch back the clarity it had in pencil form.
You can detail lace, buttons, ribbons, jewelry, feathers, pleats, gathers, and
trimmings.
Permanent-ink washes can be used to create shadows, pleats, and other
effects such as aging and distressing of fabrics. This may be added either
before or after you color the sketches. Washes done in light, medium, and
dark gray can add a strong three-dimensional quality to figures and
fabrics. Since the ink is permanent, water does not affect it, and it can be
applied either under or over watercolors. Photocopy a few sketches and
experiment with ink washes to get the effect of shadows coming from a
light source. It is usually easiest to work left to right with the darkest
shadows at the left of the figure and the highlight or light source on the
right. It is important to find a way to sketch and render that is comfortable
and easy for you. Since costume designers do many sketches, a quick and
easy technique is essential.

Watercolors
By far the most flexible medium for costume rendering is watercolor.
Watercolor includes both opaque watercolor paints, called gouache or
casein, and transparent watercolors such as Windsor Newton, Grumbacher
Brilliant Symphonic, or Pelikan. Watercolors can be applied in thick or
thin layers, creating the feeling of different textures. They mix easily with
other watercolors and with other media to create a wide range of hues,
values, and saturations in color. The Grumbacher Brilliant watercolor set
is arranged in the same pattern as the color wheel and is especially easy
for beginners to use.
When beginning to work with watercolors, use a white plate to mix
paints and to add water to pigment. Keep an extra sheet of white paper to
test colors before you try them on your sketches. Adding less water results
in more opaque and more saturated colors. Adding more water creates
pastels and transparent colors. It is efficient to have a small tube of white
and black: they are useful by themselves and also in mixing tints and
shades. Flesh tones can be created by mixing tan or brown shades with
white, depending on how light or dark you want the skin tones to be. A dot
of yellow or blue can sometimes balance out the skin shades. Paints vary
greatly in the brown shades available.
After you have mixed a sample of the color on a plate and tested it on
a spare piece of paper, you can test it on your sketch. Photocopying two or
three extra sketches allows you to work with colors and try different
effects while preserving your original pencil sketch for your final color
choices. If you work left to right on the figure, you will always have a
darker color on one side and a lighter one on the other, creating a natural
highlight and shadow effect. You can add a small amount of water as you
move to the right to increase this effect. Finding a consistent way to paint
that is comfortable for you is important.
It is usually easier to do large areas of color first and to add detail
colors later. Be sure to put the sketches aside to let the colors dry before
you apply the next color. It is also useful to begin by doing all the flesh
tones or all the blacks or whites on several sketches to “warm up” your
painting skills. There is a rhythm to painting and drawing. It takes a little
time to get into the rhythm. It is similar to a dancer or athlete warming up
before dancing or running.

Watercolor Pencils
Watercolor pencils are colored pencils that, when passed over with a wet
brush, create a “watercolor” effect. They come in a good range of colors
and last a long time. These pencils are especially effective for creating
stripes and plaids, floral prints, and patterns, and for adding texture, such
as aging and distressing, to costume sketches. They are a quick technique
that is useful for preliminary sketches either for laying in color or for
details, such as buttons, and accessories such as shoes. It is worth
experimenting with the many ways they can be used over or under
watercolor paints because they combine well with both watercolors and
inks.

Felt-Tip Pens
Felt-tip pens are useful for quick preliminary or final sketches. Designers
often use them for the special effects that the bold strokes of these pens
provide. They can be used in preliminary sketches to fill in braids, buttons,
shoes, belts, and other accessories quickly. While these pens have other
uses, they are expensive and dry out quickly, so they are a marginal
investment for the beginning design student.

Papers
For preliminary sketches it is important to use paper that is inexpensive
but takes pencil drawing smoothly. As a beginning student it is important
to feel you do not have to make a perfect first sketch. Beginning sketches
need to be experimental in nature, allowing you to put down many ideas in
rough form. Newsprint is too soft, and most watercolor paper is too
expensive: however, several companies put out jumbo pads of mixed
media paper that serve this purpose. They are about an inch thick, contain
about 100 sheets, and take pencil, ink, and watercolor well.
The ideal paper size for costume drawing is 11” × 14”. This allows
you to place a 12” figure on the paper. Smaller figures tend to be difficult
to “read.” Many designers choose to do larger sketches, but few do smaller
drawings. Some colored papers, such as Canson papers, take watercolor
well and offer a wide range of background colors. Mat board also works
for this purpose. Colored papers are useful for designers who want to
create a specific mood for a play or production with their sketches by use
of the background color. If you use colored papers, you need to work with
the gouache or casein watercolors, or with acrylics. These paints are
thicker and will keep true colors on these backgrounds; transparent
watercolors tend to disappear or change color.
When costume designers move from approved preliminary sketches to
final sketches, they usually choose from many varieties of watercolor
paper. D’Arches hot press 140 weight is one of the most desirable
watercolor papers. It is smooth for accurate drawing and takes watercolors
exceptionally well. Most watercolor papers come in a 22” × 30” sheet and
can be cut to the desired size.
Lightweight watercolor board is also good for final sketches. Heavier
watercolor board, although it produces superb color, is very heavy to ship
or to carry in your portfolio.

Brushes
Regular watercolor brushes come in a variety of sizes and prices. It is
worth the investment to buy one or two good brushes. Most designers
need a small brush for detail and a larger brush for rendering large
sections. Red sable brushes are very expensive but usually worth the cost.
They hold the water better than cheaper brushes and provide a smoother
flow of paint. The brushes that come with the Grumbacher Brilliant
watercolor set are acceptable. Another choice is the Japanese brush. A #2
or a #3 brush can be used easily for large sections of wash, and the point is
useful for details and smaller sections of paint. These brushes are not
expensive and are thus easy to replace when they wear out.

Drawing File
Students and designers soon learn the value of a file of pictures and
drawings collected from newspaper ads, magazines, catalogues, postcards,
or prints. The file can be organized three ways: (1) full male and female
bodies, relaxed and active figure poses, arms, legs, feet, faces, hair, shoes,
and jewelry; (2) fabric folds and drape and textures such as plaids, prints,
satins, furs, velvets, crepes, sequins, and knits; and (3) floors, washes, and
backgrounds. You may find other categories helpful. These clippings are
enormously useful for finding ideas for different figure poses and fabric
textures quickly for your sketches. If you use a light table, you can trace
these poses, arm positions, or leg or foot positions onto your paper with
ease and flexibility.

Light Table
The light box or light table is a useful tool for designers and students.
Although it is possible to hold drawing paper up to a window to quickly
recreate ideas on another piece of paper, it is easier to use a light table.
Light tables can be purchased or made at home. A 12” × 15” size is
adequate for costume sketching.
You can put complete or partial figures together on the light table to
create a variety of figure poses quickly and easily on your drawing paper.
This helps you get figures down on paper so that you can move on to
working on design ideas. You can photocopy these figures to work out
many ideas on one original figure. This is a helpful shortcut because the
beginning student usually spends a lot of time creating a figure on paper.
The time is better spent working on research and costume design ideas to
go on the figure.
Chapter 3
Learning to See Color

Most people think they understand and see color accurately. In fact, very
few do. Apples are seldom red. Skin tones are not white or black. We
wonder at Monet’s paintings of haystacks showing different colors at
different times of the day. The colors are from Monet’s eye and brain as
perceived through light. Learning to see color is more important than
understanding color theory. However, both are useful.
Most of us look at color without really seeing differences in value,
chroma, or saturation.
Color probably is the design element that first affects the audience. It
is emotional, intuitive, and projects the mood of the production. Color has
three qualities: hue, value, and saturation. The artistic use of color requires
an understanding of each of these elements.

Hue
One of the challenging aspects of working with color is that there are
many color systems. Imagine the confusion if each country set a standard
for time. Instead, Greenwich Mean Time is established in Greenwich,
England. This time standard is used by the entire world. However, color
wheels are created separately by each paint and color company. For
example, the Munsell and Grumbacher companies each have a color
wheel. All color wheels are based on the sequence of color appearing in a
prism of light, but each company creates a “pure blue.” This and each of
the twelve hues on one color circle are slightly different from the hues
chosen for the color circles of other companies. There are excellent color
circles in Itten’s books The Art of Color and The Elements of Color.
Keep a color wheel with you as you work. Color memory does not
exist. While it is possible for a person to reproduce a musical note or a
particular shape, even the best colorists cannot match up a hue from
memory. A color swatch is necessary, be it colored paper, fabric, or
watercolor. This is due to the fact that a color, the light, and the eye are in
continual change.
Color relationships are important tools in creating character
relationship charts, a graph that physically places characters in close or
distant relationships as they are emotionally in a script. Color plots do the
same type of physical relationships with swatches of color to demonstrate
the character relationships. Design images and/or a color source for
costume designs for a production can be found in a reproduction of a
painting. The color palette in a painting can capture the mood desired in
the costumes. Color swatches from magazine papers, color aids papers, or
fabric swatches are helpful to have in front of you when you are working.
A useful color source is a painting that captures the mood and feeling of
the play and illuminates the director’s concept. The painter has worked out
color relationships in the painting. You can match colored papers to this
painting reproduction or, with watercolors, paint swatches of the colors to
use in a relationship chart.
Hue is also called chroma. It appears in a pure form on the color wheel
or color circle. Each step on the color wheel is a change of hue. Most
commercial color wheels are twelve hues. The color circle Figure 3.1 is
from the book The Art of Color by Johannes Itten. Most color circles start
with yellow at the top and continue in sequence yellow, yellow/orange,
orange, red/orange, red, red/violet, violet, blue/violet, blue, blue/green,
green, yellow/green, appearing in the same order as a prism of light or
rainbow.
 Accordingly, on the color circle complementary colors are those
opposite each other. Analogous colors are side by side. Primary colors are
red, yellow, and blue. Secondary colors are orange, green, and purple.
Intermediary colors are a mixture of a primary and secondary color such
as yellow and green.

Value
Value is how light or dark a color appears. The value scale chart from
Johannes Itten’s book The Art of Color, Figure 3.2, shows twelve steps of
gray from white to black. This chart also shows the twelve hues of the
color wheel in the same twelve value steps from light to dark.
When you view a twelve-step value scale chart, pure hues from the
color wheel appear at different placements. A pure yellow is step three on
the value scale chart, while purple is a step nine. Red and green are both
step six on the value scale and thus create an equal gray in a black and
white photograph. Yellow and purple are the extremes of light and dark on
a color circle.
Pastels or tints are the top two or three steps of a value scale chart. The
lower values are called shades or tones and are the bottom three steps on a
value scale chart. Learning to differentiate values is important for theatre
designers, as design work in the theatre is often seen at a distance.
Distance causes equal values to blend together, as they do at the horizon
line. Light/dark contrast is one of the strongest elements in design. Look at
Japanese ink paintings or the painter Rembrandt’s work for examples. The
contrast between light and dark often brings more focus to a costume
design than the choice of hue.

Saturation
Saturation is the purity of a color. Only pure hues appear on a color wheel.
The opposite of a saturated or pure color is a dull or diluted color. Colors
may be diluted four ways using white, black, gray, or the complement.
Each of these lowers the purity of a hue and dilutes or dulls the color. A
saturated color appears stronger when surrounded by dull or neutral
colors. Light/dark contrast will take focus away from saturated colors, so
avoid this contrast when emphasizing saturation. The paintings of De la
Tour are examples of this saturated/dull contrast.
The two pure hues opposite each other in Figure 3.3 show pure hues
graying out and becoming less saturated and lower in value as they are
combined with increasing amounts of the complementary color. The equal
amounts of the two complements create a neutral color. It is called a
chromatic gray because it is a gray/neutral made from two hues (i.e., red
and green). This is a form of additive color. Using a complementary hue to
lower the value of a color adds color to color.
Subtractive color happens when the value of a hue is lowered with an
achromatic neutral. Achromatic neutrals are white, black, or gray (a
combination of the black and white). Subtractive color takes away the
amount of chroma present in a space. Black, white, and gray do not appear
on the color circle or in a prism of light. Whenever you subtract hue from
a color, you also reduce the saturation.

Complements
It is important to understand the law of complements to use color
artistically. Color is a physiological phenomenon. It appears in the human
eye and brain. Two individuals can see the same color differently. So
differently, in fact, that some individuals cannot distinguish between what
others see as two unique colors. This also explains the condition called
color blindness.
As mentioned earlier, every hue has a complement. They are directly
opposite each other on the color circle. The law of complements has three
rules. Complements used together make each other vivid or strong—for
example, the use of red and green as Christmas colors. Second, they
annihilate each other when mixed in equal amounts and become a gray
neutral. Third, the eye requires the complement of a color and will create
it if it is not present.
This phenomenon is called “after image.” When you look at a red
circle for twenty or thirty seconds and then look at a white sheet of paper,
your eye creates a green circle on the paper. This color cannot be
photographed. It appears only in the human eye and brain and is caused by
the physiological need to create the complementary color. Munsell calls
this visual comfort. Indeed, use of color complements is balanced and
comfortable to the human eye.
If you look at a single saturated color for a time, without any neutral or
other color present, physical discomfort arises. This can cause headaches
and will force people to look away from the color for relief. In addition,
the eye will slowly build up the complement on the original color or a
nearby neutral. For example, a red will slowly display a greenish tint,
becoming less saturated. The eye will create a visual color balance
wherever an imbalance exists.
”
Complementary “balance is a physiological process required by the
brain. It is important to recognize that color balance is a
psychophysiological phenomenon and not a decorative principle. This use
of complementary color balance appears in many paintings in subtle and
carefully articulated ways. The paintings of Matisse are good examples.
Complementary relationships are those opposite each other on the
color circle and also are established by any square, rectangle, or triangle
within the color circle. These double-complements offer a wide choice of
complementary relationships, and each can be mixed in a range of values.
Simultaneous Contrast
Simultaneous contrast, so named by Mr. Itten, is the use of complementary
colors in an unbalanced way. When an artist like Van Gogh chooses colors
that are not balanced as complements but one step off of the complement,
this imbalance forces the eye to try to create visual balance. It is an
uncomfortable and often vibrating visual effect. The eye does not want to
view this color effect for very long. Many Op-Art painters of the 1960s
such as Olitski used this principle. Some of the colors appear to vibrate or
move as you look at them, as they cause unbalance in the eye. Painters
who want an unsettling effect or mood often use an unbalanced color
palette. The use of simultaneous contrast creates the opposite effect of
complementary colors which, appear visually balanced and can be
comfortably viewed for a great length of time.

Warm/Cool Color Usage

To understand the use of warm and cool hues means you must first
understand that a color appears warm or cool depending on its neighboring
colors. The same color can appear warm as red-violet relative to blue.
However, the same red-violet appears cool relative to orange. Thus,
having colors appear warm or cool depends on the selection of adjacent
colors. The important principle to remember is that color is changeable.
Neighboring colors can make a color appear warm or cool, and also lighter
or darker. They can even create a change of hue.

Changing Color
Color is the most relative medium in art. It is constantly changing. It
changes with neighboring colors, as illustrated here. It also changes with
the light source, daylight, artificial light, types of artificial light, the time
of day, and how rested or tired are the eyes of the observer.
Colors are also perceived differently when the are in large or small
proportions and whether they are near or far away. Impressionist painters
used small dots of color to merge into one new color. These can be viewed
up close or at a distance to see varying color effects. Figure 3.4, from Josef
Albers’ book Interaction of Color, illustrates how one color can be
perceived as two different colors if the neighboring colors are changed.

Color in Light
The preceding study of color is related to color in pigment, dye, or fabrics.
Color in light affects all stage design and is based on a different set of
primary and secondary colors. An important rule to help you understand
color in light is that three primary colors or a pair of complements create
white light. This is white light with additive color, and it is important in
theatre design to keep colors true at a distance.
Secondly, color in light and color in pigment continue to work on the
laws of complements. If a yellow light focuses on a purple dress or set
piece, the purple hue will turn gray. This will cause the same effect as
mixing equal amounts of two complements in paint.

Summary
In costume design, it is important to realize that value differences, or light-
dark contrast, are visually stronger than hue differences. Likewise,
saturation contrast, from dull to pure hues, is also visually stronger than
most hue differences.
They affect a costume design by making it more interesting to the eye
as well as visually stronger at a distance under stage lighting. The artistic
use of hue, value, saturation, complements, and simultaneous color
relationships can create the mood of a play through color.
Definitions
Encyclopedia: “Color—property of light that depends on wavelengths.
Apparent color of object depends on the wavelength of light it reflects.
Object that reflects all wavelengths appears white, one that reflects none
black.”
Johannes Itten: “Colors are forces, radiant energies that affect us
positively or negatively, whether we are aware of it or not.”

Figure 3.1 Twelve-part color circle, developed from the primary colors yellow/red/blue and the
secondary colors orange/green/violet.
Figure 3.2 Twelve steps of gray from white to black, and the twelve hues of the color circle in
matching brilliances.

Figure 3.3 Complementary contrast. Mixture bands of six complementary pairs.

Figure 3.4 A color has many faces—the relativity of color l color looks like 2.
Chapter 4
Rendering Fabrics

Satin
Satin is a weave of fabric that is distinguished by a shiny surface. It is
usually woven in silk or rayon fibers. It can have various backings from a
rib back to a crepe back. Satin is woven in different weights from a stiff,
heavier-weight fabric called bridal satin to lighter-weight and beautifully
draping creped back satin.
Figure 4.1 Satin.
Velvet
Velvets have a luxurious look because of the depth of pile which creates a
soft texture. Called velvet, velveteen, or velours, they are usually woven in
cotton, rayon, or silk. The weaving process is like that of carpeting and
terry towels where an extra loop is added to the weave, creating a three
dimensional fabric. Velveteen is cotton fabric that washes and dyes easily.
Figure 4.2 Velvet.
Crepe
Textiles woven in a creped weave have a soft and flowing quality. Silk,
wool, acetate, or rayon fibers are used predominantly for this weave.
Crepes are woven with yarn in a twisted or crinkled state (instead of being
stretched flat before weaving). They therefore have a give or stretch and
can drape, following the curves of the body.
Figure 4.3 Crepe.
Chiffon
Chiffon is a lightweight, sheer, transparent fabric, as are georgette and
organdy. While chiffon and organdy are a plain weave, georgette is a
creped weave. Organdy usually has added sizing that gives the fabric
stiffness. Transparent fabrics are often woven in rayon and silk, but also in
wool, linen, or cotton fibers.
Figure 4.4 Chiffon.
Fur
Fur and leather are not woven textiles, as such, but are animal skins and
are interesting to render. Furs vary in texture and color but invariably have
thickness, depth, and a range of hues and values in one sample.
Figure 4.5 Fur.
Chapter 5
Computer Aids for Costume Rendering

With the advent of the personal computer, computer-aided rendering of

costumes has become increasingly popular. There are now many software
packages that lend themselves to costume design and costume drawing.
Like all computer programs, the ones discussed here are constantly
changing and being updated. New programs appear regularly. Programs
such as Adobe Photoshop, Corel Draw 8, Painter 5.5, Poser 3, Adobe
Illustrator and Freehand have wide adaptability to costume rendering. Nic
Ularu discusses computer drawing for costume design in Theatre Design
and Technology (summer 1999): “I think of the computer as a tool, an
intermediary phase that doesn’t replace, but in fact enhances the
impression of directness of touch I, and others, value in my renderings.’’
Two approaches to costume design on the computer are:

1. Drawing on a graphics tablet with a graphics pen and then

reworking the drawing on the computer. Working with a
graphics tablet and pen, you can choose from a variety of
pencil, pen and brush, and airbrush tools. As you draw on the
tablet, you can also use the pen to erase as you would with a
regular pencil.
2. Scan a costume drawing into the computer and alter or add to
the sketch using software programs for drawing and painting.
You can delete parts of the drawing or add to it.

Areas to Consider for Computer Rendering Enhancement

1. THE FACE
After a sketch is scanned into the computer, add a face to the sketch using
Adobe Photoshop and a photograph of the actor. Period faces can also be
researched and scanned. Alter the face on the sketch to create some of the
characteristics desirable in that character or a particular period look. For
example, a high forehead distinguishes the 1780s for women. Facial hair
such as beards, sideburns, or a moustache might help the 19th-century
“look” for the male figure.

2. THE BACKGROUND
Adobe PhotoShop is a useful program for altering backgrounds, to bring a
sketch visually forward or to create a mood. The desired effect might be
lighter or darker, tragic or comic, or even 18th-century rococo wallpaper.
It is also possible to make hues more saturated, or grayer and less
saturated. The smudge tool can be used to create a shadow behind a figure
or down one side of the page.
These are useful quick effects to try when you scan a pencil sketch and
want to look for background effects. It is also possible to scan a clipping
for use as a background image. This might include a line drawing of
period architecture, furniture, gardens, or an abstraction of the scenic
design for the production. There are endless ideas available that help
evoke the images desired by the designer and director. They can help place
the costume sketch in context.

3. THE POSE
If you choose to draw on a graphics tablet, it is possible to change poses
quickly. Print or save the sketches and you can add to your work with
further research at a later date.
 A program called Poser has a wide variety of male, female, and child
figures that can be placed in many configurations. This seems to be
especially useful for dance choreography, commedia dell’arte characters,
or other physically active types such as musical comedy, mime, or clown
costume drawings.

4. COLOR CHANGES (HUE AND VALUE)

Colors can be made brighter or duller, lighter or darker on individual
costume items in a sketch. Make a shirt brighter, a skirt darker, or you can
also lighten the whole sketch. One of the most useful and creative tools is
the ability to make colors opaque or transparent. This allows for opaque
fabric with a transparent overlay or transparent fabric over a silhouette.

5. LETTERING
The range of type fonts available on computers offers many styles and
sizes of lettering for completing your sketch. Pick a font that goes with the
style of the sketch, or style of period or production. Use a computer font to
add the title of the play, character, act, scene, date, location of production,
or the designer’s name. You can select the size and style of lettering to suit
the proportion and mood of the sketch.

6. SPECIAL EFFECTS
It is possible to eliminate parts of a photograph or sketch using tools called
smudge and burn. Take out a background. Eliminate a person or character.
Add snow, smoke, or other effects.

7. MAKEUP
Scan a photo of an actor and then use the tablet to draw the character
makeup you desire. Create an old-age or middle-age look. Animals,
masks, and monsters can be adapted with line and color. Figure 5.1 shows
an actor’s face and a drawing for a wolf makeup done over the original
face. The actor is Steve Bauer. The wolf makeup design was created
digitally by Marianne Wittelsberger of Jokesters® Productions, an Award
Winning Entertainment Company based in Hollywood, CA, which she
owns and operates with her partner, Steve Bauer.
Figure 5.1. Steve Bauer in wolf makeup.
(©1999 Marianne Wittelsberger Jokesters® Productions)
8. PERSONALIZING YOUR SKETCH
After printing sketches worked or reworked on the computer, personalize
costume sketches with pencil or pen detailing. This might include details
and finishing touches on lace, braid, buttons, or specific shoe or hat
trimmings. You can go back to the sketch with a wash of permanent India
ink to create a feeling of depth or a more three-dimensional effect on the
sketch. Strong highlights can be added to a sketch with a thick or opaque
mixture of white gouache or casein watercolor. Pick a direction for your
light source, such as left to right, and use this direction consistently in all
of your costume sketches for a production.
Watercolors, pencil, colored pencils, watercolor pencils, pastels, inks
can be used to make background effects on a sketch. Add or select fabric
swatches as early as possible in the design process. They complete the
images in the sketch and give you, as the designer, a sense of the flow of
the fabric. Keep the swatches in the same proportion as their use in the
costume—smaller swatches for trim colors, larger swatches for major
garments.
Chapter 6
Creating a Period Silhouette 3000 B.C.–
1969 A.D.

3000 B.C-1200 A.D

Egyptian 3100–30 B.C.

Headdress/Hair
Women wear elaborate wigs in varying lengths, some reaching just above
the waist. They are decorated with gold bands and beads and are braided
or curled into tight spirals. The wig covers a shaved head. Headbands have
insignias on the front, such as the lotus bud, asp, cobra, sun disk, rosette,
or papyrus. The gold vulture headdress resembles the wings and head of a
vulture. Decorative striped fabric may cover the wig. Women frequently
wear large loop or disk earrings. Some women have perfumed oil cones on
top of their wigs.

Neck/Shoulder/Arm
A wide collar encircles the neck from shoulder to shoulder. Made of gold
beads, clay beads, jeweled stones, or enamelware, the collar accompanies
all garments. The upper and lower arms are frequently adorned with wide
matching bracelets. The shoulder may be covered by a short pleated cape
or by a longer robe that is pleated in over the shoulder and upper arm. The
kalasiris, a straight, unbelted, fitted sheath, has wide straps that extend
from under the bustline over the shoulder.

Waist/Hip/Skirt
The robe pleats in and belts at the waist. The kalasiris ends at midcalf. A
pleated skirt may be worn with the cape; it falls from waist to ankle.
Robes or skirts may be sheer, revealing part of the body underneath. Belts
may be jeweled, and ankle bracelets may match the armbands. Bleached
white linen is the common fabric for robes and skirts. The kalasiris is often
multipatterned in bright colors.

Footwear
Egyptians go barefoot or wear sandals of reed or leather. The thong sandal
and the toe sandal are popular styles.
Headdress/Hair
In the Egyptian culture wigs are a major part of dress. Elaborate wigs of
human or horse hair are braided into lengths sometimes reaching halfway
down the chest or the back. These wigs often have gold bands or beads
braided into them. They are usually black and worn with many styles of
headdress. One of these, the vulture headdress, is made of gold and fits the
head like a cap.
Fillet headbands are made of gold or silver and are inlaid with stones.
Many of the circlet bands have a motif on the front, such as the lotus bud,
cobra, sun disk, asp, papyrus, or rosettes. Striped linen headdresses, called
wig covers, are worn over wigs. Several types of war helmets and crowns
are used. Shaved heads are visible when wigs are removed indoors.

Neck/Shoulder/Arm
A wide collar adorns the neckline from shoulder to shoulder. Collars made
of gold, jewels, beads, and enamelware accompany all garments. They are
tapered to fit smoothly around the neck. Matching armbands and
wristbands appear on the upper and lower arm. The shoulder line is
natural. The tunic is a T-shaped garment with a round neck and short
sleeves. Other garments, such as the robe or the shawl, are pleated in
across the shoulders and upper arm. The robe is pulled in at the waist by a
belt.

Waist/Hip/Skirt
The schenti, or loincloth, is pleated around the body from the waist to the
knee. Some schentis have a starched and decorated triangular piece on the
front called an apron. The skirt wraps or drapes on the body and extends
from the waist to the ankle. Longer garments, such as the robe, wrap to the
front of the body and fasten with a wide, jeweled belt at the waist.
Garments may be layered one over the other, such as a tunic over a
loincloth or a robe over a schenti. Ankle bracelets may match the
armbands and wristbands.
Footwear
Men wear reed or leather sandals in several styles. The toe thong with a
wide strap across the instep is a favorite style. Many Egyptians go
barefoot.
Biblical (Assyrian, Persian, Hebrew) 1250–333 B.C.
Headdress/Hair
Very few sources for female hair or clothing are available for any of these
groups. Assyrian and Persian women have tightly curled hair combed into
stylized patterns. Most hairstyles are shoulder-length and combed straight
back behind the ears. Hair can be pulled into a chignon or bun at the back
of the neck. Headdress consists of a diadem, or a wide headband, of metal
or cloth. Shawls may be draped over the head for protection from the sun.
Assyrian and Persian women wear large earrings.

Neck/Shoulder/Arm
The neckline is round, and the shoulder is soft. Women wear a long tunic
with short or long sleeves. Drapes or stoles are worn over any tunics.
Assyrian women wear shawls with heavy, thick woolen fringe on the
edges. Both Persian and Assyrian tunics may have overall geometric
patterning in colors. The Hebrew costume is usually of solid colors or
woven stripes. Sleeves are straight in Assyrian robes, and straight or bell-
shaped in Persian and Hebrew robes. Persian and Assyrian women wear
gold or iron necklaces and bracelets.

Waist/Hip/Skirt
The waistline is belted on most tunics. Hebrews sometimes wear a
straight, unbelted, narrow tunic. The tunic is ankle-length and narrow to
moderately full. Hems are decorated with geometric patterns. Assyrian
tunics usually have heavy woolen fringe, almost like tassels, on the
bottom.
Footwear
Assyrian footwear consists of sandals of various types. The wedge-heel
shape is popular. Persians wear a soft leather slip-on shoe. Hebrews
usually wear slippers.
Headdress/Hair
Most hairstyles are shoulder-length and are accompanied by full beards.
Both Assyrian and Persian men have dark, tightly curled hair and beards.
The Assyrian beard is square, and the Persian beard is more pointed.
Hebrew hairstyles and beards are natural, full, and untrimmed. Assyrian
and Persian males wear large bold earrings.
Assyrian male headdress consists primarily of felt hats shaped like a
fez, 6” to 8” high, and sloping in slightly from the head to the crown.
Persian felt hats frequently flare out from the head and are slightly taller.
The Hebrew headdress is a large chest-length scarf held on by a headband.
All three groups wear wide headbands. Assyrian and Persian headbands
are often heavily ornamented. Assorted helmets are worn for warfare.

Neck/Shoulder/Arm
A long tunic is the basis for most clothing. The neckline is round, and the
shoulder line is natural. Assyrians wear fitted short-sleeved tunics with
large heavily fringed shawls wrapped over them. The shawls pass over one
shoulder and under the opposite arm. The Persian robe has a full, flared
sleeve that comes to the wrist. Hebrew robes can have a narrow sleeve like
that of a caftan or a bell sleeve. A rectangular robe that opens in the front
is called an aba. Heavy iron bracelets may be worn at the wrist.

Hip/Waist/Skirt
Most tunics and robes are ankle-length and belted at the waist. Persians
wear bracchae, a trouser cut full at the waist and hip and narrow on the
lower leg. They also wear stockings. Most Assyrian tunics have a 4” to 6”
length of thick fringe on the bottom. Both Assyrians and Persians use
overall patterning. Hebrews use woven stripes on many garments.
Footwear
Assyrians wear a wedge-heel sandal. Persians wear a pointed-toe boot for
horseback riding, and other ankle-high boots and slippers. Hebrews prefer
a soft slipper with a rounded toe.
Archaic Greek 800–480 B.C.
Headdress/Hair
Tightly curled and wavy hair appears on the forehead, where it is
sometimes styled, and in long strands halfway down the chest. A fillet
headband supports the hair. Women wear a diadem called a stephanie on
the front of the head. It is sometimes combined with a veil.

Neck/Shoulder/Arm
Doric or Ionic chitons start at the shoulder, leaving the arms bare, or pleat
down the arms to create a sleeve effect. Chitons are created from
rectangular pieces of fabric. A round neckline is shaped by the drape of the
chiton. The shoulder line is soft and natural. The Doric chiton has an
overfold of fabric hanging freely from the shoulder. The chiton is pinned
with small decorative safety pins called fibulae or sewn at the shoulder. A
Doric chiton may be layered over an Ionic chiton to create an effect
popular among Greek women. The himation, a rectangular shawl, may be
worn over the shoulders or wrapped around the body over the chiton.
Waist/Hip/Leg
A belt at the waist of the chiton can be used to create blousing above the
belt. Chitons vary from slender to fairly full and are ankle-length. Woven
border patterns appear on the edges of chitons, and in the Archaic period
most chitons have a woven overall pattern in colors. Chitons, made of
crinkly wool, develop draped styles during the Archaic period that carry
over into the complex and beautiful draping of the Classic Greek costume.
Footwear
Women go barefoot or wear leather sandals.
Headdress/Hair
The long, curly hair of the Archaic period is distinctly different from the
short Classic style. The dark, tightly waved hair is generally shoulder-
length and rolled about the head. Beards are curly and rounded or pointed.
The most common headwear is the fillet headband. Travelers wear the
petasos, a felt or straw sun hat. The Phrygian cap, a type of wool stocking
cap, appears for the first time. High-crested helmets with nose guards are
part of combat dress.

Neck/Shoulder/Arm
The major garments of the Archaic period have the same names as
garments from the Classic period, but the look is very different. The chiton
is a rectangle of fabric, pinned at the shoulders and belted at the waist, in a
wavy, crinkly wool. It drapes softly at the neck and shoulder, and it pins at
the shoulder with a fibula. The chiton could also be sewn at the shoulder.
The fabric folds on one side of the body.
The himation and the chlamys are drapes that may be worn by
themselves or over a chiton. The himation is a large rectangle wrapped
around the body. The chlamys is a shorter square cape pinned at the neck
or shoulder Archaic chitons frequently have overall patterning and woven
borders in one or more colors. The Ionic chiton falls straight from
shoulder to hem. The Doric chiton has an overfold of fabric falling from
the shoulder to the waist. A breastplate, called a lorica, is worn over a
chiton for military dress.

Waist/Hip/Leg
The chiton belts at the waist and blouses softly above. Border patterns
appear on hems and other edges of garments. Geometric patterns may
appear over entire garments. Chiton lengths range from the lower hip to
the ankle.
Footwear
Men wear several styles of sandals and also go barefoot. Travel and
military dress includes midcalf boots that lace up the front and have open
toes.
Classic Greek 480B.C.–A.D. 146

Headdress/Hair
The Classic hairstyle made famous by Greek women consists of softly
waved hair, parted in the center and pulled back into a chignon or bun. A
headband or a stephanie headdress can be worn with this hairstyle. The
stephanie may curve to a point in the front, giving it a tiara shape. It is
usually made of gold. A soft cap or a scarf sometimes adorns the head.
Gold earrings are worn. Makeup is not used.

Neck/Shoulder/Arm
The neck and shoulder line are soft and natural. The chiton, a large
rectangle of fabric, is draped and pinned on the body to form the major
garment. It is pinned across the shoulders with small decorative safety pins
called fibulae. The chiton may be narrow and end at the shoulder, elbow,
or wrist. The neckline consists of a soft, curved drape. The chiton is made
of a lightweight wool that pleats in to drape gracefully on the arm. The
Ionic chiton is a length of fabric reaching from shoulder to ankle. The
Doric chiton has an overfold of fabric that folds down to form a separate
piece of fabric hanging freely from the shoulder. If a himation, a
rectangular overgarment, is worn, it wraps over one shoulder and around
the body.

Waist/Hip/Hem
The waist of the chiton is belted in and bloused softly over the belting. A
special blousing at the waist, created by double belting, is called a kolpos.
Chitons are sometimes layered with an Ionic chiton, or more slender
chiton, underneath, and a Doric chiton, or fuller chiton, over the top. Most
chitons worn by women reach the ankle or the top of the foot.
Footwear
A slender sandal, wrapped above or below the ankle, is worn. Women also
go barefoot.
Headdress/Hair
Hair is short and layered in the Classic period. Most men are clean-shaven,
but older men may wear full beards. Headdress consists of the fillet
headband and the petasos, a sun hat of straw or felt. Crested helmets
accompany military wear.

Neck/Shoulder/Arm
The major Greek garment, the chiton, is a rectangle of fabric pleated and
draped on the body. The pleats gather in and are held in place by a fibula,
a safety pin with a decorative brooch on the top. The shoulder is soft, and
the neckline has a soft drape at the center front and center back. There is a
fold of fabric on one side of the body, and there are two selvages on the
other. The chiton may fasten at the shoulder and leave the arms bare, or it
may be symmetrically pleated down the arm to the elbow or the wrist. The
Ionic chiton hangs straight from shoulder to ankle.
The chlamys, a short cape, fastens on one shoulder. Other drapes, such
as the himation, are complete garments by themselves or are worn over a
chiton. They wrap around the body, usually over one shoulder and under
the other arm. A kolpos, a special type of blousing at the waist, is created
by double-belting.
Waist/Hip/Leg
The chiton is belted and bloused so that part of the fabric hangs with a
fullness above the waist. Beautiful blousing and draping is one of the
secrets of the look of Classic Greek garments. The chiton ends at
midthigh, knee, or ankle. Chitons may be layered one over another, which
creates additional fullness. Underchitons are often opaque, and
overchitons are made of transparent fabrics.
Footwear
Bare feet or sandals complement the Greek belief in the beautiful body
and in graceful movement. Sandals are low or may lace above the ankle.
Military wear is a calf-high boot called a buskin.
Roman 753 B.C.–A.D. 476
Headdress/Hair
The hair of Roman women goes from softly waved chignons and braids to
complex curls and artificial hair in the later periods. Some of the later
styles achieve great height at the front of the head. Roman matrons wear
elaborate makeup and jewelry. The lips may be tinted and eyebrows
darkened. Long or loop gold earrings are popular and hair ornaments also
are beautifully done. The flammeum, or veil, is the major headdress and is
usually worn with a stephanie or a tiara-shaped headband.

Neck/Shoulder/Arm
The major garment is a rectangle of fabric called a stola which drapes with
fibulae down the arm to about the elbow. An overdrape called a palla is
frequently wrapped over the left shoulder and around the body. It may be
pulled over the head to form a type of hood. Bracelets of gold are worn
with the earrings and hair ornaments. Clavi, vertical bands of decorated
fabric or embroidery, go from shoulder to hem.
Waist/Hip/Skirt
The waist of the stola is belted and softly bloused. The stola is moderately
full and reaches to the ankle or top of the foot. The overdrape usually
wraps around the hip of the body and over the left arm.
Footwear
Sandals have light-or medium-weight soles. They may lace in the front or
around the ankle.
Headdress/Hair
Most Roman men wear a feathered or layered haircut with bangs on the
forehead. It is cut short at the nape of the neck. Philosophers wear beards,
but most males are clean shaven. The only headwear are helmets worn by
the military, a straw hat or petasos worn by workers, and a hooded poncho
worn by travelers. The emperor wears a laurel wreath. The fullness of the
toga can be pulled over the head to create a hood effect and is used for
mourning.

Neck/Shoulder/Arm
The tunica, a straight T-shaped garment with round neckline and natural
shoulder line, is the primary garment worn by all males. It can have short
or wrist-length sleeves. A short-sleeved tunica is frequently worn over a
long-sleeved one.
Overgarments, such as the toga or pallium, can be worn over the
tunica. The toga comes in many forms, each with a specific meaning. One
must be awarded the right to wear a toga. The toga usually drapes over the
left shoulder, leaving the right arm free. The pallium may be worn by
itself. Military officers wear a lorica or breastplate, over a tunica. It has
strips of leather at the shoulders and hips called lapits.

Waist/Hip/Leg
The tunica is belted at the waist and often decorated with clavi, colored
vertical bands of fabric going from shoulder to hem. The hem reaches
above the knee or just above the ankle.

Footwear
Sandals and boots come in many styles. They vary from a thin dress
sandal to a sturdy sandal much like a low-cut shoe. Boots, called caligula,
lace up the front and may have ornamental cuffs at the top. Legs are bare
but boots come to the midcalf.
Byzantine 324–1453

Headdress/Hair
The hair has a formal look and is rolled up on the sides and into a chignon
or bun at the back or the top of the head. Jeweled crowns, tiaras, or circlet
headbands and a flammeum, or veil, cover most of the hair. Long drop
earrings of pearl or precious stones frame the face.

Neck/Shoulder/Arm
Wide collars or bands of jewels, pearl, and gold cover round necklines. A
white inner tunica may show at the wrist, neck, or hem. The outer tunica is
made of heavy silk and has a soft shoulder line and a straight or flared
sleeve. An embroidered or jeweled band at the wrist may match the
decoration at the neckline. Embroidered circles or rectangles may appear
on the shoulder. The shoulder is frequently covered by a pallium, a
rectangular shawl draped over the right shoulder and down around the left
side of the body, or by a cope, a half-circle cape.

Waist/Hip/Skirt
The heavy silk tunica hangs straight or is belted. Clavi, vertical decorated
or embroidered panels, may go down the side front and side back of the
tunica. Square or round embroidered panels, called segmentae, may appear
above the hem of the tunica and on the pallium. Hems reach to the floor
and are straight or slightly flared. Hose cover the legs.

Footwear
Embroidered or jeweled cloth or leather slippers show beneath the hem of
the tunica. They have round toes and a flat heel.
Headdress/Hair
The distinctive hairstyle of the Byzantine man, a pageboy, is cut ear-length
and curled under in a soft roll. It has a formality that matches the rest of
the costume. Neatly trimmed beards and mustaches appear in the latter
part of the period. The emperor wears elaborate crowns with large jewels
and strands of pearls hanging vertically. The Phrygian cap, a soft stocking-
type cap, reappears from the Archaic Greek period. The petasos, or sun
hat, and hood provide protection for the common man.

Neck/Shoulder/Arm
The major garment is a knee- or ankle-length tunica with a round neckline.
The shoulder line is soft and often decorated with segmentae, embroidered
square or round pieces, on one or both shoulders. A straight sleeve extends
to the wrist and has embroidered borders. Usually made of heavy silk, the
tunica is often embroidered over all. The mantle, a half-circle cape also
called a cope, fastens on the right shoulder with a large brooch of pearls
and other jewels.
Waist/Hip/Breeches
The tunica belts at the waist or hangs straight. Because the fabrics are stiff
silk samites or brocades, there is little drape or blousing to the tunica.
Bracchae, which are fitted trousers, or hose cover the legs. A tablion, a
rectangular embroidered piece of fabric, attaches to the front and back
opening of the cape at waist height. It is a symbol of aristocracy.
Footwear
Shoes are soft slippers in bright colors, often embroidered or jeweled.
They come to the ankle or have a strap across the instep and fit low on the
foot. Cloth or leather boots are calf-length.
Romanesque 900–1200

Headdress/Hair
Braided hair is long, hanging to the knee, or pulled up and circled into a
thick bun at the side of the head. Circlet or fillet headbands are common.
A barbette, a linen band, passes from under the chin around the top of the
head. The gorget is a piece of cloth tied to cover the neck. It is frequently
worn with a wimple, a veil or scarf that covers the head and falls down
over the shoulders.

Neck/Shoulder/Arm
The bliaut is a tunic with soft shoulders and a round or keyhole neck. The
sleeves may be fitted or bell-shaped, flared below the elbow and are often
turned back to form a cuff. Sleeves are cut in one piece with the garment.
The bliaut falls from shoulder to ankle or floor. The neckline opening may
be laced to close. Colored embroidery in wide bands completes neckline
and sleeve edges.
Waist/Hip/Skirt
The bliaut frequently laces up the center back or on the side to give the
silhouette a fitted torso and waist. The bliaut may be unbelted or blouse
slightly at the waist after belting on the hip. Although the top of the bliaut
is fitted, the skirt flares below the hip to create half-to full-circle fullness
from hip to floor. A white cotton or linen chemise serves as a slip
underneath the bliaut. It also laces shut. These garments are made in two
pieces, with a shoulder seam and a side seam. Wide bands of embroidery
often decorate the hemline.
Footwear
Women wear cotton or wool stockings. Round-toed shoes with flat soles
rise to below the ankle and lace or buckle. Pattens, wooden clogs that slip
on over the shoe or hose, are practical for muddy streets and damp
cobblestones.
Headdress/Hair
Hair is ear- to shoulder-length and unstyled, usually accompanied by a
beard and mustache. The hood, a common form of headwear, sometimes
has a skirt attached that falls over the shoulders. The point of the hood,
called a liripipe, extends down the back, sometimes reaching to the knee.
As a fashion statement the liripipe can go across the chest, pass over the
shoulder, or even wind around the head. A circlet or fillet headband is both
decorative and functional. A coif is a fitted cap that ties under the chin.

Neck/Shoulder/Arm
The bliaut, worn by men and women, is a tunic with a round or keyhole
neckline and soft shoulders. The dolman sleeve is cut fuller at the shoulder
and narrows as it tapers to the wrist. The bell-shaped sleeve fits at the
shoulder and flares widely below the elbow. The hem of the sleeve
sometimes turned back to form a cuff.
Both neckline and wrist may be decorated with 2”- to 3”-wide colored
braid. Cloaks or mantles, full- or half-circle, fasten with a brooch at the
center neck or at one side on the shoulder. The bliaut often laces at the slit
at the neck; it may also lace up the center back or under the arm to create a
more fitted torso. A chemise, an undergarment of cotton or linen, is also
cut in the shape of a tunic.

Waist/Hip/Skirt
The waistline belts low, at the top of the hip, and the bliaut blouses slightly
over the belt. The skirt of the bliaut hangs to knee- or ankle-length, often
with a border of braid. A wide belt of leather or cloth may hold a
broadsword. The hem of the bliaut is frequently uneven because of the
bias drape of the quarter- to half-circle cut of the skirt. Loose trousers
called bracchae are often paired with the bliaut. Cross-lacing frequently
holds the breeches tighter on the lower leg. Cloaks are knee- or floor-
length. Cotton or wool hose are cut to fit the leg. Knitted fabric is also
becoming available during this period. Hose tie onto a belt at the waist
under the bliaut.
Footwear
Shoes or slippers have round toes and flat soles, and they lace at the front
or on the side to just below the ankle. Wooden clogs called pattens slip
over shoes to raise them out of the mud.
1200-1620

Early Gothic 1200–1325

Headdress/Hair
Married women wear their hair up in braids circled at the side of the head.
Unmarried women may wear their hair down. The gorget and wimple are
important in this period. The gorget is a piece of fabric that covers the
neck and even the sides of the head. It is paired with the wimple, a veil
that covers the top of the head and falls down below the shoulders. The
wimple may be held in place with a headband or circlet. The toque is a
hat, 2” or 3” high with a slight flare, that can be worn by itself or in
combination with a gorget or coif. The coif is a skullcap that ties under the
chin.
Neck/Shoulder/Arm
The neckline is soft and round on the cote, a princess-line gown reaching
from neck to hem with only side seams. The sleeves fit smoothly and go to
the wrist. The cote usually laces up the center back. A full-circle mantle,
or cloak, reaches the floor. Braid is usually the only trimming used. It goes
around the hems and edges of the cote or mantle.

Waist/Hip/Skirt
The waistline drops, and the cote belts low on the hip. The gown is narrow
through the hip and flares into a full skirt that reaches the ankle or the
floor. Cotton or wool hose cover the legs and tie onto a belt at the waist.
Footwear
A pointed-toe slipper of leather or cloth with a flat sole or a thin heel is the
universal footwear. It comes up to the instep of the foot and may lace on
the side. Wooden pattens are worn outdoors with the shoes.
Headdress/Hair
Men’s hair is ear- to shoulder-length and is parted at the center or side.
Beards and mustaches are common in this period. The coif, a fitted
skullcap, ties under the chin. The coif is also worn under other felt or
woolen hats. The hood buttons in the front and has a short skirt covering
the shoulders and a small point on the top. The point, called a liripipe,
becomes longer later in the period.

Neck/Shoulder/Arm
A round-neck robe called a cote has a soft shoulder and a semifitted sleeve
to the wrist. Surcotes, the tabard or cyclas, are worn over the cote. The
tabard, a sandwich-board shape, is open at the sides, and has a seam at the
shoulder. It is hip-length. The cyclas is sleeveless, has shoulder and side
seams, and is usually knee-length. A full-circle mantle or cloak, worn for
warmth or outerwear, reaches from the shoulder to the floor.

Waist/Hip/Skirt
Both the cotes and the surcotes belt at the normal waistline. The robes are
knee- or ankle-length and semifull in width. They are made of heavy or
coarse wool, or of linen. Wool or cotton hose cover the legs.

Footwear
A soft shoe of leather or fabric with a flat heel and a small pointed toe is
worn. It usually laces or buttons on the front or side.
Middle Gothic 1325–1425
Headdress/Hair
Hair rarely shows because it is braided at the side of the head and covered
with a mesh cap called a caul or a crespinette. These are made of gold or
silver net and may have pearls or jewels as decoration. The headdress is
often combined with a roundel or an escoffion, both of which are padded
headdresses that give additional height to the head, and a veil, called a
wimple.

Neck/Shoulder/Arm
The neck is frequently covered by a gorget, a piece of fabric draped to
fasten in back. The first major female garment is the cote, or gown. The
second is the sideless gown, a surcote, with a round neckline and a soft
shoulder line. The third is the houppelande, which may have a high-
standing collar and full bell-shaped sleeves dropping to the floor. It is
belted at the waist and opens up the front The cote has a fitted sleeve. The
sideless gown is cut open from shoulder to hip like a large jumper.
Waist/Hip/Skirt
The waistline drops to the top of the hip. Most gowns are cut in a princess
line without a waistline seam and are belted low on the hip. The sideless
gown is open on the sides with a T-shaped piece at the top and a full skirt
starting at the hip. If the top piece is made of fur, it is called a plastron.
Most skirts of the princess-line gowns are cut narrow at the hips and full at
the hem. Gowns start to have a small train at the back of the skirt during
this period.
Footwear
Hose cover the legs, and pointed-toe shoes called poulaines are worn. The
poulaine has a flat heel, reaches up to the ankle, and usually laces on the
side. It is combined with wooden clogs called pattens to protect the shoes
and the skirt from damp floors and unpaved streets.
Headdress/Hair
Hair length is just below the ears, and headdress is part of fashionable
dress in- or outdoors. The coif, a fitted cap that ties under the chin, can be
worn alone or with a roundel or chaperon. The roundel is a padded circle
of fabric. The chaperon is a roundel with a large drape of fabric worn to
one side of the head. It frequently has a long tail of fabric, called a liripipe,
worn over one shoulder. The chaperon, made of rich fabrics such as velvet
or brocade, often has edges that are cut into petal or scallop shapes called
dagging. The turban is popular, and the hood has a liripipe and a skirt that
covers the shoulders. Peaked felt hats are worn for hunting.

Neck/Shoulder/Arm
The major garment of this period is the houppelande, a long or knee-
length robe that opens up the front. The collar is high around the neck and
curved. The shoulders are square, and the bell-shaped sleeves with scallop
or leaf-shaped dagged edges reach to the floor. Both sleeves and robe have
cartridge pleats, which are vertical pleats that accommodate thick fabrics.
These pleats are also called organ-pipe folds. Other cotes and surcotes
from the early gothic continue to be worn.
Waist Hip/Hose
The houppelande belts at the waist with a wide, decorative belt. The robe
opens in the front showing the legs and wool, cotton, or silk hose. The
houppelande reaches to the floor in the front and has a short train in the
back. The bastard houppelande is a knee-length version.
Footwear
The long pointed shoe called a poulaine is an ankle-high boot with toes
stiffened to reach out in front of the foot. Throughout the period, wooden
clogs called pattens slip over the shoes to protect them from muddy streets
and ground.
Late Gothic 1425–1485
Headdress/Hair
Women’s hair barely shows because it is worn under the tall hennin
headdress. The hair on the forehead and at the sides of the face and even
the eyebrows is plucked to give a smooth look. The hennin comes in
various forms: steeple, butterfly, and heart-shaped. The steeple or cone
shape can reach approximately 18” to 30” high. The hennins have sheer
veils pinned to them in starched butterfly shapes or in soft drapes that
extend around the shoulders. The taller styles are limited to France and
Burgundy. The Italians allow hair to show, and the softer roundel, a
padded roll, is more popular.

Neck/Shoulder/Arm
A wide V-shaped neckline predominates on the late Gothic gown. The
tapered collar goes from the shoulder to the belt at the raised waistline.
Sleeves are generally fitted from shoulder to wrist and have a deep cuff
that can turn down to cover most of the hand except for the fingertips.
Necklaces almost always fill in the neckline.

Waist/Hip/Skirt
The skirt is long, gored, and flowing with a train that can extend 8′ to 10′
at the back of the skirt and even 2′ to 3′ on the floor in front. This requires
women to lift the front of the skirt to walk. The skirt is narrower at the
hips and very full at the hem.

Footwear
Stockings and flat-heeled shoes with long pointed toes barely show until
the woman lifts her long skirt to walk. Wooden clogs called pattens slip
over the shoes to protect them from cold floors and muddy ground.
Headdress/Hair
Hairstyles vary from shoulder-length in the early Gothic period to ear-
length and the nape of the neck in the Late Gothic period. The hairline is
sometimes shaved at the sides and back of the neck. As the hair gets
shorter, the hats get taller. A tall felt hat, called the sugarloaf or steeple hat,
matches the tall hennins worn by women. It reaches 8” to 18” in height
and includes a jewel or feather for decoration. A padded roll, called a
roundel, is popular, as is the chaperon, which is a roundel with an extra
drape of fabric tossed to one side of the hat. Many other shapes of felt hats
appear as well.

Neck/Shoulder/Arm
Many garments from the Early and Middle Gothic continue to be worn in
this period. The predominant male fashion is a new style of doublet called
a pourpoint. It has wide shoulders, a tall neckband collar, and sleeves
puffed at the shoulder and tapering to the wrist. The front and back have
cartridge pleats, which are deep vertical folds that are also called organ-
pipe folds. Heavy brocade or velvet fabrics with fur linings add depth to
the cartridge pleating.

Waist/Hip/Hose
The waistline of the doublet is low, at the top of the hips, and the cartridge
pleats continue into a short peplum reaching the top of the thigh. Joined,
fitted hose cover the legs. Separate hose tie onto a belt under the doublet.

Footwear
The most extreme pointed-toe shoes appear in this period. The long points
maintain their shape with stiffening in the toe, and they sometimes curve
upward. The shoes, called poulaines, are ankle-length. Shoes often slip
into wooden pattens, raised clogs with a strap across the instep, for
outdoor wear.
Early Renaissance (Italian) 1485–1520
Headdress/Hair
Young women wear their hair long until marriage. Then hair is arranged
up in a variety of styles with a chignon at the back and soft curls around
the face. Blond hair is fashionable; hair is bleached and fringed into many
styles. Headdress includes the small, round Juliet cap, which is worn on
the back of the head. Other styles include the coif, the snood (a large
hairnet), and a small headband that ties across the forehead.

Neck/Shoulder/Arm
The Early Renaissance gown has a round or rectangular neckline and soft
shoulder. Upper and lower sleeves tie into the bodice with laces called
points, and the chemise blouses through at the shoulder and elbow in soft
puffs. Other sleeves are soft and puffed and extend from shoulder to wrist,
and their center front slash reveals an inner lining of a contrasting color. A
canvas busk supports the bustline. The chemise is an undergarment, like a
slip, that shows at the neckline and through the sections of the sleeves.
Waist/Hip/Skirt
The waist is raised to about halfway between the bustline and the natural
waistline. The skirt pleats in to moderate fullness and falls over petticoats
and often a small hip roll. The skirt reaches to the floor or the top of the
shoe.

Footwear
Stockings are silk or cotton. Most shoes are flatheeled slippers of velvet or
leather. Shoes lace or have a strap across the front.
Headdress/Hair
Shoulder-length hair is layered into natural waves around the face. Fringed
bangs are popular, and most men are clean-shaven. Varieties of shaped felt
and velvet hats have jeweled brooches and feathers on the front or side.
They are fashionable indoors and outdoors.

Neck/Shoulder/Arm
The chemise shirt gathers into a round neckline or neckband and has full
sleeves. The shirt is white cotton or silk and shows at the front of the
doublet and where the upper and lower sleeves tie together. The doublet is
worn over the shirt from neck to waist and laces up the front with leather
or velvet laces called points. Points are both decorative and functional.
They tie the sleeve into the doublet and tie the upper sleeve to the lower
sleeves. The shirt blouses at the shoulder and elbow and along the lower
side of the arm. On top of the doublet, a hip- to thigh-length cape may be
worn over one or both shoulders. A sleeved jerkin or long sleeveless vest
may also be worn over the doublet and hose. A belt at the waist may hold
a pouch or dagger.
Waist/Hip/Hose
Tights extend from waist to foot in a natural body line. Parti-colored
patterns of stripes, chevrons, and other geometries create a unique look. A
flat piece of fabric called a codpiece ties to the hose to cover the space
between the two separate stockings, which tie onto the belt with points.

Footwear
A comfortable flat-heeled lace-up shoe with a round toe is in keeping with
the naturally rounded shapes of the rest of the silhouette. A midcalf, soft
boot also follows the natural silhouette.
Late Renaissance 1520–1560
Headdress/Hair
The gable- or crescent-shaped headdress covers the hair except for the
section above the forehead, which is parted in the center and pulled under
the headdress. The headdress has a hood on the back, usually of black
velvet, which covers the hair and falls to just above the waist in the back.
It fastens under the chin with ties. Gold and jewels decorate the front of
the headdress.

Neck/Shoulder/Arm
The gown has a wide, square neckline and a corseted, flat bodice. The
sleeve is very narrow at the armhole and flares below the elbow with a
wide cuff that turns back to the upper arm. A false inner sleeve with puffs
and slashes on the lower arm ends at the wrist with a ruffle.
Undergarments include a chemise, a corset that laces in back and has
whalebone inset in the front, and petticoats.
Waist/Hip/Skirt
The waist is corseted in and has a V-shaped front. The skirts flare out,
usually parting in the front to show an underskirt of contrasting fabric that
usually matches the inner sleeve. Skirts are pleated at the waist and
supported by a hip roll. The hem lengthens to a short train in the back.
Often a chain around the waist continues down the front of the skirt and
holds a pomander in a jeweled ball.

Footwear
Stockings and shoes barely show but follow the same fashion as the male
with a square-toed slipper.
Headdress/Hair
Hairstyles are parted on the side, short, and trimmed either above or just
below the ear. A carefully trimmed mustache and square-shaped beard are
fashionable. The universal hat of the period is the flat-brimmed beret,
which is worn slanted to one side of the head. It is decorated with a brooch
and an ostrich plume.

Neck/Shoulder/Arm
The shirt is full, with gathered sleeves, smocked shoulder, and mandarin or
ruffled collar. A stiff, square-necked doublet is worn over the shirt, and the
doublet sleeves appear beneath the greatcoat sleeves. A sleeveless vest is
worn over the doublet with a knee-length, cartridge-pleated skirt called
bases. The width of the shoulder comes from the greatcoat (also called a
robe or gown) which is frequently fur-lined. It has a large fur collar
extending from the shoulder out over the sleeve and tapering down to the
hem. A large puffed and padded sleeve ends just above the elbow. Men
carry or wear gloves. A large chain necklace, or order, often goes across
the collar of the greatcoat and the front of the doublet.
Waist/Hip/Skirt
The greatcoat extends from shoulder to knee and has a turned-back fur
collar that continues in a lapel going down to the knee. Beneath the
greatcoat, the pleated skirt ends above the knee. Tights cover the legs,
usually with matching garters below the knee. A belt at the waist may have
a jeweled dagger or purse attached. A padded codpiece is displayed
between the front slit of the bases or tights.
Footwear
The square-toed, duck-billed shoe is distinctive to the Tudor period. It is a
flat-heeled open shoe with a strap across the instep and a square, padded,
and puffed shape at the toe. The leather is often slashed and bejeweled.
Elizabethan 1560–1590
Headdress/Hair
A high forehead is considered fashionable. Hair is brushed back and rolled
over padding or a wire frame to create height. The back of the hair is
upswept and arranged into a roll or bun to keep it out of the way of the
high-standing ruff collar. Men and women wore similar hats. The hat has a
narrow brim and a tall, soft, pleated-in crown. It is trimmed with braid,
jewels, or feathers.

Neck/Shoulder/Arm
The neck ruff might be made of simple lawn or elaborate lace, starched
and shaped into a figure-eight or ruffle effect. Ruffs vary from narrow to
very wide and some ladies wear two or three at a time. The collar extends
from under the chin tilting up to the back of the head. The tightly fitted
bodice is worn over a flat, boned corset. The flat-chested, long-waisted
bodice has a high or square neckline and fitted sleeves accompanied by
hanging sleeves or bell-shaped oversleeves. Wide braid may trim bodice
and skirt. Decorative puffs of fabric, often accentuated by jewels, adorn
the sleeves and bodices. A wrist ruff matches the neck ruff. Shoulder
crescents or wings accent the shoulder width where the sleeve attaches to
the bodice. Rings, pins, necklaces abound and jeweled ornaments adorn
bodices and skirts. Gloves and fans are important accessories.

Waist/Hip/Skirt
The corseted-in V-shaped waist has tabs or lapits extending over the
waistband of the skirt. Petticoats and a hiproll, or a farthingale of wooden
hoops, support the width of the skirt. The overskirt parts in the center to
show an underskirt of different fabric.
Footwear
A low-heeled slipper ties in the front and has a wide shoe rose for
decoration. Shoes and stockings are barely show because of the wide skirt.
Headdress/Hair
Hairstyles are short, and tapered around the ear and hairline in the back.
Narrow, shaped mustaches and neatly trimmed beards are popular. The
universal hat of the period is a tall-puffed beret with a narrow, flat brim,
which is worn tilted to one side of the head. The brim is often decorated
with gold braid, plumes, and jewels.

Neck/Shoulder/Arm
The Elizabethan period is most easily identified by the starched ruff worn
at the neck. It begins the period as a small ruffle on the neck of the shirt
and becomes separate curved neckband made of lace sewn on in a figure-
eight pattern. Widths vary from narrow to a very wide ruff that requires a
wire support in the back. The doublet has a high neck and is very fitted
through the shoulder and sleeve. Wings, or shoulder crescents, attach at
the armseye where the sleeve joins the doublet. At the wrist a smaller ruff
matches the one at the neck. Gloves are a fashionable necessity.
Waist/Hip/Breeches
The doublet comes to a slight V-waist and is often padded through the
chest. A stiffened and curved peplum flares from the waist 3” to 7” over
the round hose. Round hose, or breeches, extend from the waist to the
upper thigh, supported by bombast or padding. Braid decorates edges of
doublets and hose. Knee-length padded breeches, called canions, may be
worn alone or under the round hose. Strips of contrasting fabric, called
panes, are often worn over round hose. A short cape worn over one
shoulder is hip-length. Knitted stockings, or lower hose, cover the lower
leg. Swords or daggers are worn around the waist. Padded codpieces
decorate the front of round hose.

Footwear
Men wear a natural shaped flat-heeled slipper tied in the front with
decorative shoe-bows. Many shoes are slashed in a pattern similar to that
on the doublets.
Late Elizabethan and Jacobean 1590–1620
Headdress/Hair
Hair is upswept in a heart-shaped or tightly curled style. Hats are similarly
styled for women and men: a stiff-crowned, narrow-brimmed beaver hat
with braid, plumes, and jewels for trim.

Neck/Shoulder/Arm
The high standing whisk collar flares out around the face. It has a wire
support and is decorated with embroidery and jewels. The Elizabethan ruff
continues to be a standard part of dress, and women sometimes wear both
a whisk collar and a ruff. The sleeve and shoulder are tightly fitted. The
sleeve ends with a wide flat cuff trimmed to match the collar. This
combination of the whisk or ruff and the flat cuff is a characteristic of the
Jacobean period. The sleeve may be puffed at the top and tapered to the
wrist. Cuffs and collars are sometimes worn in double or triple sets. A
second decorative hanging sleeve may be made from a flat piece of fabric
extending from the shoulder almost to the floor. Shoulder crescents, or
wings, attach to the shoulder where the sleeve joins the bodice, and they
match the dress fabric. The bodice is long-waisted and flatly corseted in to
a deep V-waist. Necklines are high or very low.
Waist/Hip/Skirt
The tightly corseted, deep V-shape waist contrasts with the wide-wheel
farthingale skirt. Skirt supports include petticoats and a wheel farthingale,
a boned, wheel-shaped support attached to the waist with tapes that holds
the skirt out around the body. The gathered section of the skirt under the
wheel shape is floor-length.

Footwear
Stockings and shoes rarely show because of the skirt width. A flat-heeled
slipper ties in the front and has a shoe rose for decoration—a round
flower-shaped arrangement of ribbons ranging from 3” to 6” and worn on
the front of the shoe.
Headdress/Hair
Hairstyles have natural curls and waves that are trimmed to just below the
ears and at the nape of the neck. Small mustaches and trimmed, pointed
beards are popular. Hats are fashionable and worn indoors and outdoors.
The most popular style is the beaver hat with a tall, stiff crown, a narrow
brim, a jeweled band, and ostrich plumes.

Neck/Shoulder/Arm
The whisk, a standing flat collar, is trimmed with lace and flares out
around the back of the head. It is usually wired for support. The doublet is
flat in front and tightly fitted through the shoulders and sleeves. The
sleeve has a flat cuff trimmed with lace to match the collar. Shoulder
crescents, or wings, attach at the shoulder where the sleeve joins the
doublet. The fabrics used are brocades and complicated woven patterns.
Men wear or carry gloves that have a flat cuff.
Waist/Hip/Breeches
The V-waist fits tightly, and shaped tabs overlap at the waist to cover the
top of the Venetians, or canion breeches. The Venetians gather in at the
waist and taper to a tight fit just above the knee. Venetians sometimes
combined with round hose, or padded short hose that end at the top of the
thigh. Embroidered clocks decorate the ankles of stockings. Ribbons may
cross-garter at the knee.

Footwear
The T-strap slipper has a small French heel. Wide shoe roses decorate the
front of the shoe and match the doublet and breeches. Tall, soft boots are
worn for riding.
1600-1700
Cavalier 1620–1660

Headdress/Hair
The Cavalier woman wears fringed bangs across the forehead and ringlets
or curls at the side of the face. Most of the hair is swept into a bun high at
the back of the head. Hairstyles are soft and in natural colors. Indoors,
women often wear small white cotton caps. For riding and dress
occasions, a wide-brimmed hat with ribbon decoration or plumes is angled
at one side of the head.

Neck/Shoulder/Arm
Matching cuffs and falling-band collar accent the neckline and wrist. The
large collar extends from the neck to beyond the shoulder. It is made of
simple linen, thick lace, or solid fabric trimmed with lace. The neckline is
either high or low and rounded. The shoulder has a rounded shape created
by the corset and bodice of this period. The sleeves are soft and puffed,
starting just below the shoulder bone and reaching the wrist. Sleeves
sometimes slash down the center front, revealing an inner sleeve of a
different color. The short-waisted bodice corsets in to a flat front and small
waist. The bodice usually has a peplum or overlapping tabs at the waist
covering the waistband.

Waist/Hip/Skirt
The waistline corsets in to a small circumference. The full pleated skirt is
supported by a roll bolster and several layers of petticoats. The front of the
skirt reaches the floor, and the back of the skirt has a 4” to 6” brush train.
The skirt, bodice, and sleeves are frequently trimmed with braid or ribbon.

Footwear
Stockings of wool, cotton, and silk barely show beneath the skirt. Brocade
or leather slippers have a high instep and a 1” or 2” French or spool heel.
Headdress/Hair
Hair is straight or curly, shoulder-length, and layered, often with curled or
fringed bangs. Hairstyles have a casual, natural look in both color and
shape. Small mustaches and triangular beards are popular. The broad-
brimmed beaver hat has a high crown and ribbon, braid, or ostrich plume
trimming. The brim is soft and frequently turned up on one side. The
beaver hat is either dark or pastel. The light tan and gray frequently match
the bucket-top boots.

Neck/Shoulder/Arm
The falling-band collar is a distinguishing characteristic of the Cavalier
costume. The collar falls from a curved band around the neck. It can be
flat or gathered. The fullness is achieved by gathers or cartridge pleating.
The collar may be lace, lace-trimmed, or a solid fabric and extends to the
edge of the shoulder. Matching flat cuffs are of the same fabric and
trimmings. Collars and cuffs are generally white or pastel.
The doublet is a short-waisted jacket ending in a V-shape at the front
about 1” or 2” above the normal waistline. Large overlapping tabs or a 6” -
to 10” -long peplum attach at the waist. Crescent-shaped pieces of fabric
attach at the shoulder where the sleeve joins the doublet. The sleeve is
puffed or semifull. Slashing on the sleeve and doublet frequently reveals
contrasting fabrics.
Decorative braid often outlines the doublet, tabs, crescents, sleeves,
collars, and cuffs. Ribbon bows at the waist and shoulder derive from the
functional lacings that previously held garments together. Center front
buttons are frequently left undone halfway down the doublet. A hip-length
cape that ties over the doublet is usually worn off one shoulder at an
asymmetrical angle. Every gentleman wears gloves.

Waist/Hip/Breeches
Pleated, full breeches gather in to a band above or below the knee. Braid
or buttons trim the outside seam from waist to knee. Bows or ribbons
decorate the bottom of the breeches above silk or cotton stockings. Swords
and baldrics are part of every day dress.
Footwear
Bucket-top boots of soft leather and suede are worn for dress and for
riding. The large cuff can be worn up on the thigh or turned down and
filled with boot lace. Both boots and shoes are pastel or dark in color and
have 2” heels and round toes. Shoes have cutout sides that create a T-strap
effect. Large 3” to 5” ribbon or cloth shoe roses decorate the front of
shoes.
Restoration 1660–1680

Headdress/Hair
Hairstyles are flat on top, parted in the center, and have very full ringlets
and layered curls at the sides. Compared to men’s long wigs, women’s hair
is soft and natural-looking. Ribbons are the major headdress, and hats are
rarely worn. A soft hood ties over the hair on occasion.

Neck/Shoulder/Arm
A heavily boned corset with a deep V-shape in the front emphasizes a
small waist and a pushed-up bustline. The shoulder line is rounded.
Rounded necklines are generally low and have ruffles or collars. Puffed
sleeves with ruffles and ribbons end just below the elbow. Long-waisted
flat bodices have a V-shaped stomacher covering the front lacings.
Preferred jewels are pearl necklaces, earrings, and bracelets.
Waist/Hip/Skirt
Separate from the bodice, the skirt has deep pleats and is supported by a
hip roll, or hip pad. This pad ties around the hip bone and supports the
skirt in soft folds away from the body. The skirt may be one piece or may
open in the front, with the sides held back to show the underskirt. The skirt
hem touches the ground in front and tapers back to a 6” to 12” train.

Footwear
Stockings and shoes barely show. During this period, shoes begin to have
a higher tongue in the front and are cut high on the instep. French heels are
2” to 2 ½” and shoes are frequently made of a brocade that matches the
gown.
Headdress/Hair
The wig becomes fashionable for men during this period. It is natural in
color and luxurious in length. Wigs and hair are parted in the center and
waved and curled to fall over the shoulder and frequently halfway down
the chest and back. A small mustache sometimes accompanies the wig.
The wide-brimmed felt or beaver hat with a tall crown and a silk band has
lavish decorations of ribbons and ostrich plumes. The steeple hat of the
Puritans, a wide-brimmed hat with a taller and straighter crown, is also
seen during this period.

Neck/Shoulder/Arm
Men wear the rabat, a flat, pleated-in collar, on a neckband at the center
front of the neck. The cravat, a gathered-in fall of lace or fabric, is another
popular neck accessory. It is usually worn falling over a wide bow tie at
the chin. Men’s shirts are full and flowing, particularly the sleeves. The
sleeves gather in at the wrist and are trimmed with ribbons and lace. A
shortwaisted, bolero-type jacket with sleeves ending above the elbow is
worn over the shirt. The short sleeves of this rochet jacket often have
turned-up cuffs. The shirt blouses out at the waist, and the flowing sleeves
blouse out below the jacket sleeves. The shoulder line is natural. Leather
or silk gloves are an important accessory.

Waist/Hip/Breeches
Knee-length petticoat breeches accompany the rochet jacket and blousy
shirt. There are three major styles: a kilt-type skirt, a culotte-style divided
full pants, and very full knee breeches called slops. All styles are
decorated with ruffles or rows of ribbon loops, thus earning the name
petticoat breeches. A wide ruffle falls from below the knee to mid- calf
and covers a garter. Silk stockings are worn with the petticoat breeches. A
knee-length circular cape with a flat collar may be worn over the jacket
and breeches.

Footwear
A square-heeled shoe with a high tongue that extends past the ankle
balances out this silhouette. The toe is square, and the front of the shoe
sports a 6” to 8” wide, stiffened bow that matches the ribbons trimming
the shirt and breeches.
Baroque 1680–1715
Headdress/Hair
The Fontanges headdress distinguishes the women’s Baroque costume. A
series of tiered and wired ruffles or ribbons stand upright 6” or 8” or may
angle forward on the head. They attach to a lace or fabric cap worn on the
back of the head. Streamers or ribbons from the back of the cap fall to the
middle of the back. The hair is worn high and formal, with curls dressed
over a wire frame and symmetrical curls or each side of the forehead. The
back section of hair is in a bun, with long finger curls falling on each side
of the shoulder.

Neck/Shoulder/Arm
Women are tightly corseted. The corset uplifts the bustline and narrows
the waist to a deep V-shape. The neckline of the bodice is square. A square
short sleeve with a wide cuff ends above the elbow. A ruffled or puffed
inner sleeve of contrasting fabric extends to below the elbow. Matching
bracelets and elbow-length gloves decorate the lower arm. The bodice
opens center front. This opening is covered by a stomacher, a separate V-
shaped piece with contrasting fabric or ribbon trimmings. Pearl earrings
and necklaces, and possibly beauty spots, complete the silhouette. Women
carry fans in most social situations.

Waist/Hip/Skirt
The new look created during this period is to pull the overskirt to the side
or center back, creating a bustle effect and a 2′ to 3′ train at the back of the
skirt. The underskirt, usually of a different color and fabric, may be
decorated with ruffles or braid and lace trimmings.

Footwear
Stockings are silk or cotton. Shoes have a 2” to 3” French or spool heel
and a high tongue in the front. Shoes are frequently made from brocade or
embroidered leather.
Headdress/Hair
A full and elaborate wig dominates the male silhouette. It has high 3” to 4”
curls on the forehead and is parted in the center. The wig frequently ends
2” or 3” below the shoulder or just above the waist in the back. A felt or
beaver hat has a wide brim, but the crown is low, only 3” to 4”. Braid,
ribbon, and ostrich plumes lavishly decorate this important accessory.

Neck/Shoulder/Arm
The neckstock is a cravat or Steinkirk. The cravat, a gathered fall of lace
8” to 10” long, combines with a large stiffened bow tie under the chin.
This is appropriately called the cat’s whiskers bow tie. The Steinkirk is a
long neckcloth looped at the neck and twisted to tuck in midway down the
front of the coat.
The coat is knee-length, flared below the waist, and has side and back
vents. The coat has a round cardigan-type neckline. The front of the coat
has large buttons and buttonholes from neck to hem. Sleeves fit from
shoulder to elbow and have large cuffs extending from midarm to above
the wrist. These cuffs have 2” to 3” decorative buttons and buttonholes or
the upper edge of the cuff that match those on the front of the coat.
 A shirt is worn beneath the coat, but only a ruffle of lace or fabric
shows at the wrist. A sleeveless waistcoat, or vest, is knee-length, ending
1” or 2” shorter than the coat. The vest is made of contrasting fabric and
has decorative buttons from neck to hem. Handkerchiefs, gloves,
snuffboxes, swords, walking sticks, and large muffs are accessories that
fashionable gentlemen use to display the elaborate manners and protocol
of the period.

Waist/Hip/Breeches
Knee breeches pleat at the waist and have gathered fullness just above or
below the knee. Stockings roll over the knee, and elaborate garters are
usually worn below the knee. Large, wide decorative pockets appear on
the skirt of the coat above the front hem. Wide flaps with decorative
buttons and buttonholes go over the pocket.
Footwear
Shoes have a square heel and toe. A large tongue on the front of the shoe
reaches above the ankle and has a buckle or wide bow on the front.
1700-1800
Rococo 1715–1774

Headdress/Hair
The Rococo period has lighter colors and trimmings than the very ornate
Baroque/Louis XIV period. The first noticeable difference is the white
color of both men’s and women’s hair and wigs. In the early Rococo
period women’s hair is powdered and worn close to the head in small
curls. In the later Rococo period powdered hairstyles take on great height,
and white or light-gray wigs become fashionable. Women wear ribbons
and real or artificial flowers in their hair. Hats include the mob cap, a
small white cap with ruffled edges and a gathered crown. Women wear the
cap by itself or under a low-crowned, flat-brimmed straw hat that ties
under the chin. The face is powdered white, and rouge and lipstick are in
vogue.

Neck/Shoulder/Arm
The neckline is soft and usually adorned with a small ruff of lace or
ribbon. The narrow and boned bodice corsets in with a flat front and
narrow waist. The bustline pushes up to form a décolletage. The gown
opens in the front. A decorated stomacher goes either under or over the
front opening and displays graduated rows of silk bows. Armholes are
small, and sleeves are fitted. Sleeves extend to just above the elbow where
two or three rows of wide ruffles or lace fall gracefully over the lower
arm. A matching pair of ribbons or bracelets adorns the wrists. The
neckline shape is a square or sweetheart, and the waistline shape is a slight
V. Many gowns have Watteau pleats, deep folds of fabric from the
neckline to the hem in the back.

Waist/Hip/Skirt
The skirt dominates the silhouette of this period. It is flat in front and back
and supported by a pannier, a basket or boned structure that fits on the
sides of the body. The pannier supports the skirt a few inches from the side
of the body. An overskirt flares out over the pannier and opens in front to
reveal an elaborately embroidered or decorated underskirt. The underskirt
usually clears the ground in front, and the overskirt sweeps into a train in
back.
Footwear
A silk brocade shoe with pointed toe and curved high heel is as elaborate
as the dress. Heels could be up to 3” high.
Headdress/Hair
Men wear or carry the tricorne, or three-cornered hat, throughout this
period. It is usually black and trimmed with braid or ribbon. Hair is
powdered to a light gray or white. Hair and wigs are worn full and to the
shoulder at the beginning of the period. After 1730 hair is pulled to the
back of the head into a black silk bag or a ponytail style. Large sausage-
style curls are arranged above the ear in two or three rows. They are
frequently rolled over pads to create more fullness.

Neck/Shoulder/Arm
Men’s shirts vary in fabric from cotton muslin to silk crepe. They have a
round or band-shaped neckline, a drop shoulder, and full sleeves finished
with ruffles or lace at the wrist. The jabot, worn at the neck of the shirt, is
a neckband with three or four rows of ruffles falling down the chest. The
solitaire is a black silk bow tie. It extends from the bag covering the hair at
the back of the head and ties in a bow at the front.
The waistcoat fits close to the body and reaches midthigh. It has
buttons from neck to hem and is made from contrasting brocade or other
fabric. The coat has a cardigan neckline and is open in the front. The coat
skirts are cut back at an angle to reveal the waistcoat and breeches.
Shoulders are narrow, and armseyes are small. The sleeve is narrow and
ends in a large cuff 4” to 6” above the wrist. The shirt sleeve blouses over
the hand and finishes with ruffles at the wrist. The cuff is trimmed with
braid, buttons, and buttonholes to match the front of the coat. The
snuffbox, gloves, handkerchief, and walking stick are necessary
accessories.

Waist/Hip/Breeches
Breeches are full at the waist and usually buckled at the center back to
allow flexibility for waist size. The legs of the breeches fit snugly on the
knee and lower thigh. They button on the outside, just below the knee.
White cotton or silk stockings extend from under the breeches and cover
the leg. The coat skirt has full pleats at the side, matching the look of the
panniers in the women’s skirts. By the 1770s, the skirt of the coat narrows,
creating a more slender look.
Footwear
Men wear a black, flat-heeled pump with a front buckle. The riding boot is
knee-length or higher with a flat heel and round toe.
Neoclassic 1775–1789
Headdress/Hair
Many styles of wigs and powdered hair distinguish the silhouette. The
sides are wide and full, and the top of the hair frequently achieves great
height. Hair is curled over most of the head, and finger curls usually adorn
each side of the neck. After 1780 wigs start to go out of style and hair has
less height and more fullness at the sides. English styles are more modest
than French styles. Hairstyles are topped with wide-brimmed hats, lavishly
trimmed with feathers and ribbons. They tilt to one side of the head to
make a lovely frame for the coiffure and face. The mob cap, a gathered
and ruffled soft cap, is made in sheer silk fabrics as well as cottons and
worn during this period sometimes even on top of a high wig.

Neck/Shoulder/Arm
Many changes of style take place during this period because of Marie
Antoinette’s great influence upon fashion. Gowns are worn over a
chemise, corset, petticoats, and hip roll. Four popular gowns are the
polonaise, the court gown, the Gainsborough look, and the redingote. The
polonaise gown has a long-waisted, boned bodice, which hooks up the
front. The sleeve fits tightly in the armhole and is elbow-or wrist-length. A
sheer fichu, a type of scarf that ties loosely around the neck and shoulder,
decorates the low curved neckline. A tailored, double-breasted jacket
identifies the redingote gown. It has wide lapels and a sleeve fitted to the
wrist. Buttons on the sleeve match those on the jacket.
The court gown, named for the French court, has a low neckline and
fitted bodice with sleeves to the elbow finished by three rows of ruffled
lace or fabric. The Gainsborough gown has a fitted bodice, frill-length
fitted sleeve and a higher round neckline. A fichu may accompany this
style also.

Waist/Hip/Skirt
The polonaise gown emphasizes the corseted-in waist with a gathered-in
underskirt and the polonaise overskirt, which is pulled up in swags with
cords on the underside of the skirt. It may also be supported by panniers,
hoops, or pads on the side of the body. This skirt usually is midcalf or
ankle-length, a “working class” look. The redingote gown is a tailored
coat dress that opens up in front. The floor-length skirt often parts to show
an underskirt of another color. The court gown has a V-waist and a skirt
supported by panniers that may go up to 3′ in width on each side of the
body. It is flat on the front and back, usually comprising an underskirt and
swagged overskirt. The skirt on the Gainsborough gown is gathered and
soft supported only by petticoats. The waist is a soft V-shape and the skirt
is floor-length.

Footwear
Light-colored stockings show under the shorter skirts of the polonaise
gown. The shoe is a 2” to 3” French-heeled pump in brocaded silks or
other fabrics matching the gown. A buckle frequently decorates the high
instep of the shoe.
Headdress/Hair
In this extravagant Louis XVI period both men and women wear wigs.
The men’s wig is powdered white or gray, has sausage rolls on the side of
the head, and pulls back into several styles of ponytails or pigtails.
Favorite headwear includes the tricorne hat, a three-cornered black felt hat
smaller in width than those popular in the Rococo period, and a flat-
topped hat with a rolled brim. By the late 1780s the steeple-crowned hat,
named for its tall crown, appears. After 1785 the bicorne hat appears.

Neck/Shoulder/Arm
The ruffled cravat or the wrapped neckstock appears at the top of the vest
or waistcoat. The vest is long, reaching about 6” or 7” below the waist.
The shirt only appears at the wrist with ruffles of lace or other fabric. The
coat shoulders fit with a natural line, and the collar lies flat around the
neck. Sleeves are straight and decorated at the wrist with buttons and
braid. This form of the coat fits across the upper chest and then curves to
the back, revealing the upper leg. Large flat buttons decorate the front of
the coat. Fabrics range from silk brocades for the court to woolen twills
for the middle classes.
Waist/Hip/Breeches
Breeches fit tightly on the hip and thigh, ending at the knee with a buckle
or button. Breeches are made of jersey, buckskin, and other fabrics that are
cut on the bias to create this smooth fit.

Footwear
Country or military dress requires well-fitted riding boots. The flat-heeled
dress pump has a square buckle on the front. Stockings are usually white.
Directoire 1790–1799
Headdress/Hair
Although powdered wigs abound in the previous period, natural hair
colors and more relaxed styles are the standard for this period. Hairstyles
vary from the classic chignon, with curls at the side of the head, to a
fringed and layered short cut. In between are styles with soft ringlets at the
front and sides of the head and lengths of hair pulled back in various
styles.
Many forms of headdress are fashionable in this turbulent period in the
early part of the French revolution. Turbans and the coal-scuttle and poke
bonnets are especially popular. The steeple-crown hat and large- and
small-brimmed straw hats have ribbons, ostrich plumes, feathers, wheat
stalks, and flowers for trimming.

Neck/Shoulder/Arm
The fichu, a large scarf wrapped around the neck, crosses the bustline and
fastens into the belt or ties in the back. Undergarments include soft
chemises, corsets, and petticoats gathered with fullness at the back. The
hip roll worn early in the decade disappears by its end. The shoulder is
narrow, as are the elbow- or wrist-length sleeves. The waistline is natural
in 1790, but the short-waisted look is in style by 1795. Shawls, stoles,
reticule or purse, and gloves are common accessories. Fashionable
bracelets, necklaces, and rings accompany the dress.

Waist/Hip/Skirt
The open robe, or gown, of cotton or silk may part in front to show an
underskirt. The gown, which touches the top of the shoe, has most of its
fullness gathered at the back of the skirt. A sash or wide ribbon frequently
decorates the waist and may tie in a bow in the back.
Footwear
Silk or cotton stockings combine with a flat-heeled, pointed-toe leather
slipper. Stockings sometimes have embroidery at the ankle called clocks.
Shoes and sandals frequently lace above the ankle.
Directoire 1790–1799
Headdress/Hair
Wigs are no longer fashionable. The back of the hair is cut short, and the
sides are often combed forward creating a wind-blown look. The top of
the hair is elevated by teasing. Fringed bangs are worn across the forehead
in an uneven effect. Hats are usually black beaver or felt. Two major hat
shapes dominate. The first is the steeple crown, a hat with a small buckle
or ribbon trim, a 2” brim, and a 6” to 10” crown. The second is the
bicorne, a hat with a wide brim that is turned up on both sides to form two
corners. Braid or ribbon may decorate the edges.

Neck/Shoulder/Arm
A wide, wrapped neckstock that ties in front covers the neck up to and
sometimes over the chin. A neckband shirt is worn under a waist-length
vest. The double- or single-breasted vest is cut high, just below the
collarbone. It often has a collar and lapels. Made of bright colors, the vest
contrasts with the coat. A high-standing collar on the coat extends just
below the ear. The coat has wide lapels, is single- or double-breasted, and
is knee-length. The frock coat extends straight across in the front above
the knee. The cutaway is cut square across the chest 3” or 4” above the
waist; it then slants down the side of the body. Shoulders are naturally
fitted, and a straight sleeve frequently ends in a turned-back half-cuff.

Waist/Hip/Breeches
The breeches, or culottes, end below the knee and have button fastenings
in front of the waist and at the knee. They are full at the hip and narrow at
the knee. Patterned, striped, or plain white knit stockings cover the leg.

Footwear
Boots have a low, square heel and are of various heights. The soft leather
low-cut shoe has a semipointed toe and ribbon trim.
1800-1900
Empire 1800–1815

Headdress/Hair
The new classical but casual hairstyles include ringlets and chignons, as
well as curls around the face and fringed bangs. Jockey bonnets, poke
bonnets, wide-brimmed straw hats, and wrapped turbans constitute
favorite hat styles. Silk ribbons and artificial roses and flowers adorn
evening hairstyles.

Neck/Shoulder/Arm
The Empire gown, or chemise, usually has a round neckline. In the early
part of the period, the neckline is created with a drawstring. Later, the
gown has a short bodice of shaped pieces with a round or V-shaped
neckline and a collar. The short puffed sleeve is a new look for both day
and evening and frequently is accompanied by elbow-length gloves. For
day, the puffed sleeve often has a wrist-length semifitted sleeve under it,
or a puffed sleeve tapering to the wrist.
Waist/Hip/Skirt
The high-waisted gown is the mark of the Empire silhouette. The skirt is
flat in front and gathered in the back. The back of the skirt is often
cartridge-pleated and supported by crinoline ruffles to help the fullness fall
gracefully away from the back of the body. The hemline brushes the top of
the shoe or comes to just above the ankle and is moderately full.

Footwear
Stockings are white or flesh-colored. Shoes called escarpins resemble
today’s ballet slipper. Shoes are narrow with a pointed or square toe and a
thin sole, and they frequently are cross-laced on the leg above the ankle
like a Grecian sandal.
Headdress/Hair
The tall beaver top hat comes into fashion and remains a major part of
men’s headwear throughout the nineteenth century. Another hat, the
bicorne made famous by Napoleon, is a two-cornered hat in a variety of
sizes and trimmings. Hairstyles are wind-blown and nonaristocratic
looking. They are inspired by the images of Roman emperors that
Napoleon imitated during his rule. Hair is brushed or combed forward in
fringed bangs around the face. It is often teased and lacquered on the top
of the head to create height.

Neck/Shoulder/Arm
The high, two-point collar turns up around the chin, and a wrapped cravat
ties in front. The shirt and collared waistcoat show in the front. The coat is
single- or double-breasted, with a collar and lapels that roll up around the
back of the neck. The shoulder is moderately padded, and the sleeve is
fitted to the wrist. The coat, a form of the cutaway, is most commonly
tapered from the front waist to the side and cut back into square tails. It
ends above the knee in the back of the figure.
Waist/Hip/Trousers
The cutaway coat has a slim hip and is worn over long, tight-fitting
pantaloons, or trousers. Popularized by Beau Brummell, the style of ankle-
length trousers continues for two hundred years in various shapes. The
bottom of the trousers usually falls over the top of the shoe and fastens
under the shoe or boot with a strap. Some trousers stop at the ankle.
Tightly fitted knee breeches appear briefly as court dress.

Footwear
Along with leather boots for military and outdoor wear, the distinctive
footwear is the flat, black slipper, or escarpin. It is a low-cut slip-on pump
with a pointed or wedge-shaped toe and is often trimmed with a flat
grosgrain bow.
Romantic 1815–1848
Headdress/Hair
The soft, round look of the Romantic period features hair parted in the
center with curls and fullness to the side of the head and curls on the
forehead. At the midpoint of the Romantic period hairstyles include curls
and loops of hair 6” to 8” high on the top of the head. Wigs are
fashionable and frequently decorated with flowers, ribbons, and frothy
trimmings. Bonnets prevail as the favorite headwear; sun and poke
bonnets are made from cloth and straw. These bonnets have higher crowns
and wide brims, perhaps to hold more decoration and to visually balance
the extra width of women’s skirts. Turbans become popular, and elaborate
trimmings and height are built into evening hairstyles.

Neck/Shoulder/Arm
In the Romantic silhouette, the long swanlike neck is the ideal. This
illusion is helped by dropping the sleeve past the shoulder point onto the
top of the arm. This dropped shoulder combines with a round, oval or
swan-shaped neckline. A puffed sleeve starts about 2” past the shoulder.
The sleeve is short or above the elbow for evening and puffed at the
shoulder and tapered to the wrist for daytime. The sleeve becomes
progressively fuller from the 1820s to the 1830s, reaching its widest point
in 1835 and then becoming more modest in the 1840s. The width of the
puffed sleeve is supported by an inner sleeve and crinoline stiffening to a
width of 12” to 18”.

Waist/Hip/Skirt
The return of the tightly corseted waist, huge sleeves, and wide skirt marks
the hourglass silhouette of the Romantic period. Belts emphasize a tiny
waist. Bodices fit tightly over corsets and fasten down the back with
lacings or hooks and eyes. The bell-shaped skirt is supported at the sides
and back by a crescent-shaped roll bolster and several petticoats. The
waist of the skirt is slightly above the normal waistline, and the skirt
reaches just above or below the ankle. In the 1840s the skirt becomes
floor-length.
Footwear
White stockings and a flat ballet-type slipper lace over the instep and up
the ankle to complete the Romantic look. This slipper, called an escarpin,
has a wedge-shaped or tapered toe.
Headdress/Hair
Loose curls at the sides and back of the head reach the top of the coat
collar. Long sideburns indicate the beginning of the Romantic style.
Hairstyles get gradually longer during the 1820s and into the 1830s and
include center and side parts, with the top of the hair often waved. A tall
top hat with a curled brim is the predominant hat for day and evening. The
top hat is made of beaver, straw, and silk in gray, black, or brown.

Neck/Shoulder/Arm
The collar appears above the wrapped neckstock and waistcoat. The shirt
shows at the neck and wrist. Both the frock and tailcoats have high-
standing collars of various types. The male silhouette mimics the female
hourglass shape during the Romantic period. The coat takes on a puffed
leg-of-mutton sleeve; it is full at the shoulder and tapers to fit the lower
arm.
Waist/Hip/Trousers
The full-skirted frock coat can be single- or double-breasted and shows off
a cinched-in waist which is achieved by a corset or a waist cincher. The
waist-coat often has a padded chest. The trousers frequently include pleats
at the hip and even small hip pads to achieve the hourglass shape. Trousers
are made in two major styles: a long tubular style with a strap under the
instep, and bell-bottoms fitted on the thigh and flared below the knee.
Trousers do not have cuffs or creases.
Footwear
Most men wear a low-cut pump or slipper with a flat heel and rounded or
wedge-shaped toe. White stockings are worn with the leather pump or
slipper. Boots continue to be used for riding and military wear.
Crinoline 1840–1868
Headdress/Hair
Center-parted hair is pulled flat into a chignon at the back of the head.
Long ringlets or finger curls fall from the ear to the shoulder in another
favorite hairstyle. This style is also parted in the center and flat at the top
of the head. A bonnet frequently adorns the head and balances the
silhouette with the full skirt below. The leghorn straw picture hat also
frames the face in an attractive way. Flowers and ribbons adorn formal
evening hairstyles.

Neck/Shoulder/Arm
The long neck of the Romantic period is still the ideal. Soft shoulders are
rounded, as are most necklines. Necklines are high for daytime and low,
even off the shoulder, for evening. Evening styles include a small cap or
puffed sleeve that leaves the arm bare, but the hands are always gloved.
Day sleeves extend to the wrist and are fitted or puffed. They include the
distinctive pagoda or funnel-shaped sleeve, which fits closely on the upper
arm and flares below the elbow in a wide curve.
Waist/Hip/Skirt
The waistline corsets in to create the ideal hourglass silhouette. The dress
waistline appears at the naturally smallest area of the waist, which is
midway between the lower rib and the hip bone, and comes to a V shape
in front. The major focus of the Crinoline silhouette is the bell-shaped or
half-circle skirt created by starched crinoline petticoats. The skirt is often
reinforced by horsehair or by petticoats with steel hoops that support the
skirt easily in widths of 3′ to 6′. Over this support goes a very full skirt,
often created with tiers of ruffles or with gathers of cartridge pleating. The
skirt falls to the floor and for evening includes a small 12” to 18” train in
back.
Footwear
The high-top shoe with a rounded toe, and a 1 ½” to 2” heel appears
during this period. It laces or buttons in the front or on the side and rises
about 6” above the ankle. The same heel appears on the evening pump.
Day shoes tend to be black or brown leather, but evening pumps may
appear in pastel colors matching the dress.
Headdress/Hair
Hair is not as curly or wavy as in the Romantic period, but it continues to
reach the top of the coat collar. Sideburns or side whiskers are sometimes
very full. Hair is parted in the center or on the side and is smooth across
the forehead. The top hat changes height and shape but continues to be the
most popular headwear. The very tall stovepipe hat appears in the 1860s
for day and evening wear. For informal wear, the bowler, a hat with a
rounded crown, comes into style.

Neck/Shoulder/Arm
The coat shoulders are broader and squarer than the drop shoulder of the
Romantic period and the shirt collar is generally lower. Coats button high,
just under the collarbone, as does the waistcoat. A cravat ties in a narrow
bow as one form of neckwear. The sleeve loses the Romantic puff and is
either straight or fitted to the wrist. Collars and lapels are flat and
moderately wide.

Waist/Hip/Trousers
Coats have lost the cinched-in waist full skirt and take on a straight line.
The frock coat is usually double-breasted and extends to the knee; the
waistline is low. Trousers are tubular and long, reaching almost to the floor
at the back and slanting up to the front of the shoe. The tailcoat is now
required for formal evening wear and continues for formal daywear.
Footwear
The low pump continues for evening. For daywear, a high lace-up or
button-up shoe or the Wellington, a low-cut slip-on boot with elastic insets
at the sides, is favored.
Bustle 1868–1890
Headdress/Hair
The hairstyles echo the bustle skirts they accompany. Hair is flat on the
sides with height at the back of the head in chignons, ringlets and clusters
of curls often created with false hair pieces added to the coiffure. Ringlets
on the forehead and fringe bangs are popular. Small elaborately decorated
hats were tipped forward on the diagonal tilting toward the face. In the
1880s hats slope more to the back of the head and are secured by hat pins
or by ribbons under the chin. Feathers, stuffed birds, ribbons, and
elaborate trimmings decorate these hats.

Neck/Shoulder/Arm
A deep V neckline, both front and back, adorns evening dresses. The
modest daytime jackets and bodices used the smaller V neckline or the
high-standing band collar. Daytime sleeves are three-quarter or full-length
with ruffles at the wrist and 3” to 4” of braid or trimmings on the sleeve’s
edge. The shoulder is narrow and a fitted two-piece sleeve is used.
Evening dresses are sleeveless or with a small cap sleeve accompanied by
elbow-length gloves.
Waist/Hip/Skirt
Corsets encase the waist, and the bodice or jacket is close-fitting and
smoothly form-revealing. The bustle extension and train at the back of the
skirt are the focus of the whole silhouette. The skirt is flat in the front and
on the sides; bustle pads, wire cages, or boned skirts add extensions to the
lower back of the body during the 1870s and from 1883 to 1889. For a
short period around 1880, a tubular shape is fashionable. The bustle skirt
is an elaborate engineering feat of drapery, ruffles, swags, flounces, and
pleating decorated with ribbons, flowers, fringe, and lace. In the 1870s a 1′
to 2′ train completes the back of the bustle skirt.
Footwear
The high-top shoe of the Crinoline period continues in the Bustle period,
with a medium heel for daywear. A low-cut, medium-heel pump is used
for evening. Stockings are black or dark colors with light colors for
evening.
Headdress/Hair
Beards and mustaches continue to be fashionable but are more closely
trimmed than in the Romantic and Crinoline periods. However, sideburns
continue along the jawline. The hair, trimmed neatly around the ear, is
shaved and tapered at the back of the head. Hair is longer on the top of the
head. The top hat is worn with morning, frock, or tail coats. Hat choices,
including the derby, bowler, and straw boater, abound to complete
business attire.

Neck/Shoulder/Arm
The high-standing collar, gray and white striped ascot tie, and waistcoat
complete morning or frock coats. They elegantly emphasize the neck. The
square padding and shaping of the shoulder line creates an elegant coat.
The sleeve is straighter and less fitted than in the Crinoline period. The
four-button business suit has a flat notched collar and lapels. A matching
waistcoat, standing collar, and cravat tie complete the silhouette. The
Norfolk or belted jacket is proper dress for hunting or country outings.
Waist/Hip/Trousers
A straight-line frock coat replaces the corseted-in waistline of the
Romantic period. The frock coat reaches to the knee, and the sack, or
business suit, reaches the hip. Trousers are straight and tubular, falling to
the top of the shoe in front and tapering back in a slant to the heel of the
shoe. Knee breeches are worn as part of hunting attire with knee socks or
gaiters covering the lower leg.
Footwear
The high-top lace-up or button-up shoe continues, as does the Wellington,
a low slip-on boot with elastic insets on the side. Spats, a covering that
goes over men’s shoes, are usually light gray or tan. They button up the
sides, strap under the foot, and cover the ankle. The low-cut evening pump
continues for formal evening wear.
1890s 1890–1900
Headdress/Hair
The hair is slightly full above the ears and upswept into a soft, loose
chignon often called the Gibson girl look, after the famous drawings by
Charles Dana Gibson. This hairstyle also includes soft curls around the
face. Hats include the flat straw boater and the wide-brimmed picture hat
in straw, velvet, or felt with feather and flower trimmings.

Neck/Shoulder/Arm
A long neck is desirable, and daytime clothing carries a high collar with 1
½” to 2” boning or flexible wires to create this look. Evening necklines are
curved low to a round or V shape. The shoulder look is square, with large,
puffed, leg-of-mutton sleeves. Ruffles and trimmings at the shoulder
create a high, square look. The sleeve flares beyond the shoulder, extends
out over the upper arm, and narrows on the lower arm. Sleeves are wrist-
length for day, and above the elbow or short, full, and puffed for evening.
The latter often require three yards of fabric each and are stiffened or held
out by crinolines and inner linings.
Waist/Hip/Skirt
The waist corsets in to a small circumference with a V shape in front. The
rib cage is flat, and the bustline is pushed high. The hip area is flat and
smooth on the side and the front. The skirt is gored instead of gathered so
that it fits smoothly around the hips. Deep pleats create fullness at the
center back of the skirt. The skirt flares to 3′ to 4′ in diameter at the hem,
which is 1” to 2” off the floor. The back of the skirt frequently has a slight
train of 3” to 6”. The skirt flares from waist to hem to match the width of
the sleeves at the bustline.

Footwear
The appearance of a small foot is desirable and thus the shoe is narrow,
with a semipointed toe and a 1 ½” to 2” medium heel. Most daytime shoes
are high-top and either button or lace. Silk-covered evening shoes have a
medium heel.
Headdress/Hair
At the end of the century, men’s hair becomes short at the sides and the
back, is parted in the center or on the side, and is brushed back. Small
mustaches remain, but the clean-shaven look is predominant. Hats have
variety and style. Formal wear requires the top hat, and the bowler or
derby are accessories for informal wear. The Homburg, a predecessor to
the twentieth-century fedora, appears. The light-colored straw boater and
the Panama hat are popular for summer. Soft, billed caps appear in many
styles for golf, tennis, and other sporting occasions.

Neck/Shoulder/Arm
Wing-tip, high-standing, and turnover collars are attached to neckband
shirts. Soft, turn-down collars now become equally acceptable. Shirts are
white for formal wear, but the striped shirt is popular for sport and
business wear. The ascot and bow tie continue in fashion, and the four-in-
hand takes equal precedence. The waistcoat comes in a variety of colors
and patterns and in both single- and double-breasted styles. The square
shoulder and slender sleeve complete frock, morning, and tail coats and
also the new sportswear, including the Norfolk jacket, sack suit, and
blazer. Overcoats include the velvet-collared Chesterfield.

Waist/Hip/Trousers
Tubular trousers become slender and some have creases. Knickers, or knee
breeches, accompany the Norfolk or blazer jacket for hunting, golfing, and
other sports. Thick stockings and frequently gaiters or spats complete the
leg. Suspenders, or braces, appear with striped shirts.

Footwear
White or tan shoes and the lower-cut oxford appear for warm weather and
sports. Business and work shoes are still high-top styles. Riding boots are
knee-high. The evening tail coat requires the low-cut pump, often of
patent leather. Spats cover the shoe for all daytime formal wear. They go
over the oxford or lace-up shoe.
1900-1960

Edwardian 1900–1909

Headdress/Hair
Although many changes occur during this decade, the hair stays upswept
in a pompadour with fullness at the sides and some height at the top called
the Gibson girl style. The wide-brimmed picture hat with plumes and
feathers completes the formal day silhouette. The flat-brimmed straw
boater is a favorite hat for business and bicycling. As in the late nineteenth
century, hats are considered proper attire anytime a woman is outside of
the house.

Neck/Shoulder/Arm
A high-standing collar defines the neckline during most of this decade.
Evening gowns have a lower neckline, and ladies often wear wide choker
pearls to give the same effect. The bustline drops lower, and the neck and
shoulders take on a long, elegant look. In general, the sleeve is narrower; it
has a small puff at the shoulder during the first half of the decade. In 1903
and 1904 sleeves are slender at the shoulder and blouse below the elbow.
Accessories include gloves, which are considered proper attire for day and
evening.

Waist/Hip/Skirt
The waistline rises at the center back and dips just below the natural
waistline in front to give it a diagonal shape. The body corsets in to an S
curve with the dropped bustline in front and a narrow waist. The skirt is
flat in front with fullness shirred in at the center back. Continuing flat
throughout the hips, the skirt flares below the knee with pleats, ruffles, or
gores and generally has a slight train at the back.
Footwear
Daytime wear is a high-top shoe that laces or buttons to the lower calf and
has a pointed toe. The evening shoe is a low-heeled pump that often has a
bow on the front. A low-cut, lace-up walking shoe appears toward the end
of the decade.
Headdress/Hair
Hair is generally parted on the side and short on the sides and at the back.
Mustaches are popular early in the period. Men wear the top hat for formal
day wear as well as in the evening. Business wear includes the derby and
the fedora. Soft, billed caps are worn with knickers for sporting occasions.

Neck/Shoulder/Arm
A high starched collar in several styles accents the neckline. The wing-tip
collar accompanies the black and white striped ascot tie for formal wear.
The round turnover collar is worn with the Windsor or bow tie for
business and less formal occasions. The waistcoat is worn for business
dress in the early part of the decade. The shoulder of frock and morning
coats is lightly padded and shaped. Collars and lapels are medium width
and jackets have 3 or 4 buttons. Sleeves are slightly curved and fall
straight from shoulder to wrist. The cuff of the shirt shows about 1” at the
wrist.
Waist/Hip/Trousers
Frock coats fall to just above the knee. Sack suit and Norfolk jackets reach
the top of the thigh. Trousers are flat at the waist and usually held up by
suspenders. During this period trousers become creased center front and
back for the first time and also begin to have cuffs. The waistcoat, or vest,
covers the waistline under the coat and over the shirt. Day vests are cut
high and come just below the necktie. Evening vests are cut lower and
show more of the shirt. Knickers, trousers that end at the knee with gathers
and a band, are worn with knee socks. Gaiters or spats accompany the
knee socks and cover the shoe for country or sports wear.

Footwear
High-top shoes that lace or button above the ankle are the most common
footwear. Spats, a cloth or felt cover that buttons on the outside of the
shoe, covers the top of the shoe and the ankle. They are usually worn with
formal day wear. Evening dress is a low pump.
Teens 1910–1919
Headdress/Hair
Hair is upswept in a French roll or twist. Some styles are pulled up into a
topknot or back into a bun. Hair is frequently waved smoothly at the side
of the head. Hats vary in size from smaller hats to extremely wide-
brimmed hats between 1912 and 1915. Styles popular from 1916 to 1918
include tailored, flat-brimmed sailor hats, turbans, and high toques. During
this entire period millinery is trimmed with exotic feathers and plumes,
such as aigrettes, paradise feathers, and whole bird wings. These
trimmings are also fashionable hairdressing for evening wear.

Neck/Shoulder/Arm
A wide variety of styles is available in women’s necklines. Tailored suits
with lapels and collars and a variety of blouses are seen throughout the
decade. These include walking suits, business suits, sports ensembles, and
country suits. The high collars are still worn in 1911 but disappear mid-
decade. Softer necklines are seen on kimono-style dresses with dolman
sleeves, which are cut with the dress in one piece and give a soft, rounded
shoulder. Shirtwaist blouses are worn with skirts with Windsor or bow ties
at the neckline. Sleeves may be long, as on suits, but are elbow-length and
even shorter on dresses. Evening gowns are short-sleeved or sleeveless.

Waist/Hip/Skirt
Waistlines vary along with other fashion elements during this period.
Some waistlines are slightly raised in 1910 and 1911 but tend to be at a
normal position by 1914 and 1915. Skirts are ankle-length in 1910 but by
1916 rise to midcalf, where they stay until the end of the decade. Some
suits have hip-length jackets. Dresses and suits are often belted. Skirts are
straight or just slightly flared on both suits and dresses. A long corset or
girdle flattens the hips. Stockings are seamed cotton or silk and begin to be
visible as the hemline rises. The hobble skirt and lampshade skirt are some
of the unusual skirts from this period.
Footwear
The high-top shoe is worn through most of the decade but begins to be
replaced by the lower cut pump and the 2” spool-heel, lace-up oxford for
day and business wear. Spats give the look of a high-top shoe when they
are worn over a pump. They slip over the shoe and button up the outside
of the leg, reaching above the ankle. Low pumps are worn for evening.
Headdress/Hair
Side-parted hair is trimmed short at the sides and the back of the head. The
top hat continues to be worn for formal day and evening wear, but the felt
Homburg and derby generally replace it for business wear. The straw
Panama hat and the flat-brimmed boater hat are most popular in the
summer. Golf and sporting occasions call for the soft, billed cap.

Neck/Shoulder/Arm
Although the high starched collar is still worn, the softer, turned-down
shirt collar takes over for most business and sports outfits. A four-in-hand
or Windsor tie usually accompanies these softer-collared shirts. Jackets
have lightly padded shoulders, medium-width lapels, and a slightly narrow
shape. Standard wear through most of the decade is the three-piece suit
with matching vest. It is popular in dark colors and in checks.

Waist/Hip/Trousers
Trouser legs are tapered to a narrow cut at the ankle. The waistline is flat
and without pleats. Trousers have creases center front and back, and cuffs
below the ankle. The hip is generally flat, and the waistline is normal.
Footwear
Although high-top shoes are still in favor, the lower cut oxford shoe takes
over as the predominant business wear during this decade. This is
especially true after World War I.
1920s 1920–1929
Headdress/Hair
Bobbed or shingled hairstyles are cut short to the nape of the neck, are ear-
length, and worn close to the head. The cloche hat, fitted close to the head
and covering the ears, is popular through the middle of the decade. It
usually has a small turned-back brim. In the early 1920s a wider brimmed
picture hat with a deep crown appears with day dresses. Earrings are
popular with the new short hairstyles.

Neck/Shoulder/Arm
Short hairstyles emphasize the length of the neck. Necklines are usually
round or V shaped. Shoulders are soft and curved into a long torso with
flattened bustline. Sleeveless, short-sleeved, and long-sleeved dresses all
have a soft shoulder line. Most sleeves are cut straight. Costume jewelry
becomes fashionable for the first time. Women wear long strands of pearls
and beads, which reach almost to the waist, with these low-waisted
dresses.

Waist/Hip/Skirt
The dropped waistline extends from the top of the hipbone to just above
the thigh and helps achieve the long, flat boyish look. The dropped
waistline aims to deemphasize the hips. The skirt reaches from the hip to
below the knee in 1926 and from the hip to the lower calf at the beginning
and at the end of the decade. The skirt stays close to the body and takes on
many shapes, from pleated to bias-cut handkerchief hems. When the
hemline rises to below the knee for the first time, stockings take on a new
importance. They are light-colored silk hose with seams running up the
back of the leg.
Footwear
The pump, a low-cut, slip-on shoe, and the famous T-strap shoe of the
1920s have a 2” or higher spool or Louis heel. Many varieties of strapped
pumps are available, and a lace-up walking shoe with a lower heel is also
popular.
Headdress/Hair
Side-parted hairstyles are short around the ears and at the back of the head.
Some hairstyles are slicked down with pomade to achieve a “patent
leather” look. Many hat styles are available, including the flat-brimmed
straw boater for sportswear and the top hat for evening. Also available are
the felt derby for formal daywear, the softer brimmed fedora for business
dress, and the brimmed cloth cap for a sporting look.

Neck/Shoulder/Arm
Men wear shirts with soft collars except for formal evening dress, when a
stiff winged-tip collar is still the proper wear. The four-in-hand tie is
medium in width and knotted at the front of the shirt. The ascot scarf and
the bow tie are also popular. The shoulder line is narrow in men’s suits,
lapels are medium to narrow in width, and shoulder padding is small. Most
men wear single-breasted, three-button suits with matching trousers, vest,
and jacket. Blazers and sport jackets become more popular. The sleeve is
straight and has a small vent and three buttons at the end.
Waist/Hip/Trousers
Most suit jackets are hip-length and worn with creased, cuffed trousers
that are slender in cut. Knickers called plus fours and flannel trousers
called Oxford bags have pleats at the waist and are fuller through the leg.
Footwear
A lace-up oxford with a flat heel is the most common shoe. It comes in
black, brown, navy, tan, and a combination light and dark two-tone shoe.
The work shoe is a high-top, lace-up shoe that ends above the ankle.
Rubber-soled canvas tennis shoes start to become popular.
1930s 1930–1939
Headdress/Hair
Hairstyles for the 1930s are close to the head, parted on the side, and
styled in finger waves. Most styles are short, ending just below the ear,
Between 1936 and 1939 hair is more often swept back at the top of the
head into rolls at the side, with the lower part of the hair pulled back into a
roll or bun. Hats have small or wide brims and round crowns. The smaller
hats tilt to one side of the head. A version of the male fedora becomes
popular at the end of the decade when a more tailored look comes into
style.

Neck/Shoulder/Arm
The natural body shape of the 1930s has a soft bustline and shoulders.
Many garments are bias cut to give a soft, clinging flow of fabric around
the body. Cropped fabrics and silk fibers enhance this soft body look. The
soft shoulder line of 1931 develops into small shoulder pads by 1938.
Most sleeves are straight on day dresses and suits, and evening wear
shows bare arms and even bare backs. Some sleeves puff on the upper arm
and taper to a fitted sleeve on the lower arm. Necklines vary from round to
V-shaped and later include blouses and suits with tailored lapels. Scarves
are a major neck accessory. Day and evening wear includes gloves. The
clutch purse is a favorite accessory. Many types of sportswear are
available, including the first two-piece swimsuit.

Waist/Hip/Skirt
A slightly raised waistline, about 1” or 2” above a normal waistline, is
usually accented with a belt or waistline seam. Most dresses fasten with a
side-waist zipper or hooks. The hips are flat and slender like the bustline.
Some skirts flare below the hip or around the knee. Skirt lengths are below
the knee to midcalf. Stockings are silk or cotton, with seams up the center
back.
Footwear
Medium-height pumps with a thick heel are worn. The toe is round, and
open-toe shoes appear in the last half of the decade. Two-tone shoes
appear, and women wear strapped sandals with a heel for evening.
Headdress/Hair
Men’s hair is parted in the center or on the side and cut short around the
ears and at the back of the head. Hair is frequently longer on top and
combed straight back or slicked down on the sides. The fedora with a
medium brim is the most popular hat. Sports and informal outdoor
headwear consists of soft, billed caps.

Neck/Shoulder/Arm
The white shirt with soft collar and Windsor tie is standard male dress.
Ties are made in printed and striped patterns. Men wear scarves at the
neck of blazers and sport jackets. The turtleneck, or poloneck, sweater is
also available for sporting wear. Suit coats and jackets have medium
shoulder pads and a medium-width lapel. They are single- or double-
breasted. The sleeve is straight, with two or three buttons at the wrist vent.
Waistcoats, or vests, are available but not mandatory for proper dress as
they were earlier. Short-sleeved sport shirts make their first appearance
during the 1930s.
Waist/Hip/Trousers
Squarer cut jackets are also wider through the shoulders, and this width
continues to the hips. Trousers, pleated at the waist, have a fuller, baggier
look and a 2” to 2 ½” turned-up cuff where they break on the shoe.
Knickers are available for outdoor wear with a vest, coat, and tie.

Footwear
The oxford lace-up shoe is standard male footwear. Men wear two-toned
shoes and light-colored shoes for summer, and dark oxfords for winter.
The first slip-on loafer becomes available during this decade. The canvas-
top, rubber-soled shoe becomes increasingly popular, as do sandals for
pool and recreational wear.
1940s 1940–1949
Headdress/Hair
Familiar hairstyles of the 1940s include the pageboy, a side-parted style
with hair rolled under from below and ear to shoulder-length. The upswept
style has a type of French roll at the back of the head. Hair is also rolled
up over padding at each side of the head, creating height at the sides, and
the lower hair is pulled into a bun at the back of the head. Hats are
abundant and available in many styles. Turbans, berets, wide-brimmed
straw and felt hats, tall-crowned fedoras, and snoods or hoods are worn.
Feathers and wide ribbons, and especially veils are popular as trimming.

Neck/Shoulder/Arm
The shoulder line takes on a wide look from 1940 to 1946 with shoulder
pads and wide lapels on women’s suits and coats. Softer crepe dresses and
evening gowns also have shoulder padding. In 1947 the Dior “new look”
has a softer shoulder line. Necklines vary, but the tailored look with collar
and lapels is seen often. Sleeves are straight and long or three-quarter-
length. The bustline is raised, with a rounded look. Darts extend from the
waist to below the bustline to emphasize this shape.
Waist/Hip/Skirt
The waistline cinches in with a girdle, and the hips are smooth and flat.
The waistline is of normal height, and skirt length varies above and below
the knee during the war years. The “new look” that is introduced after the
war drops hemlines to the midcalf for the rest of the decade. Four-gored
skirts flare from below the hip to the hemline. This style is flat at the waist
and widens as it gets longer. Straight skirts also become popular after
1947.
Footwear
The high-heeled pump comes in many versions with open toes and open
heels, platform soles, and strappy sandals. The heel is slightly narrower
than in the 1930s but wider than the shoe of the 1950s. The toe is round.
Casual and sportswear includes sandals and lace-up walking shoes.
Headdress/Hair
Hair is short, and usually parted on the side. It is slightly longer on the top
and combed to the side. The fedora takes on a wider brim and tilts to one
side of the head, or with the brim slanted to one side. Military uniforms
include many types of headdress during the war years.

Neck/Shoulder/Arm
The shoulders take on extra-wide shoulder pads, and jackets have a square
shape. They are single- or double-breasted, and stripes and checks are
popular. The collar of the shirt and the necktie take on brighter colors and
become wider. The ties of this period are famous for their prints and wide
cut. Bow ties for day wear are popular in brighter colors and prints.
After 1947 the shoulder width lessens as fashion heads for a transition
in the 1950s. Longsleeved dress shirts, ties, and suits are standard business
wear. Short-sleeved sport shirts appear in bright prints. Summer sport
jackets in prints and checks accompany light-colored slacks. Vests are
seldom seen.
Waist/Hip/Trousers
Trousers, pleated at the front waist, are cut wider, creating fuller looking
hips and pants. Trousers match suit coats, but sport jackets and slacks
become equally acceptable for business wear. Trousers have wide turned-
up cuffs at the hem. After 1947 the silhouette narrows slightly.

Footwear
The lace-up oxford in brown or black is the standard shoe. It has a thicker
sole than the shoe of the 1950s. Men still wear sandals and two-tone
spectator shoes for more casual occasions.
1950s 1950–1959
Headdress/Hair
Hair is short and worn close to the head. A favorite haircut is the poodle
cut, a layered hairstyle that is short and wavy. Other styles include the
French twist, a vertical roll at the back of the head. Longer hair comes into
fashion during the late 1950s, and styles include the ponytail. Hats vary
from the wide-brimmed picture hat with a turned-in brim to the turban-
type hat in the shape of a fez. At the start of the decade, hats include the
pillbox, with floral trim and a short veil, and a cloche hat reminiscent of
the 1920s.

Neck/Shoulder/Arm
The shoulderline becomes narrower in the 1950s. A raised bustline with a
cone-shaped bra gives a new shape to the female chest. The tailored suits
of the early 1950s have narrow lapels and sleeves. Evening dress of this
period is famous for the strapless gown with bare shoulders. The chemise
dress of the mid-1950s is sleeveless or has short or three-quarter sleeves.
Waist/Hip/Skirt
The tightly cinched waistline creates an hourglass look. Suits have narrow,
slender skirts. Day and evening dresses may have very full skirts
supported by stiffened petticoats called crinolines. Belts are popular and
emphasize the nipped-in waist. Skirt lengths stay about 2” below the knee
for most of the decade. The chemise dress, cut straight and without a
waistline, is introduced toward the end of this period. Another new style is
the A-line or trapeze dress, which has a skirt that flares from under the
bustline to the hem. Sheer nylon stockings with a seamed back emphasize
the leg, and seamless stockings appear for the first time.
Footwear
Pointed toes and pencil-thin stiletto or spike heels are the hallmark of
1950s pumps. Flat-styled shoes include an abundance of ballet-type
slippers, the loafer, and canvas tennis shoes. Thick white socks called
bobby sox are worn with these shoes.
Headdress/Hair
Hairstyles vary from the very short crew cut, which is almost a shaved
head, to longer sideburns and hair curling at the nape of the neck. This
latter style features a wave of hair at the front, parted on the side, and has
hair combed into a point at the back of the head. In-between styles include
side-parted hair that is short at the sides and back, with some additional
length on the top. The fedora is the most popular business hat and has a
narrower brim to match the narrower proportions of the suit. Many men
wear the flat-top, brimmed hat. Sporting occasions call for many styles of
billed caps.

Neck/Shoulder/Arm
The jacket shoulder line has smaller shoulder pads and a narrower cut
from shoulders through the body. Lapels are narrower, and most suits are
single-breasted and often made of gray flannel. Ties also become thinner,
ranging from 1 ½” to 2” in width, about half the width of the 1940s ties.
Most ties are solid, and knit ties become available. Shirts are white, light
blue, and pink, and most have button-down collars. Striped shirts also
come into fashion. Sport jackets are made of a range of fabrics from
corduroy to madras and plaids. Two-button suits replace many of the
three-button styles.

Waist/Hip/Trousers
The trousers are flat across the hips and belted, without pleats at the waist.
They are narrower, as are the cuffs at the ankle. Beltless, cuffless trousers
come into fashion during the late 1950s. Some more flamboyant styles
feature very tight, fitted trousers or jeans that end above the ankle.
Bermuda shorts, full shorts in bright printed fabrics that end at the knee,
are favored for sportswear.
Footwear
Loafers and other slip-on shoes increase in popularity. The younger
generation wears crepe-soled shoes, two-tone saddle shoes, canvas tennis
shoes, and white buckskin shoes. New Italian shoes with slightly pointed
toes are introduced during the second half of the decade.
1960s 1960–1969
Headdress/Hair
The 1960s are a tumultuous decade, with great charges from the bouffant
hairstyles of the early part of the decade to the long, straight, and
geometric styles of the latter part. A teased hairstyle, the beehive, attains
great height. The Jackie Kennedy pillbox hat and some “helmet” styles are
part of the early 1960s look, though hats tend to be out of fashion in a
rebellion against the “proper” 1950s.

Neck/Shoulder/Arm
The shoulder and neckline tend to be round and soft. The flat or natural-
shaped bustline is the ideal. Bras lose all the padding and shaping of the
1950s and adopt a natural body shape. In the late 1960s some women go
without bras to carry the natural shape to the ultimate. Many fashions are
sleeveless. Dresses and suits have long and short sleeves. Blouses and
vests in beaded, embroidered, and fringed styles make up the dress of the
“flower children.”
Waist/Hip/Skirt/Slacks
The waistline fluctuates from the high Empire style to no waist in the A-
line dress. Blue jeans, slacks, and skirts fasten on the hip, several inches
below the waist. The hip is the focus of these hip hugger fashions, which
are usually accented with long and decorative belts. Most jeans flare
below the knee in a style called bell-bottoms. The hip is slender, and
slacks and jeans dominate female dress as much as skirts for the first time.
In the last half of the decade the miniskirt becomes high fashion as the
hemline reaches the mid-thigh for the first time. Short skirts are
complemented by patterned stockings and opaque tights.

Footwear
Leather, suede, and plastic boots accompany both daytime and evening
fashions. Some boots are light in color, even white; others are darker. Most
are ankle to knee height and zip or lace up the front or side. Shoes have
low, square heels and round toes. Pumps are frequently worn with A-line
dresses. Jeans universally appear with sandals.
Headdress/Hair
For the first time since Louis XIV men wear shoulder-length hair.
Conservative males still wear short, side-parted styles. Some men wear
hair that brushes the top of the collar; other men’s hair reaches to the
shoulder, and sometimes the midchest. Caps, like the soft, billed Beatle
cap, create a younger look. A very narrow-brimmed fedora accompanies
business suits.

Neck/Shoulder/Arm
Men’s suits have slightly padded shoulders, medium lapels, slightly
curved-in waist and sides, and center back vents. Single-breasted suits
fasten with two-button front closings. The tie is also of medium width.
Shirts are white, colored, and have large flowered prints. Hippie styles
include large full-sleeved shirts in bright colors and prints with fringed or
embroidered vests. The Nehru jacket, which buttons up to the neck with a
standing collar, is in style for a short period.
Waist/Hip/Trousers
Business suits have a normal waistline, but jeans and slacks from the mid-
1960s on have a dropped waist. These pants belt at the top of the hip. They
have a tight fit through the hips and thigh and flare or bell out below the
knee. Bell-bottom pants often fall past the ankle and over the top of the
shoe. Business trousers remain straight and cuffless.
Footwear
Shoes range from a standard dress oxford to boots in suede and leather
that reach the ankle or the knee. Boots usually zip on the side and have a
2” square heel. At the end of the decade toes start to become squarer.
Chapter 7
Creating a Portfolio

Overview
A designer needs a portfolio to present his or her designs for work or
graduate school interviews. It allows you to put your material together in a
fast and easy presentation for prospective employers or schools. Although
interviewers look for different qualities in a portfolio, you generally want
to show quality, flexibility, and varieties of work, plus working sketches
and research to show the process involved.
The overall goal of the portfolio is to present your best work and make
a positive impression on the interviewer. It is important that your work be
clean in presentation, follow some form of logical progression, and be
easy to see. The portfolio must also be manageable: you may need to carry
it a distance while walking, or you may need to take it on a train or
airplane. The “fashion” of creating a portfolio does change from time to
time, but the following arc some basics.

Costume Sketches

NUMBER OF PIECES
If you participate in the University Resident Theater Association (URTA)
or graduate school interviews, the interviewer may dictate the number of
sketches you may present. In any case, it is a good idea to limit your
portfolio because most interviews have strict time limits. One strategy is to
show two to four sketches from each show or project to illustrate character
relationships and continuity of style. Plan on ten or twelve pieces to show
your best work. You can have additional work available if there is time to
present it.

VARIETY
You obviously want to present what you consider your best work. You also
want to show both period and modern dress, low- and high-budget
productions, and realistic and stylized designs if possible. Demonstrate
that you can do more than one style of design. Show sketches done on
both a high and a low budget.
It is important to have fabric and trim swatches on every sketch. These
swatches should be 3” to 6” in length and about 2” in width so they are
easy to see. Arrange them in the proportions in which they appear on the
costume. Even if you have not executed the designs or if they are from a
class project, it is still important to include fabric swatches. Be sure they
are as close as possible to the color and texture of the sketch. Include dye
swatches and any samples of fabric modification, such as aging or
painting. Sketches of wigs, jewelry, or accessories are valuable additions.

BUDGET/PRICES
Know the cost of the finished costume for each sketch in your portfolio.
Interviewers often ask about prices. If you do not know the exact cost,
estimate as accurately as possible. Also know the price of fabric per yard
and how much fabric a costume requires. Include in your repertory the
total cost of the show and the cost of individual items such as shoes,
millinery, and other accessories, and of all undergarments such as corsets,
petticoats, tights, and padding. These items may be available in stock, but
you must know what the cost would be if they were to be built.
Photographs
Photographs of finished work are just as important as costume sketches.
The photos should be of the finished costume and should be 8” × 10”. The
colors shown in the photos should be as close to the sketch and fabric
swatches as possible. In your portfolio place the photo beside or across
from the costume sketch so it is easy to view them together. Have at least
six or eight photographs of finished work if possible.

Research
It is good to include a bibliography, photocopies of research material,
color plots, action charts, or other homework material used in the
preparation of a costume sketch. Include preliminary drawings to show the
thought process and the original ideas for one or two of the designs in your
portfolio.

Presentation
Try to place all work either vertically or horizontally in your portfolio so it
need not be turned as it is viewed. Most interviewers do not want sketches
matted or covered with acetate. They prefer to see work in its original state
because acetate distorts color and line, although only minutely. Lay out
your sketches, photos, and other material in a format that can be easily
viewed.
Begin the portfolio with your strongest design work. After costume
designs, you may present wigs, jewelry, masks, or other items you have
designed or executed. It is also refreshing to include a few selections from
drawing, color, photography, or other art classes you have taken. Do not
include drawings other than your own or costumes you have patterned or
stitched unless they are clearly labeled as such. They belong in a separate
production portfolio.
Figure 7.1 Actual costume

illustrations by Georgia O’Daniel Baker from The Three Sisters. Note the
material swatches in the corner.

Practice
Lastly, practice a portfolio presentation in front of friends, teachers, or
other designers to help your concentration and flow of ideas become more
natural. They can give you feedback about what is clear or unclear, and it
will help you be more relaxed when the actual interview takes place. This
is a chance to time the presentation if it needs to meet precise time
requirements. For example, an interview may be limited to ten minutes,
and you want to be sure you can present your strongest work in that
amount of time. Know your concepts, your characters, and how they have
been adapted to your production. Try to relax. Be positive. You are
presenting yourself as well as your portfolio.
Figure 7.2 Costume

illustration by Georgia O’Daniel Baker from H.M.S. Pinafore.

Figure 7.3 Costume
 illustration by Georgia O’Daniel Baker from H.M.S. Pinafore.
Figure 7.4 Costume
illustrations by Georgia O’Daniel Baker from Once Upon a Mattress.
Bibliography

Albers, Josef. Interaction of Color. New Haven: Yale University Press, 1963.
Arnold, Janet. Patterns of Fashion 2. New York: Drama Book Publishers, 1966.
Black, J. Anderson, and Garland, Madge. A History of Fashion. New York: William Morrow and
Co., 1980.
Blum, Stella. Everyday Fashions of the Thirties. New York: Dover Publications, Inc., 1986.
Blum, Stella. Everyday Fashions of the Twenties. New York: Dover Publications, Inc.. 1981.
Ewing, Elizabeth. Dress and Undress. London: B.T. Batsford, Ltd., 1978.
Gillon, Edmund Vincent, Jr. The Gibson Girl and Her America: The Best Drawings of Charles
Dana Gibson. New York: Dover Publications, Inc., 1969.
Hall, Carolyn. The Twenties in Vogue. New York: Harmony Books, 1983.
Hill, Margot Hamilton, and Bucknell, Peter A. The Evolution of Fashion: Pattern and Cut from
1066 to 1930. New York: Drama Book Publishers, 1967.
Ingham, Rosemary, and Covey, Liz. The Costume Designer’s Handbook. Englewood Cliffs, NJ:
Prentice-Hall, 1983.
Itten, Joannes. The Elements of Color. New York: Van Nostrand Reinhold Company, 1970.
Itten, Joannes. The Art of Color. New York: Van Nostrand Reinhold Company, 1961 and 1973.
Moore, Doris Langley. Fashion through Fashion Plates 1771–1970. New York: Clarkson N. Potter,
Inc., 1971.
Nunn, Joan. Fashion in Costume 1200–1980. London: The Herbert Press, 1984.
Robinson, Julian. Fashion in the Forties. London: Academy Editions, 1976.
Russell, Douglas A. Costume History and Style. Englewood Cliffs, NJ: Prentice-Hall, 1983.
Russell, Douglas A. Period Style for the Theater. Boston: Allyn and Bacon, Inc., 1980.
Russell, Douglas A. Stage Costume Design. Englewood Cliffs, N.J.: Prentice-Hall, 1985.
Selbie, Robert. The Anatomy of Fashion. New York: Crescent Books, Crown Publishers, 1977.
Tortora, Phyllis, and Eubank, Keith. A Survey of Historic Costume. New York: Fairchild
Publications, 1989.
Tyrrell, Anne V. Changing Trends in Fashion. London: B.T. Batsford, Ltd., 1986.
Warren, Geoffrey. Fashion Accessories Since 1500. New York: Drama Book Publishers, 1987.
Watson, Philip J. Costume of Old Testament Peoples. Edgemont, Pa.: Chelsea House Publishers,
1987.
Waugh, Norah. Corsets and Crinolines. New York: Theatre Arts Books, 1954.
Waugh, Norah. The Cut of Men’s Clothes 1600–1900. London: Faber and Faber Ltd., 1964.
Waugh, Norah. The Cut of Women’s Clothes 1600–1930. New York: Theatre Arts Books, 1968.
Wilcox, R. Turner. The Mode in Costume. New York: Charles Scribner’s Sons, 1958.
Wilcox, R. Turner. The Mode in Footwear. New York: Charles Scribner’s Sons, 1948.
Wilcox, R. Turner. The Mode in Hats and Headdress. New York: Charles Scribner’s Sons, 1945.
Worrell, Estelle Ansley. American Costume 1840–1920. Harrisburg, PA: Stackpole Books, 1979.
Index

1200–1620, 58–85
Early Gothic, 58–61
Early Renaissance (Italian), 70–73
Elizabethan, 78–81
Late Elizabethan and Jacobean, 82–85
Late Gothic, 66–69
Late Renaissance, 74–77
Middle Gothic, 62–65
1600–1700, 86–97
Baroque, 94–97
Cavalier, 86–89
Restoration, 90–93
1700–1800, 98–109
Directoire, 106–109
Neoclassic, 102–105
Rococo, 98–101
1800–1900, 110–129
1890s, 126–129
Bustle, 122–125
Crinoline, 118–121
Empire, 110–113
 Romantic, 114–117
1890s, 126–129
footwear, 126, 128
headdress/hair, 126, 128
neck/shoulder/arm, 126, 128
waist/hip/skirt, 126
waist/hip/trousers, 128
1900–1960, 130–157
1920s, 138–141
1930s, 142–145
1940s, 146–149
1950s, 150–153
1960s, 154–157
Edwardian, 130–133
teens, 134–137
1920s, 138–141
footwear, 138, 140
headdress/hair, 138, 140
neck/shoulder/arm, 138, 140
waist/hip/skirt, 138
waist/hip/trousers, 140
1930s, 142–145
footwear, 142, 144
headdress/hair, 142, 144
neck/shoulder/arm, 142, 144
waist/hip/skirt, 142
waist /hip/trousers, 144
1940s, 146–149
footwear, 146, 148
headdress/hair, 146, 148
 neck/shoulder/arm, 146, 148
waist/hip/skirt, 146
waist/hip/trousers, 148
1950s, 150–153
footwear, 150, 152
headdress/hair, 150, 152
neck/shoulder/arm, 150, 152
waist/hip/skirt, 150
waist/hip/trousers, 152
1960s, 154–157
footwear, 154, 156
headdress/hair, 154, 156
neck/shoulder/arm, 154, 156
waist/hip/skirts/slacks, 154
waist/hip/trousers, 156
3000 B.C.–1200 A.D., 30–57
Archaic Greek, 38–41
Biblical (Assyrian, Persian, Hebrew), 34–37
Byzantine, 50–53
Classic Greek, 42–45
Egyptian, 30–33
Roman, 46–49
Romanesque, 54–57

A-line dress, 150, 154

Aba, 36
Accessories, 78, 92, 96, 100, 106
Acrylics, 18
After image, 21
Aging, effects of, 8
Albers, Josef, 22
Ankle bracelets, 30, 32
Apron, 32
Aristocratic dress, 52
Armbands, 30, 32
Arms, bare, 38, 44, 118, 142
Archaic Greek 800–480 B.C., 38–41
footwear, 38, 40
headdress/hair, 38, 40
neck/shoulder/arm, 38, 40
waist/hip/leg, 38, 40
Art of Color, The (Itten), 20, 21
Ascot, 124, 128, 132, 140
Assyrian dress, 34, 36

Back, bare, 142

Backgrounds and floors in drawings, 14, 15–16
computers and, 27
Baldrics, 88
Bangs, 48, 72, 86, 88, 108, 110, 112, 122
Barbette, 54
Baroque 1680–1715, 94–97
footwear, 94, 96
headdress/hair, 94, 96
neck/shoulder/arm, 94, 96
waist/hip/breeches, 96
waist/hip/skirt, 94
Basic figure and how clothes fit the body, 1–16
backgrounds and/or flooring use in drawings, 14, 15–16
common drawing mistakes for, 14
 correct proportions diagrams, 1–4
detailed drawings for creating realistic clothing on human body, 12–16
muscle diagrams of male versus female, 4
S curve of relaxed body, 6
use of shadows when drawing, 14–15
Bastard houppelande, 64
Beads and pearls, 138
Beards, 36, 40, 44, 52, 56, 60, 76, 80, 84, 88, 124
Beatle cap, 156
Beauty spots, 94
Bell-bottoms, 116, 154, 156
Belting
double-, 42, 44
of suits and dresses, 134
waistline, 12, 34, 38, 40, 46, 48, 60, 64
Belts, 114, 142, 150
decorative, 30, 32, 64, 154
on hip, 48, 54, 56, 62
for weapons, 56, 72, 76
Berets, 76, 80, 146
Bermuda shorts, 152
Bias-cut, 138, 142
Bias drape, 56
Biblical (Assyrian, Persian, Hebrew) 1250–333 B.C., 34–37
footwear, 34, 36
headdress/hair, 34, 36
neck/shoulder/arm, 34, 36
waist/hip/skirt, 34, 36
Bicorne hat, 104, 108, 112
Bicycling dress, 130
Blazers, 128, 140, 144
Bliaut, 54, 56
Blouses, 134, 142, 154
Blousing, 38, 40, 42, 44, 46, 54, 56, 70, 72, 92
of sleeve, 100, 130
Boater hat, 124, 126, 128, 130, 136, 140
Bobby sox, 150
Bodice, 74, 94, 98, 114, 122
long-waisted, 78, 82, 90, 102
short-waisted, 86, 110
Bolero jacket, 92
Bombast, 80
Bonnets, 106, 110, 114, 118
Boots, 36, 52, 64, 68, 72, 108
bucket-top, 88
buskin, 44, 48
caligula, 48
military, 112, 116
open-toed, 40
riding, 84, 88, 104, 116, 128
Wellington, 120, 124
zip, 154, 156
Bow tie, 72, 96, 100, 128, 132, 134, 140, 148
Bowler, 120, 124, 128
Boyish look, 138
Bracchae, 36, 52, 56
Bracelets, 30, 34, 36, 46, 94, 98
Braids, 46, 48, 54, 56, 62, 78, 80, 88, 96, 122
Bras, 150, 154
Breastplate, 40, 48
Breeches, 80, 88, 92, 100, 104, 108
Broadsword, 56
Brocade, 52, 68, 84, 90, 104
Brooches, 44, 52, 56, 72, 76
Brummell’s influence, Beau, 112
Brushes for sketching, 19
Bucket-top boots, 88
Business dress, 128, 148
hats, 130, 132, 136, 140, 152
suits, 124, 134, 156
Busk, 70
Buskin, 44, 48
Bustle 1868–1890, 122–125
footwear, 122, 124
headdress/hair, 122, 124
neck/shoulder/arm, 122, 124
waist/hip/skirt, 122
waist/hip/trousers, 124
Bustle effect, 94
Bustline, 70
dropped, 130
flat, 138, 142, 154
raised, 86, 90, 94, 98, 126, 146, 150
buttons, 88, 96, 100, 102, 104
Byzantine 324–1453, 50–53
footwear, 50, 52
headdress/hair, 50, 52
neck/shoulder/arm, 50, 52
waist/hip/breeches, 52
waist/hip/skirt, 50
Caftan, 36
Caligula, 48
Canions, 80, 84
Canson papers, 18
Cap sleeve, 118, 122
Capes, 30, 40, 44, 50, 52, 72, 80, 88, 92
Caps, 42, 62, 86, 94, 140
billed, 128, 132, 136, 144, 152, 156
coil, 48, 56, 60, 64, 70
mob, 98, 102
stocking, 40, 52
Cardigan neckline, 96, 100
Cartridge pleating, 64, 68, 76, 88, 118
Casual wear, 146, 148
Cat’s whiskers, 96
Caul, 62
Cavalier 1620–1660, 86–89
footwear, 86, 88
headdress/hair, 86, 88
neck/shoulder/arm, 86, 88
waist/hip/breeches, 88
waist/hip/skirt, 86
Chain belts and necklaces, 74, 76
Chaperon, 64, 68
Chemise, 54, 56, 70, 74, 102, 106, 110
Chemise dress, 150
Chemise shirt, 72
Chest, padded, 116
Chesterfield coat, 128
Chiffon rendering, 25
Chignon, 34, 42, 50, 70, 106, 110, 118, 122, 126
Chikfs face, 7
Chiton, 38, 40, 42, 44
Chlamys, 44
Choker pearls, 130
Chroma, 20
Circlet headband, 48, 50, 54, 56
Classic Greek 480 B.C.–A.D. 146, 42–45
footwear, 42, 44
headdress/hair, 42, 44
neck/shoulder/arm, 42, 44
waist/hip/hem/leg, 42, 44
Clavi, 46, 48, 50
Cloaks, 48, 56, 60
Cloche hat, 138, 150
Clocks, 84, 106
Clogs, 48, 54, 56, 62, 64, 66, 68
Clutch purse, 142
Coal scuttle bonnet, 106
Coats, 146
with cardigan neckline, 96, 100
Chesterfield, 128
cutaway, frock, morning, and tail, 108, 112, 116, 120, 124, 128, 132
Codpiece, 72, 76, 80
Coif, 48, 56, 60, 64, 70
Collars, 12, 66, 68, 90
button-down, 152
falling-band, 86, 88
flat, 104, 120, 124
 high, 62, 64, 108, 112, 116, 122, 124, 126, 128, 130, 132, 134, 136
mandarin, 76
rabat, 92
ruff, 78
two-point, 112
whisk, 82, 84
wide, 30, 32, 50
wing-tip, 128, 132, 140
Color, 20–22, 28
changing, 22, 28
computers and changing of, 28
definitions of, 22
learning to see, 20–22
in light, 22
Complements and color usage, 21–22
Computer aids for costume rendering, 27–29
approaches to, 27
background, 27
color changes, 28
face, 27
lettering, 28
makeup, 28
personalizing your sketch, 28
pose, 27–28
special effects, 28
Cope, 52
Corseting, 74, 102, 106, 122, 130, 134
for hourglass look, 114, 116, 118
for V-shape, 78, 82, 86, 90, 94
Costume budget, 158
Costume jewelry, 138
Costume sketches, 158
Cote, 58, 60, 62, 64
Country dress, 104, 124, 132, 134
Court dress, 112
Court gown, 102
Cravat, 72, 96, 104, 112, 120, 124
Creating a portfolio, 158–161
budget/prices, 158
costume sketches, 158
goal of, 158
number of pieces, 158
overview, 158
photographs, 158–159
practice, 159
presentation, 159
research, 159
swatches for, 158
variety, 158
Crepe rendering, 25
Crespinette, 62
Crinoline 1840–1868, 118–121
footwear, 118, 120
headdress/hair, 118, 120
neck/shoulder/arm, 118, 120
waist/hip/skirt, 118
waist/hip/trousers, 120
Cross-garters, 84
Cross-lacing, 56
Crowns, 32, 50, 52
Cuffs, 54, 56, 82, 92, 96, 108
matching, 84, 86, 88, 100
trouser, 132, 136, 140, 144, 148, 152
Culottes, 92, 108
Curves and drawing, 12
Cutaway coat, 108, 112
Cyclas, 60

Daggers, 72, 80
Dagging, 64
D’Arches paper, 18
Darts, 146
Daytime dress, 110, 114, 116, 120, 122, 126
formal, 132, 136, 140
Décolletage, 98
Derby, 124, 128, 132, 136, 140
Design versatility, 158
Details, rendering, 12–16
of hems, 13
mistakes in, 14
and movement, 12
of necklines, 12
with pencils, 17
of sleeves, 12
of waist, 12
Devil’s Disciple, 16
Diadems, 34, 38
Dior “new look,” 146
Directoire 1790–1799, 106–109
footwear, 106, 108
 headdress/hair, 106, 108
neck/shoulder/arm, 106, 108
waist/hip/breeches, 108
waist/hip/skirt, 106
Double-belting, 42, 44
Doublet, 68, 72, 76, 80, 84, 88
pourpoint, 68
Drapes, 34
Draping, 38, 40, 42, 44, 46, 48, 50, 56
Drawing file, 19
Drawing pencils, 17
Dresses, 134, 138, 142, 146, 150, 154
A-line, 150, 154
kimono-style, 134

Early Gothic 1200–1325, 58–61

footwear, 58, 60
headdress/hair, 58, 60
neck/shoulder/arm, 58, 60
waist/hip/skirt, 58, 60
Early Renaissance (Italian) 1485–1520, 70–73
footwear, 70, 72
headdress/hair, 70, 72
neck/shoulder/arm, 70, 72
waist/hip/hose, 72
waist/hip/skirt, 70
Earrings, 30, 34, 36, 46, 94, 138
Ears
placement in drawings of, 8
side view of, 9
Edwardian 1900–1909, 130–133
footwear, 130, 132
headdress/hair, 130, 132
neck/shoulder/arm, 130, 132
waist/hip/skirt, 130
waist/hip/trousers, 132
Egyptian: 3100–30 B.C., 30–33
footwear, 30, 32
headdress/hair, 30, 32
neck/shoulder/arm, 30, 32
waist/hip/skirt, 30, 32
Elements of Color, The (Itten), 20, 21
Elizabethan 1560–1590, 78–81
footwear, 78, 80
headdress/hair, 78, 80
neck/shoulder/arm, 78, 80
waist/hip/breeches, 76
waist/hip/skirt, 78
Empire 1800–1815, 110–113
footwear, 110, 112
headdress/hair, 110, 112
neck/shoulder/arm, 110, 112
waist/hip/skirt, 110
waist/hip/trousers, 112
Empire gown, 110
Escarpins, 110, 112, 114
Escoffion, 62
Evening dress
gowns, 122, 130, 134, 146, 150
hairstyles, 110, 114, 118, 134
 hats, 116, 120, 136, 140
shoes, 118, 120, 124, 126, 130, 132, 134, 142
Eyes, 8
male versus female, 8

Fabric(s)
bias-cut, 104, 138, 142
brocade, 52, 68, 84, 90, 104
crepe, 142, 146
drawing patterns on, 13
embroidered, 52, 84, 154, 156
knitted, 56
linen, 30
matching, 102
movement of, 12, 14
puffs of, 78
rendering of, 23–26
sheer, 30, 44
swatches of, 158
twill, 104
Face, 7–9
child versus adult, 7
clean-shaven, 44, 48, 72
computer and, 27
male versus female, 7
mouth, 9
square diagram and regularity of, 7
youthful versus aging, 8
Face powder, 98
Fans, 78, 94
Farthingale, 78, 82
Feathers, 76, 84, 86, 88, 96, 106, 134
Fedora, 132, 140, 142, 144, 146, 148, 152, 156
Feet. See also Footwear
bare, 11, 30, 32, 38, 40, 42, 44
with shoes, 11
small, 126
Felt-tip pens, 18
Fez, 36, 150
Fibulae, 38, 40, 42, 44, 46
Fichu, 102, 106
Figure, 1–6
back view, 2
muscle structure, 4
profile view, 3
relaxed, 6
skeletal structure, 5
standing, 1
Fillet headband, 38, 40, 44, 54, 56
Flammeum, 46, 50
Flesh tones, 18
Floor, 15, 16
“Flower children,” 154
Folds, 12–13
organ-pipe, 64, 68
Fontanges headdress, 94
Footwear
1890s, 126, 128
1920s, 138, 140
1930s, 142, 144
 1940s, 146, 148
1950s, 150, 152
1960s, 154, 156
Archaic Greek (800–480 B.C.), 38, 40
Baroque (1680–1715), 94, 96
Biblical (1250–333 B.C.), 34, 36
Bustle (1868–1890), 122, 124
Byzantine (324–1453), 50, 52
Cavalier (1620–1660), 86, 88
Classic Greek (480 B.C.–A.D. 146), 42, 44
Crinoline (1840–1868), 118, 120
Directoire (1790–1799), 106, 108
Early Gothic (1200–1325), 58, 60
Early Renaissance (1485–1520), 70, 72
Edwardian (1900–1909), 130, 132
Egyptian (3100–30 B.C.), 30, 32
Elizabethan (1560–1590), 78, 80
Empire (1800–1815), 110, 112
Late Elizabethan and Jacobean (1590–1620), 82, 84
Late Gothic (1425–1485), 66, 68
Late Renaissance (1485–1520), 74, 76
Middle Gothic (1325–1425), 62, 64
Neoclassic (1775–1789), 102, 104
Restoration (1660–1680), 90, 92
Rococo (1715–1774), 98, 100
Roman (753 B.C.–A.D. 476), 46, 48
Romanesque (900–1200), 54, 56
Romantic (1815–1848), 114, 116
teens (1910–1919), 134, 136
Forehead, high, 78
Formal dress, 86, 88, 120, 128, 132, 136, 140
Four-in-hand tie, 128, 136, 140
Fringes, 34
Frock coat, 108, 116, 120, 124, 128, 132
Fur
greatcoat and usage of, 76
lapels, 76
lining, 68, 76
plastron of, 62
rendering, 26

Gainsborough look, 102

Gaiters, 124, 128, 132
Garters, 76, 92, 96
Gathers, 13, 76, 88, 102, 118
Gibson’s influence on hair, Charles Dana, 126, 130
Girdle, 134, 146
Gloves, 76, 78, 80, 84, 88, 92, 94, 96, 100, 106, 110, 130, 142
Golfing dress, 128, 136
Gores, 66, 126, 130, 146
Gorget, 54, 58, 62
Gothic
early, 58–61
late, 66–69
middle, 62–65
Gouache watercolors, 17, 18
Gowns, 70, 76, 90, 98, 106, 110
polonaise, 102
princess-line, 58, 62
redingote, 102
Greatcoat, 76
Greek
480 B.C.–A.D. 146 Classic, 42–45
800–480 B.C. Archaic, 38–41
Grumbacher
brushes, 19
color wheel, 19
watercolor set, 17

Hair, drawing of, 9. See also Headdress/hair

artificial, 46, 122
in bag or net, 70, 100
bangs, 48, 72, 86, 88, 108, 110, 112, 122
beehive style, 154
bleached, 70
blond, 70
bobbed or shingled, 138
bouffant style, 154
braided, 46, 48, 54, 62
in bun, 34, 42, 50, 54, 78, 86, 94, 134, 142, 146
center-parted, 42, 74, 90, 92, 114, 116, 118, 120, 128, 144
in chignon, 34, 42, 46, 50, 70, 106, 110, 118, 122, 126
crew cut, 152
curled, 34, 36, 38, 40, 46, 82, 86, 88, 90, 102, 110, 114, 116, 126, 152
ear-length, 56, 60, 64, 68, 124
English and French styles, 102
evening styles, 110, 114, 118, 134
feathered, 48
finger curls and waves, 94, 102, 118, 142
fringed, 70
 geometric style, 154
layered, 44, 72, 88, 90, 106, 150
long, 38, 70, 92, 150
natural- and casual-looking, 56, 84, 88, 90, 106
pageboy cut, 52, 146
in pigtail, 104
plucked, 66
in pompadour, 130
in ponytail, 100, 104, 150
poodle cut, 150
powdered, 98, 100, 102
in ringlets, 86, 90, 106, 110, 118, 122
rolled, 40, 50, 78, 100, 134, 142, 146, 150
short, 44, 76, 80, 106, 138, 140, 142, 144, 148, 150, 156
shoulder-length, 34, 36, 40, 56, 60, 68, 72, 88, 100, 156
side-parted, 76, 116, 120, 128, 132, 136, 140, 142, 144, 146, 148, 152,
156
slicked down, 140, 144
swept up or back, 78, 82, 86, 126, 130, 134, 142, 146
teased, 108, 112, 154
in topknot, 134
in twist, 134
waved, 38, 40, 42, 46, 116
wind-blown look, 108, 112
Hands, drawings of, 10
Hats, 12, 36, 60, 78, 122
beaver, 82, 84, 88
bicorne, 104, 108, 112
boater, 124, 126, 128, 130, 136, 140
bowler, 120, 124, 128
 business, 130, 132, 136, 140, 152
cloche, 138, 150
derby, 124, 128, 132, 136, 140
evening, 116, 120, 136, 140
fedora, 132, 140, 142, 144, 146, 148, 152, 156
formal, 128, 132, 136, 140
“helmet”-style, 154
Homburg, 128, 136
hunting, 64
informal, 120, 128
leghorn, 118
Panama, 128, 136
petasos, 40, 44, 48, 52
picture, 118, 126, 130, 138, 150
pillbox, 150, 154
sporting, 132, 136, 140, 144
steeple, 68, 92
steeple-crown, 104, 106, 108
stovepipe, 120
straw, 48, 98, 106, 110, 118, 124, 126, 128, 130, 136, 140, 146
sugarloaf, 68
top, 112, 116, 120, 124, 128, 132, 136, 140
tricorne, 100, 104
turban, 64, 106, 110, 114, 134, 146, 150
wide-brimmed, 72, 86, 88, 96, 102
Head, 7–9
front view, 7, 8
and hat, 12
profile, 8
shaved, 30, 32
Headbands, 30, 32, 34, 36, 70
circlet, 48, 50, 54, 56
fillet, 38, 40, 44, 54, 56
tiara-shaped, 52, 46, 50
Headdress/hair
1890s, 126, 128
1920s, 138, 140
1930s, 142, 144
1940s, 146, 148
1950s, 150, 152
1960s, 154, 156
Archaic Greek (800–480 B.C.), 38, 40
Baroque (1680–1715), 84, 96
Biblical (1250–333 B.C.), 34, 36
Bustle (1868–1890), 122, 124
Byzantine (324–1453), 50, 52
Cavalier (1620–1660), 86, 88
Classic Greek (480 B.C.–A.D. 146), 42, 44
Crinoline (1840–1868), 118, 120
Directoire (1790–1799), 106, 108
Early Gothic (1200–1325), 58, 60
Early Renaissance (1485–1520), 70, 72
Edwardian (1900–1909), 130, 132
Egyptian (3100–30 B.C.), 30, 32
Elizanbethan (1560–1590), 78, 80
Empire (1800–1815), 110, 112
Late Elizabethan and Jacobean (1590–1620), 82, 84
Late Gothic (1425–1485), 66, 68
Late Renaissance (1485–1520), 74, 76
Middle Gothic (1325–1425), 62, 64
 Neoclassic (1775–1789), 102, 104
Restoration (1660–1680), 90, 92
Rococo (1715–1774), 98, 100
Roman (753 B.C.–A.D. 476), 46, 48
Romanesque (900–1200), 54, 56
Romantic (1815–1848), 114, 116
teens (1910–1919), 134, 136
Hebrew dress, 34, 36
Helmets, 32, 36, 40, 44, 48
Hem, 34, 40, 138
Hemline drawings, 13, 48, 50, 56, 110, 138, 146, 154
Hennins, 66, 68
Highlights, 13, 14, 17, 18
Himation, 38, 40, 42, 44
Hip hugger fashions, 154
Hip pad, 90, 102, 116
Hip roll, 70, 74, 78, 90, 102, 106
Hippie styles, 156
Hips, 126, 134, 138, 142, 146
H.M.S. Pinafore, 159, 160
Hobble skirt, 134
Homburg, 128, 136
Hoods, 46, 48, 52, 56, 60, 64, 74, 90, 146
Hook fasteners, 114, 142
Hoops, 78, 102, 118
Hose, 48, 50, 52, 56, 60, 62, 64, 68, 80, 84
Houppelande, 62, 64
Hourglass look, 114, 116, 118, 150
How clothes fit the body and basic figure, 1–16
backgrounds and/or flooring use in drawings, 14, 15–16
 common drawing mistakes for, 14
correct proportions diagrams, 1–4
detailed drawings for creating realistic clothing on human body, 12–16
muscle diagrams of male versus female, 4
S curve of relaxed body, 6
use of shadows when drawing, 14–15
Hue, 20–21
Hunting dress, 64, 124, 128

Informal dress, 120, 128, 144

Inks, 17
Interaction of Color (Albers), 22
Itten, Johannes, 20, 21, 22

Jabot, 100
Jackets, 88, 102, 122, 134, 136, 148
bolero, 92
Norfolk, 124, 128, 132
sport, 140, 144, 152
Japanese brush, 19
Jawline placement in drawings, 8
Jeans, 152, 154, 156
Jerkin, 72
Jewelry, 46
anklets, 30
around waist, 74
bracelets, 30, 34, 46, 90, 94, 106
brooch, 44
collars with, 32, 50, 82
costume, 138
 crowns, 50
earrings, 46, 50, 90, 94
fabrics adorned with, 62, 68, 72, 74, 76, 80, 82, 84
headdress with, 62, 68, 72, 74, 76, 80, 82, 84
necklace, 34, 66, 76, 78, 90, 94, 106, 130, 138
pins, 78
rings, 78, 106
Jockey bonnet, 110
Juliet cap, 70

Kalasiris, 30
Kennedy, Jackie, 154
Kilt, 92
Kimono, 134
Knee breeches, 92, 96, 104, 112, 124, 128
Knee socks, 124, 132
Knickers, 128, 132, 140, 144
Kolpos, 42, 44

Lacing, 48, 54, 56

Lampshade skirt, 134
Lapels, 112, 124, 142
medium, 132, 136, 140, 144, 156
narrow, 140, 150, 152
wide, 102, 108, 120, 146
Lapits, 48, 78
Late Elizabethan and Jacobean 1590–1620, 82–85
footwear, 82, 84
headdress/hair, 82, 84
neck/shoulder/arm, 82, 84
 waist/hip/breeches, 84
waist/hip/skirt, 82
Late Gothic 1425–1485, 66–69
footwear, 66, 68
headdress/hair, 66, 68
neck/shoulder/arm, 66, 68
waist/hip/hose, 68
waist/hip/skirt, 66
Late Renaissance 1520–1560, 74–77
footwear, 74, 76
headdress/hair, 74, 76
neck/shoulder/arm, 74, 76
waist/hip/skirt, 74, 76
Laurel wreath, 48
Layering, 42, 44
Learning to see color, 20–22
changing color, 22
color in light, 22
complements and, 21–22
definitions, 22
distance and, 21
hue, 22
qualities of, 20
saturation and, 21
simultaneous contrast and, 22
summary of, 22
value and, 21
warm/cool color usage, 22
Leghorn straw picture hat, 118
Legs, bare, 48
Lettering on sketches and computers, 28
Light table, 19
Linen, 30
Lip makeup, 46, 98
Liripipe, 56, 60, 64
Loafers, 144, 150, 152
Loincloth, 32
Lorica, 40, 48
Louis heel, 130

Makeup, 46, 98
and computer rendering, 28, 29
and Rococo period, 98
Manners and protocol, 96
Mantles, 48, 52, 56, 60
Marie Antoinette’s influence, 102
Materials and technique, 17–19
brushes, 19
drawing file, 19
felt-tip pens, 18
inks, 17
light table, 19
papers, 18–19
pencils, 17
watercolors, 17–18
watercolor pencils, 18
Matisse as example of complementary color balance, 22
Middle classes, 104
Middle Gothic 1325–1425, 62–65
footwear, 62, 64
 headdress/hair, 62, 64
neck/shoulder/arm, 62, 64
waist/hip/hose, 64
waist/hip/skirt, 62
Military dress, 32, 36, 40, 44, 48, 104, 116, 148
Miniskirt, 154
Mistakes common in drawings, 14
Mob cap, 98, 102
Morning coats, 124, 128, 132
Mourning, 48
Mouth, drawing of, 9
Muscle structure diagrams of male versus female, 4
Mustaches, 52, 56, 60, 80, 132
small, 84, 88, 92, 128
trimmed, 76, 124

Natural body shape, 154

Neck/shoulder/arm
1890s, 126, 128
1920s, 138, 140
1930s, 142, 144
1940s, 146, 148
1950s, 150, 152
1960s, 154, 156
Archaic Greek (800–480 B.C.), 38, 40
Neck/shoulder/arm
Baroque (1680–1715), 94, 96
Biblical (1250–333 B.C.), 34, 36
Bustle (1868–1890), 122, 124
Byzantine (324–1453), 50, 52
 Cavalier (1620–1660), 86, 88
Classic Greek (480 B.C.–A.D. 146), 42, 44
Crinoline (1840–1868), 118, 120
Directoire (1790–1799), 106, 108
Early Gothic (1200–1325), 58, 60
Early Renaissance (1485–1520), 70, 72
Edwardian (1900–1909), 130, 132
Egyptian an (3100–30 B.C.), 30, 32
Elizabethan (1560–1590), 78, 80
Empire (1800–1815), 110, 112
Late Elizabethan and Jacobean (1590–1620), 82, 84
Late Gothic (1425–1485), 66, 68
Late Renaissance (1485–1520), 74, 76
Middle Gothic (1325–1425), 62, 64
Neoclassic (1775–1789), 102, 104
Restoration (1660–1680), 90, 92
Rococo (1715–1774), 98, 100
Roman (753 B.C.–A.D. 476), 46, 48
Romanesque (900–1200), 54, 56
Romantic (1815–1848), 114, 116
teens (1910–1919), 134, 136
Neckband, 72, 100
collar, 68
shirt, 108, 128
Necklaces, 34, 66, 76, 94
Neckline, 12
cardigan, 96, 100
daytime and evening, 118, 126
high, 78, 82, 86, 118
keyhole, 54, 56
 laced, 54, 110
low, 82, 86, 90, 102, 118, 130
round, 34, 36, 38, 48, 50, 52, 54, 56, 60, 62, 70, 72, 86, 90, 100, 102,
110, 114, 118, 126, 138, 142, 154
soft, 42, 44, 48, 98, 134, 154
square, 70, 74, 78, 94, 98
V-shaped, 66, 110, 122, 126, 138, 142
Neckstock, 96, 104, 108, 116
Nehru jacket, 156
Neoclassic 1775–1789, 102–105
footwear, 102, 104
headdress/hair, 102, 104
neck/shoulder/arm, 102, 104
waist/hip/breeches, 104
waist/hip/skirt, 102
Norfolk jacket, 124, 128, 132
Nose, drawing of, 8, 9

Once Upon a Mattress, 160

Order, 76
Organ-pipe folds, 64, 68
Outdoor wear, 130, 144
Overcoats, 128
Overdrape, 46
Overgarments, 48
Overskirt, 78, 94, 98, 102
Oversleeves, 78
Oxford bags, 140
Oxfords, 128, 134, 136, 144, 148, 156
Padding
breeches, 80
chest, 116
headdress, 62
hips, 90, 102, 116
short hose, 84
shoulder, 112, 124, 132, 136, 140, 142, 144, 146, 148, 152, 156
sleeves, 76
Pageboy hairstyle, 52, 146
Pagoda or funnel-shaped, 118
Paints, mixing, 17ñ18
Palla, 46
Pallium, 48, 50
Panama hat, 128, 136
Panes, 80
Pannier, 98
Pantaloons, 112
Pants. See breeches; trousers
Paper size, 18
Papers for sketches, 18–19
Pattens, 48, 54, 56, 62, 64, 66, 68
Patterning
men’s clothes, 36, 40, 72, 88, 108, 128, 136, 144, 148
rendering, 13, 18
women’s clothes, 30, 34, 38, 154
Pelikan watercolors, 17
Pencils, 17
watercolor, 18
Pens, 17
felt-tip, 18
Peplum, 68, 80, 86, 88
Perfumed oil cones, 30
Period silhouette creating (3000 B.C.–1969 A.D.), 30–157
Persian dress, 34, 36
Personalizing your sketch and the computer, 28
Petasos, 40, 44, 48
Petticoat breeches, 92
Petticoats, 70, 74, 78, 82, 86, 102, 106, 114, 118
Phrygian cap, 40, 52
Picture hat, 118, 126, 130, 138, 150
Pigtails, 104
Pillbox hat, 150, 154
Plastron, 62
Pleats, 17, 30, 32, 44
cartridge, 64, 68, 76, 88, 118
Watteau, 98
Plus fours, 140
Pockets, decorative, 96
Points, 70, 72
Poke bonnet, 106, 110, 114
Polonaise gown, 102
Pomanders, 74
Pompadour, 130
Poncho, 48
Ponytails, 100, 104, 150
Pool wear, 142, 144
Portfolio creation, 158–161
budget/prices, 158
costume sketches, 158
goal of, 158
 number of pieces, 158
overview, 158
photographs, 158–159
practice, 159
presentation, 159
research, 159
swatches for, 158
variety, 158
Pose and computer altering, 27–28
Pouch, 72
Poulaines, 62, 64, 68
Pourpoint, 68
Princess-line gown, 58, 62
Prismacolor pencils, 17
Profile
head, 8
standing figure, 3
Proportions diagrams, correct, 1–4
Pumps, 102, 112, 122, 130, 142, 154
evening, 118, 124, 132
flat-heeled, 100, 104
high-heeled, 146, 150
low-cut, 116, 120, 128, 134, 138
Puritan dress, 92
Purses, 76, 142

Rabat, 92
Recreational wear, 144
Redingote, 102
Relaxed body and S curve, 6
Rembrandt as example of value and color, 21
Renaissance
early, 70–73
late, 74–77
Rendering details, 12–16
Rendering fabrics, 23–26
chiffon, 25
crepe, 25
fur, 26
satin, 23
velvet, 24
Restoration 1660–1680, 90–93
footwear, 90, 92
headdress/hair, 90, 92
neck/shoulder/arm, 90, 92
waist/hip/breeches, 92
waist/hip/skirt, 90
Rib cage, flat, 126
Ribbon, 88, 90, 96
Riding boots, 84, 100, 104, 116, 128
Riding dress, 84, 86, 88, 104
Robes, 30, 32, 36, 60, 64, 76, 106
Rochet jacket, 92
Rococo 1715–1774, 98–101
footwear, 98, 100
headdress/hair, 98, 100
neck/shoulder/arm, 98, 100
waist/hip/breeches, 100
waist/hip/skirt, 98
Roll bolster, 86, 114
Roman 753 B.C.–A.D. 476, 46–49
footwear, 46, 48
headdress/hair, 46, 48
neck/shoulder/arm, 46, 48
waist/hip/leg, 48
waist/hip/skirt, 46
Romanesque 900–1200, 54–57
footwear, 54, 56
headdress/hair, 54, 56
neck/shoulder/arm, 54, 56
waist/hip/skirt, 54, 56
Romantic 1815–1848, 114–117
footwear, 114, 116
headdress/hair, 114, 116
neck/shoulder/arm, 114, 116
waist/hip/skirt, 114
waist/hip/trousers, 116
Rouge, 98
Round hose, 80, 84
Roundel, 62, 64, 66, 68
Ruff, 78, 80, 82, 98
Ruffles or gathers, 74, 90, 92, 98, 100, 102, 110, 118, 124, 126
drawing, 13

S curve, 6
Sack suit, 124, 128, 132
Saddle shoes, 152
Sailor hat, 134
Samites, 52
Sandals
 for men, 32, 36, 40, 44, 48, 144, 148
for women, 30, 34, 38, 42, 46, 142, 146, 154
Sashes, 106
Satin rendering, 23
Saturation of color, 21
Scarves, 36, 42, 54, 102, 106, 142, 144
Schenti, 32
Seams, 48, 54, 60
Segmentae, 50, 52
Selvages, 44
Shade, 18, 20
Shadow usage when drawing, 14–15
Shawls, 32, 34, 36, 38, 50
Sheath, 30
Shirts, 96, 100, 104, 112, 116, 120, 132, 136, 140
full, 72, 76
neckband, 108, 128
patterned, 128, 148, 152, 156
short-sleeved, 144, 148
Shirtwaist blouse, 134
Shoe bows, 80, 92, 96, 112, 130
Shoe buckles, 96, 102, 104
Shoe roses, 78, 82, 84, 88
Shoes, 11, 80, 102, 104, 110, 112
buttoned, 60, 118, 120, 124, 126, 130, 132
flat, 54, 56, 60, 62, 66, 72, 150
French-heeled, 90, 94, 138
high-heeled, 88, 90, 94, 98, 118, 126, 138
high-tongued, 90, 92, 94, 96
high-top, 118, 122, 124, 126, 128, 130, 132, 134, 136
 laced, 54, 56, 60, 62, 70, 72, 106, 118, 120, 124, 126, 130, 132, 140,
144
loafers, 144, 150, 152
low-cut, 108, 130
open-toed, 142, 146
oxfords, 128, 134, 136, 144, 148, 156
pointed-toe, 60, 62, 64, 66, 68, 98, 130, 152
poulaines, 62, 64
round-toed, 54, 56, 72, 88, 118, 142, 146, 154
slip-on, 34, 144, 152
square-heeled, 92, 96, 154
square-toed, 76, 96
strapped, 70, 138
tennis, 140, 144, 150, 152
two-tone, 140, 142, 144
walking, 138, 146
work, 128, 140
Shoulder crescents, 78, 80, 82, 84, 88
Shoulder line
bare, 150
dropped, 114
natural, 32, 36, 42, 48, 92, 104, 108
round and soft, 34, 38, 42, 44, 50, 52, 54, 56, 60, 62, 70, 86, 90, 118,
134, 138, 142, 146, 154
smocked, 76
square, 64, 124, 126, 128
wide, 68, 78, 144, 148
Shoulder padding, 112, 124, 132, 136, 140, 142, 144, 146, 148, 152, 156
Sideburns, 116, 120, 124, 152
Skeleton, 5
Skirts
ankle-length, 48, 56, 70, 102, 124, 134
bell-shaped or half-circle, 114, 118
bustle, 122
calf-length, 102, 134, 138, 142, 146, 150
cartridge-pleated, 76, 110, 118
crinoline, 110, 118, 150
Egyptian, 30, 32
flared, 48, 54, 74, 126, 130, 134, 142, 146, 150
flat-fronted, 110, 122
floor-length, 48, 70, 82, 86, 90, 102, 114, 118
full, 48, 62, 86, 118, 150
gored, 66, 126, 130, 146
hobble, 134
hooped, 102, 118
kilt-type, 92
knee-length, 56, 76, 138
lampshade, 134
mini-, 154
pannier-supported, 98
pleated, 70, 74, 86, 90, 126, 138
straight, 134, 146
trains, 62, 64, 66, 74, 86, 90, 98, 118, 122, 126, 130
tubular, 122
Skullcap, 60
Slacks, 148, 154, 156
Slashing, 74, 76, 80, 86, 88
Sleeve effect, 38, 44
Sleeveless fashions, 122, 138, 150, 154
Sleeves, 12
 bell-shaped, 34, 36, 54, 56, 62, 64, 78
cap, 118, 122
crinoline, 114, 126
cuffed, 54, 56, 66, 74, 82, 100
curved, 132
dolman, 56, 134
fitted and semifitted, 54, 60, 62, 66, 78, 82, 96, 98, 102, 110, 112, 118,
120, 122, 142
flared, 36, 50, 54, 74, 118, 126
full and semifull, 72, 88, 100, 126
hanging, 78, 82
inner, 74, 94, 114
laced into bodice, 70, 72
leg-of-mutton, 116, 126
narrow, 36, 100, 106, 128, 130, 150
pagoda or funnel-shaped, 118
puffed, 68, 70, 74, 76, 82, 86, 88, 90, 110, 114, 118, 126, 130, 142
ruffled, 74, 90, 98, 100, 102, 122
short, 94, 110, 114, 126, 138, 150, 154
slashed, 70, 74, 86, 88
straight, 34, 50, 52, 108, 120, 124, 138, 140, 142, 144, 146
tapered, 82, 114, 142
two-piece, 70, 72, 122
with vent and buttons, 140, 144
Slippers, 106, 116, 150
in Biblical period, 34, 36
in Byzantine period, 50, 52
in Elizabethan period, 78, 80, 82, 84
escarpins, 110, 112, 114
French-heeled, 84, 86
 laced, 48, 56, 114
in Renaissance period, 70, 74
Slops, 92
Snoods, 70, 146
Solitaire, 100
Spats, 124, 128, 132, 134
Special effects and computers, 28
Spectator shoes, 148
Sport jackets, 140, 144, 152
Sport shirts, 144
Sportswear, 128, 132, 134, 136, 140, 142, 144, 146, 152
Standing figure, 1–6
back view, 2
grounding, 14, 15
profile view, 3
relaxed, 6
Steeple-crown hat, 104, 106, 108
Steeple hat, 68, 92
Steinkirk, 96
Stephanie, 38, 42, 46
Stocking cap, 40, 52
Stockings
men’s, 36, 80, 84, 88, 92, 96, 100, 104, 108, 116, 128
women’s, 54, 66, 70, 86, 94, 102, 106, 110, 114, 122, 134, 138, 142,
150, 154
Stola, 46
Stoles, 34
Stomacher, 90, 94, 98
Stovepipe hat, 120
Straw hats, 98, 106, 110, 146
 boater, 124, 126, 128, 130, 136, 140
leghorn, 118
Panama, 128, 136
petasos, 40, 44, 48, 52
Suits
men’s, 124, 136, 140, 144, 148, 152, 156
women’s, 134, 142, 146, 150, 154
Summer wear, 136, 144, 148
Sun bonnet, 114
Surcotes, 60, 62, 64
Suspenders, 128, 132
Swags, 102
Sweater, turtle- or polo-neck, 144
Swimsuit, two-piece, 142
Swords, 80, 88

Tabard, 60
Tablion, 52
Tabs, 78, 84, 86, 88
Tail coats, 116, 120, 124, 128
Tailored look, 142, 146
Tassels, 34
Teens 1910–1919, 134–137
footwear, 134, 136
headdress/hair, 134, 136
neck/shoulder/arm, 134, 136
waist/hip/skirt, 134
waist/hip/trousers, 136
Tennis shoes, 140, 144, 150, 152
Texture, 18
Three-dimensional effect, 14, 17
Three Sisters, The, 159
Tiara, 42, 46, 50
Ties, 156
bow, 72, 96, 100, 128, 132, 134, 140, 148
four-in-hand, 128, 136, 140
knit, 152
Windsor, 132, 134, 136, 144
Tights, 72, 76, 154
Tint, 18, 20
Toga, 48
Top hat, 112, 116, 120, 124, 128, 132, 136, 140
Toque, 48, 134
Torso, 54, 56, 138
Trains, 62, 64, 66, 72, 86, 90, 94, 118, 122, 126, 130
Transparent colors, 18
Trapeze dress, 150
Travel dress, 40, 48
Tricorne hat, 100, 104
Trouser straps, 112, 116
Trousers, 52, 56, 112, 120, 124
bell-bottoms, 116, 154, 156
creased, 128, 132, 136, 140
cuffed, 132, 136, 140, 144, 148, 152
Oxford bags, 140
pleated, 116, 140, 144, 148
Tunic, 32, 34, 36, 54, 56
Tunica, 48, 50, 52
Turbans, 64, 106, 110, 114, 134, 146, 150
Turtleneck sweater, 144
Twill, 104

Undergarments, 70, 74, 106

Underskirt, 74, 78, 90, 94, 98, 102, 106
University Resident Theater Association (URTA), 158

Value and color, 21

Veil, 38, 46, 48, 50, 54, 62
Velvet, 68
rendering, 24
Venetians, 84
Vents, 96, 156
Vests, 76, 96, 104, 108, 132, 136, 140, 144
beaded, embroidered, and fringed, 154, 156
jerkin, 72
Vulture headdress, 30, 32

Waist, 12
Waist cincher, 116
Waist/hip/breeches
Baroque (1680–1715), 96
Byzantine (324–1453), 52
Cavalier (1620–1660), 88
Directoire (1790–1799), 108
Elizabethan (1560–1590), 80
Late Elizabethan and Jacobean (1590–1620), 84
Neoclassic (1775–1789), 104
Restoration (1660–1680), 92
Rococo (1715–1774), 100
Waist/hip/hem Classic Greek (480 B.C.–A.D. 146), 42
Waist/hip/hose
Early Renaissance (1485–1520), 72
Late Gothic (1425–1485), 68
Middle Gothic (1325–1425), 64
Waist/hip/leg
Classic Greek (480 B.C.–A.D. 146), 44
Roman (753 B.C.–A.D. 476), 48
Waist/hip/skirt
1890s, 128
1920s, 138
1930s, 142
1940s, 146
1950s, 152
Archaic Greek (800–480 B.C.), 38, 40
Baroque (1680–1715), 94
Biblical (1250–333 B.C.), 34, 36
Bustle (1868–1890), 122
Byzantine (324–1453), 50
Cavalier (1620–1660), 86
Crinoline (1840–1868), 118
Directoire (1790–1799), 106
Early Gothic (1200–1325), 58, 60
Early Renaissance (1485–1520), 70
Edwardian (1900–1909), 130
Egyptian (3100–30 B.C.), 30, 32
Elizabethan (1560–1590), 78
Empire (1800–1815), 110
Late Elizabethan and Jacobean (1590–1620), 82, 84
Late Gothic (1425–1485), 66
Late Renaissance (1520–1560), 74, 76
Waist/hip/skirt
Middle Gothic (1325–1425), 62, 64
Neoclassic (1775–1789), 102
Restoration (1660–1680), 90
Rococo (1715–1774), 98
Roman (753 B.C.–A.D. 476), 46
Romanesque (900–1200), 54, 56
Romantic (1815–1848), 114
Teens (1910–1919), 134
Waist/hip/skirt/slacks in 1960s, 154
Waist/hip/trousers
1890s, 128
1920s, 140
1930s, 144
1940s, 148
1950s, 152
1960s, 156
Bustle (1868–1890), 124
Crinoline (1840–1868), 120
Edwardian (1900–1909), 132
Empire (1800–1815), 112
Romantic (1815–1848), 116
Teens (1910–1919) 136
Waistband, 78, 86
Waistcoats, 96, 100, 104, 112, 116, 120, 124, 128, 132, 144
Waistline, 78, 82, 84, 90, 94, 98, 102, 106, 130, 136
belted, 12, 34, 38, 40, 46, 48, 60, 64
corseted, 74, 86, 114, 116, 118, 126, 146, 150
dropped, 48, 54, 56, 62, 68, 120, 138, 154, 156
none, 150, 154
 raised, 66, 70, 88, 134, 142, 154
Waistline seam, 142
Walking shoes, 138, 146
Walking suits, 134
Watercolor pencils, 18
Water colors, 17–18
Watteau pleats, 98
Wellington boots, 120, 124
Whisk collar, 82, 84
Wig covers, 30, 32
Wigs
for men, 92, 96, 98, 100, 104, 108
powdered, 98, 104
for women, 98, 102, 106, 114
Wimple, 58, 62
Windsor Newton watercolors, 17
Windsor tie, 132, 134, 136, 144
Wings, 80, 82, 84
Winter wear, 144
Women’s dress, married and unmarried, 48, 70
Work dress, 48
Work shoes, 128, 140
“Working class” look, 102
World War I, 136
World War II, 146, 148
Wrist ruff, 78, 80
Wristbands, 32

Zipper fasteners, 142