By Karen Bowman
Take a clean examine historys hidden model mess ups and observe the tales at the back of old clothing:
• How removal a Medieval womans headdress may perhaps show her as a harlot
• Why Tudor males traded of their over-sized codpieces for corsets
• The ridiculous roof-raising result of four-foot excessive Georgian headgear
• How the crinoline triggered a spate of shoplifting between Victorian girls
A attention-grabbing learn for fashionistas and background fanatics alike.
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Additional resources for Corsets & Codpieces: A Social History of Outrageous Fashion
33 Corsets and Codpieces Queen Elizabeth portrayed as ‘Wisdom’ in an antique print, 1898. (Author’s collection) Elizabeth was determined to cover the scars she had received from her bout of smallpox in 1562 and so defied those that condemned cosmetics and became a devotee of the smoothing coverage of white lead. There were other powders available, such as ground alabaster or starch, but they did not produce the perfect luminosity she favoured nor gave the coverage she needed. Rouge, usually of red ochre, would be applied to re-introduce the faded bloom of youth, and lips would be coloured with a ‘crayon’ of ground alabaster or plaster of Paris mixed with either cochineal or dyes from the East Indian brazil tree, all mixed together and dried into sticks in the sun.
Edward also had favourite colours, which were ‘incarnate’ 29 Corsets and Codpieces (red), ‘carnation’ (resembled the colour of raw flesh), ‘blod’ (possibly a blood red), ‘turkey’ and ‘seawater’. In 1554 Mary Tudor’s preferred shades were ‘ruby’, ‘crane’ (greyish white) and ‘old medley’, of which little is presently known. Blue became an interesting phenomenon at this time with indigo widely available, inexpensive and easy to transport in the form of dye-cakes. Also, it was relatively permanent compared to many other dyestuffs of the time.
She then scolded him for having ‘but small care of the staff of love and packet of marriage’ by not covering them with ‘links of mail’, and offered to give him an old tilting helmet she had lying in her closet with which to ‘shield, fence, and gabionate’ his genitalia. Rabelais then adds a verse which ultimately marks her concern: When Yoland saw her spouse equipp’d for fight, And, save the codpiece, all in armour dight, My dear, she cried, why, pray, of all the rest Is that exposed, you know I love the best?