Mary Langridge Professor Avila DES 143 23 January 2012 Contemporary Adaptation #1: The Ancient Middle East

(fig. 1) Faience Bead-net dress from Giza Egyptian, Old Kingdom, 2551-2528 B.C. Museum of Fine Arts, Boston

(fig. 2) Marios Schwab Swarovski Crystal Net overlay dress, Spring 2012 RTW Elle Magazine

Ancient Egyptian Bead-net Dress The bead-net dress in fig. 1 is from the Old Kingdom dating from 25512528 B.C. It features a pectoral neckpiece that functions as a collar and a triangle top that is banded under the breasts to connect a form-fitting fringed skirt. Bead-nets were made of faience, a brightly colored glazed powdered quartz (Lucas 155). The beads construct a pattern with diamond shaped spaces. The main purpose of the bead-net dress is unknown so it must be inferred. There is debate to whether the bead-net dress was ornamental or erotic. The garment rattled with movement. Prostitutes and dancers depicted in the Turin Erotic Papyrus wore hip slung shell girdles that also rattled with movement (Hall 64). In contrast, bead-net dresses represented in statuary and relief images are worn over linen sheath dresses to simulate patterned fabric. The bead-net dress would not have been an everyday garment. Only wealthy people who did not work would be able to wear such a heavy and fragile garment. Marios Schwabs Swarovski crystal net overlay dress pictured in fig. 2 is a modern take on the ancient Egyptian bead-net dress. The triangle lines on the breasts, the belted waist, rounded neck opening, and form-fitting silhouette mimic the lines in the bead-net dress. Instead of colorful faience beads, black and clear Swarovski crystals adorn this edgy dress. The same diamond pattern is used throughout both. Instead of fringe the bottom is severely chopped to reveal a raw edge. In our society this garment would be considered risqu if worn as is. There is a sheer layer of flesh-toned mesh fabric that exposes the chest and under garments. Most people do not have any use for a delicate see-through garment so Schwabs dress would be considered a status symbol in the same way that the expertly detailed Egyptian bead-net dress would have been.

Contemporary Adaptation #2: Greek/Roman

(fig.1) Statue of a Muse, Roman copy of Greek original, 130 CE Glyptothek Museum (Munich, Germany)

(fig. 2) Marchesha one-shouldered silk gown with beaded trim, Resort 2012 Elle Magazine

Greek Himation/Roman Palla The Romans borrowed many clothing styles from the Greeks. For example, the Roman Palla is an adaptation of the Greek Himation. This multi-use mantle style shawl was usually draped over a tunica style garment. It could be worn pulled over oneshoulder or worn over the head like a veil. Fig. 1 is a Roman copy of a Greek muse statue. In this statue the palla is worn over one shoulder, similar in style to the toga. The Roman palla was a very common, versatile, and simple garment. Wool was the most universal textile used for pallas but the quality of wool varied. Women of status would be able to afford finer and softer wool. Other than wool they could be made out of linen, cotton, or silk (fashion encyclopedia). It is impossible to determine what fabric the artist was trying to convey in the statue but one can only assume that it was a fine luxurious fabric reserved for a mythical muse. The Marchesa silk gown pictured in fig. 2 is very reminiscent of the Roman palla. It is worn over one shoulder in a similar way to the draped palla. One of the main differences in modern interpretations of the palla would be that there is no tunica or stola underneath. Both the palla in fig. 1 and the gown in fig. 2 are draped with the same semicircular, high-low hem towards the bottom. Fig. 2 is more tailored than fig. 1 because it is meant to be worn as a gown instead of just a shawl. Although not evident in fig 1, the beaded stripes that outline the dress seem to be borrowed from Roman clavi trim that adorned some mens garments. In contrast, to the everyday palla that was worn by all classes this Marchesa gown would not be available to many people. The Marchesa dress would be impractical for everyday wear and would be considered a status symbol.

Contemporary Adaptation #3: Middle Ages

(fig. 1) Purple Kirtle with Green Cotehardie Romance of Alexander, 14th Century Bodleian Library

(fig. 2) Valentino Haute Couture, Long-sleeved Black Velvet Inlay Gown, Fall 2011 Elle Magazine

Middle Ages Cote-hardie and Kirtle Gown Womens kirtle gowns would have been worn close to the body . . . through the torso and flaring out to a full skirt below (Tortora 155). The purple gown in fig. 1 features tight-fitting long sleeves with a button detail. The Gown is the least visible while the cote-hardie is the most noticeable of the two. The green cote-hardie pictured is shortsleeved so you can see the purple gown peeking out at the sleeves and near the hemline. Fabric was expensive so one of the reasons for having visible under layers would be to show off wealth. Another indicator of wealth would be a very long dress to show that you did not need to work. The woman depicted in this illustration seems to have a long gown so I would assume that she is moderately wealthy but not royal because her garment is not highly adorned. The Valentino Haute Couture gown pictured in fig. 2 is similar in line and style to the 14th century cote-hardie and gown. The silhouette of the Valentino dress is long sleeved fitted trough the top half and full skirted towards the bottom. The fabric is a rich black velvet with and inset design detail. There is braiding on the neckline, sleeves, and at the waist. Although, the modern adaptation is one piece instead of two, the button detail on the sleeve mimics the button detail on the sleeve of fig.1 (as one can see in the detail image below the main picture). The higher neckline, color, and fabric detail are the only differences in style to the 14th century dress. Because of the rich fabric, attention to detail and well-known designer I would assume that this dress is very expensive and exclusive. There are not many places a woman could wear this type of haute couture gown so the average woman would not be able to wear it.

Contemporary Adaptation #4: 16th Century

(fig. 1) Queen Elizabeth I, 1580-1585, Marcus Gheeraerts Younger Private Collection

(fig. 2) Sarah Angold Laser Cut Necklace, Winter 2011 Collection F1235.com

Elizabethan Ruff Collar In fig. 1 Queen Elizabeth I in wearing a stiff ruff collar with pleated rows of fabric. The ruff was a large pleated collar that was stiffened with starch and worn around the neck to make the wearer appear as if they were holding their head up high. It originated as small ruffled collar worn by men but as popularity for them grew they increased in size. Queen Elizabeth I is wearing a closed ruff so it must have been uncomfortable and restricted movement. Ruffs varied in size over their popularity and sometimes grew to ridiculous scales. Queen Elizabeth probably liked to wear ruffs to give off the a more regal posture and powerful look. She even went so far as to pass sumptuary laws limiting the size of ruffs for people outside her court to keep their exclusivity (fashion encyclopedia). The neckpiece in fig. 2 by Sarah Angold is the modern equivalent to a ruff. It is made from laser cut acrylic and held together with magnetic fastenings. The rows of translucent acrylic can be manipulated into several configurations. These rows are much like the pleated rows in the ruff worn by Queen Elizabeth I. The size and shape are also similar. It would be impractical to wear a neckpiece like this on a daily basis but it would definitely make a statement and get the wearer noticed. It gives the wearer the same regal quality as the 16th century ruff collar. The process to make one of these neckpieces seems very labor intensive so they are expensive. I dont see collars like this Sarah Angold neckpiece becoming all the rage in modern times because it would be uncomfortable, costly and frivolous. There are differences in material between the ruff and modern acrylic neckpiece but overall they give off the same effect of power and money.

Contempary Adaptation #5: 17th Century

(fig. 1) Falling Band, Captaine Smart of the London Traynde Bandes, 1639

(fig. 2) Asos Beaded Capelet, Winter 2012

17th Century Falling Band The popularity of the ruff dwindled and people started wearing more relaxed fashions. Neck bands were a more realistic alternative to neck adornment. There were standing neck bands and falling neck bands like the one pictured in fig. 1. These bands were worn primarily by men. They could be attached at the collar with a tie fastening. Falling bands were made of silk or linen. In fig. 1 the lace edged falling band is shown resting on the shoulders. Falling bands were meant to lay flat and were highly ornamented with lace or cutouts. The lace falling band that Captaine Smart is wearing shows his status because the lace and craftsmanship that went into making the collar were expensive. The Asos beaded capelet in fig. 2 is made of sheer fabric and is beaded with a decorative edge. It appears to be ornamental in purpose similar to the falling band worn by Captaine Smart. The scalloped edges are also reminiscent of the lace edges in fig. 1. Falling bands were not normally beaded but this unique detail adds a feminine element. A capelet is made to sit flat on the shoulders in the same way as the falling band. The construction of the Asos capelet is not as complex as the falling band in fig. 1 so most people could afford this accessory. The fabric is not precious like the laces used for 17th century falling bands. This is a good example of a mass produced item of clothing with a historic influence.

Works Cited Asos Beaded Capelet Photograph. Asos. Web. 5 Feb. 2012 < http://us.asos.com/ASOS/ASOS-Beaded-Caplet/Prod/pgeproduct.> Bead-net Dress. Photograph. Museum of Fine Arts, Boston. Web. 21 Jan. 2012. <http://mfa.org/collections/object/beadnet-dress-146531> Hall, Rosalind M. Egyptian Textiles. Aylesbury, Bucks, UK: Shire Publications, 2008. Print. Falling Band Photograph. Web. 5 Feb. 2012 < http://the1642goodwyfe.files.wordpress.com/2012/02/captain-smart-va.jpg Fashion Encyclopedia. Website. 11 Feb. 2012. <http://www.fashionencyclopedia.com/fashion_costume_culture/The-AncientWorld-Rome/Palla.html> Lucas, A., and J. R. Harris. Ancient Egyptian Materials and Industries. London: E. Arnold, 1962. Print. Queen Elizabeth I Photograph. 10 Feb. 2012. <http://www.scholarsresource.com/browse/work/2144608044> Romance of Alexander Photograph. 11 Feb 2012. <http://thefashionhistorian.blogspot.com/2011/03/head-to-toe-14th-centurywoman.html> Sarah Angold photograph. 12 Feb. 2012.< http://f1235.com/products/165-sarahangold-jewellery-laser-cut-necklace-f1235-stylebox.aspx> The Fashion Historian. Website. 7 Feb. 2012 <http://thefashionhistorian.blogspot.com>

Tortora, Phyllis G., and Keith Eubank. "The Ancient Middle East." A Survey of Historic Costume. New York: Fairchild Publications, 2010. Print. Valentino Gown Photograph. Elle Magazine. Web. 6 Feb. 2012. < http://www.elle.com/Runway/Haute-Couture/Fall-2011 Couture/VALENTINO/VALENTINO > Volta, Matteo. Marios Schwab Swarovski Crystal Net Overlay Dress. Photograph. Elle Magazine. Web. 21 Jan. 2012. <http://www.elle.com/Runway/Ready-toWear/Spring-2012-RTW/MARIOS-SCHWAB/MARIOS-SCHWAB>.