IT WAS NOT EASY TO BE AN ITALIAN...
1
This row of gentlemen from 15th-century Italy show off the multitude of colors of fabric pieces comprising these skin-tight garments. The cut of these garments formulated a recognizable “fashion” that could go out of “fashion” before they wore out. The figure second from the right wears a garment covering his torso known as a doublet. It has been deliberately perforated with slashings to show the white linen shirt underneath. Along the sleeve, the shirt is pulled through the openings into a “puffed” shape exaggerating his physical size so that he stands out. Source: Racinet, The Complete Costume History, 2003. V enice, Florence and other Italian city-states all issued laws during the 15th, 16th, and 17th centuries that aimed to promote recognition of social status by means of clothing and orderly social interaction in these concentrated urban environments. The governments of these municipalities enacted laws, known as sumptuary laws, which prohibited the wearing of certain garments by women and by men. Those members of the population who were observed wearing these forbidden garments were subject to a fine payable to the city government. The citizens of several Italian city states were subject to regulations limiting numerous household matters such as the amount families could spend for the number of mourners at a funeral, on the spread at a wedding banquet, as well as on their clothing. Not only the citizens of Italian city- states, but also the populace of France, England, Spain, Switzerland, and Germany, lived under similar social restrictions. The authorities in all of these countries sought to control consumer These laws were particularly prevalent in the Italian city-states, especially in connection with attire. Regulations prohibiting gowns with low- cut necklines beyond the width of one or two fingers below the collarbone were enacted in Milan and Genoa in 1512, followed by Rome in 1520. Venice set up a special controlling office to enforce a set of sumptuary laws in 1514 regulating necklines, hemlines, acceptable fabric for under and over garments, veils and headdresses, and shoes. V enice issued the greatest number of these laws—56, followed by Florence with 38 laws and the other Italian cities combined, 53. As early as 1334 Venice issued two sets of laws on May 22 nd and June 9 th that defined extravagances that both sexes displayed by their attire, and later, in 1360, the “vanities” of brides and other women were singled out for censure. The numerous issuances and re-issuances of legislation indicated that these laws were difficult to enforce. Women found ways to obey the letter but not the spirit of the laws. To have the style of their attire dictated by one’s peers or enforced by a policing unit was difficult for ladies to accept. The laws attempted to stipulate the colors and types of fabrics that women from particular social classes could wear, thereby establishing a code of dress that made those women from the different milieu as recognizable as the men since male attire denoted occupation by cut and fabric color and their guild affiliation by means of ribbons and badges. The Bolognese law of 1474 codified dress. Gold fabric was permitted for the daughters of knights, sleeves of gold could be worn by the wives and daughters of notaries and bankers, crimson gowns were allowed for the wives of important artisans, but only crimson sleeves for the women whose husbands and fathers belonged to the humbler trades. IT WAS NOT EASY TO BE AN ITALIAN FASHIONISTA Caption for the picture on the top: This mid-14th century Florentine wedding scene illustrates a celebration for a Renaissance fashionista. Her father can look on with pride and relief that he is no longer responsible for her infractions of the sumptuary code, and that her dowry has been settled with the groom and his family. The sumptuous figured brocades worn by the wedding party and the guests demonstrate their conspicuous consumption. The stately gowns have hanging sleeves slit allowing the arm of the contrasting close-fitting undergarment to be seen. Source: Racinet, The Complete Costume History, 2003. These young ladies from 16th-century Italy demonstrate the variety possible in their attire, including one woman in profile wearing elegant long sleeves with points touching the ground. Another lady holds her half-circle cape with her left hand and tops off her outfit with a turban-like headdress known as the Chaperon. Source: Racinet, The Complete Costume History, 2003. The gentleman of the 14th century wore a doublet made of one or two colors of fabric, while the gentleman wearing the tabard, the sleeveless loose outer garment worn over his other clothes, is about to be offered a selection of rolls for sale. Source: Racinet, The Complete Costume History, 2003. These 16 th -century Italian ladies wear gowns made of wool, velvet or figured brocade. The young lady with the long braid wears a gown made of six colors of pieced silk. The sleeves are attached to the cap sleeve with laces that also lace down the side but the chemise underneath barely protrudes. Source: Racinet, The Complete Costume History, 2003. THE CASE OF THE WIFE’S VELVET DRESS F athers paid fines for infringement of these regulations on behalf of their daughters, and by doing so the level of the man’s wealth was circulated and the marriageability of his daughter was increased since it would increase the probability of a generous dowry. After a woman was married, her husband would be responsible for paying the fine for inappropriate attire. In April of 1476 in Siena, Messer Lorenzo di messer Antonio de’ Lanti appeared in the office of the Tre Segreti who enforced these laws because his wife had worn a silk velvet gown. Although he explained that he observed the laws and that the dress had cost less than one of more ordinary material, and his father had been knighted by the King of Cypress in Milan, the officials did not accept this statement. His title was in doubt, and his tax assessment did not qualify him for entrance into elite Sienese society. He paid the fine and his wife had to give up her velvet dress to stop further fines from being levied.
Transcript of IT WAS NOT EASY TO BE AN ITALIAN...
This row of gentlemen from 15th-century Italy show off the multitude of colors of fabric pieces comprising these skin-tight garments. The cut of these garments formulated a recognizable “fashion” that could go out of “fashion” before they wore out. The figure second from the right wears a garment covering his torso known as a doublet. It has been deliberately perforated with slashings to show the white linen shirt underneath. Along the sleeve, the shirt is pulled through the openings into a “puffed” shape exaggerating his physical size so that he stands out. Source: Racinet, The Complete Costume History, 2003.
Venice, Florence and other Italian city-states all issued laws during the 15th, 16th, and 17th centuries that aimed to promote recognition
of social status by means of clothing and orderly social interaction in these concentrated urban environments. The governments of these municipalities enacted laws, known as sumptuary laws, which prohibited the wearing of certain garments by women and by men. Those members of the population who were observed wearing these forbidden garments were subject to a fine payable to the city government. The citizens of several Italian city states were subject to regulations limiting numerous household matters such as the amount families could spend for the number of mourners at a funeral, on the spread at a wedding banquet, as well as on their clothing. Not only the citizens of Italian city-states, but also the populace of France, England, Spain, Switzerland, and Germany, lived under similar social restrictions. The authorities in all of these countries sought to control consumer
spending by means of issuing similar regulations.
These laws were particularly prevalent in the Italian city-states, especially in connection with attire. Regulations prohibiting gowns with low-cut necklines beyond the width of one or two fingers below the collarbone were enacted in Milan and Genoa in 1512, followed by Rome in 1520. Venice set up a special controlling office to enforce a set of sumptuary laws in 1514 regulating necklines, hemlines, acceptable fabric for under and over garments, veils and headdresses, and shoes.
Venice issued the greatest number of these laws—56, followed by Florence with 38 laws and the other Italian cities combined,
53. As early as 1334 Venice issued two sets of laws on May 22nd and June 9th that defined extravagances that both sexes displayed by their attire, and later, in 1360, the “vanities” of brides and other women were singled out for censure. The numerous issuances and re-issuances of legislation indicated that these laws were difficult to enforce. Women found ways to obey the letter but not the spirit of the laws. To have the style of their attire dictated by one’s peers or enforced by a policing unit was difficult for ladies to accept.
The laws attempted to stipulate the colors and types of fabrics that women from particular social classes could wear, thereby establishing a code of dress that made those women from the different milieu as recognizable as the men since male attire denoted occupation by cut and fabric color and their guild affiliation by means of ribbons and badges. The Bolognese law of 1474 codified dress. Gold fabric was permitted for the daughters of knights, sleeves of gold could be worn by the wives and daughters of notaries and bankers, crimson gowns were allowed for the wives of important artisans, but only crimson sleeves for the women whose husbands and fathers belonged to the humbler trades.
IT WAS NOT EASY TO BE AN ITALIAN FASHIONISTA Caption for the picture on the top: This mid-14th century Florentine wedding scene illustrates a celebration for a Renaissance fashionista. Her father can look on with pride and relief that he is no longer responsible for her infractions of the sumptuary code, and that her dowry has been settled with the groom and his family. The sumptuous figured brocades worn by the wedding party and the guests demonstrate their conspicuous consumption. The stately gowns have hanging sleeves slit allowing the arm of the contrasting close-fitting undergarment to be seen. Source: Racinet, The Complete Costume History, 2003.
These young ladies from 16th-century Italy demonstrate the variety possible in their attire, including one woman in profile wearing elegant long sleeves with points touching the ground. Another lady holds her half-circle cape with her left hand and tops off her outfit with a turban-like headdress known as the Chaperon.Source: Racinet, The Complete Costume History, 2003.
The gentleman of the 14th century wore a doublet made of one or two colors of fabric, while the gentleman wearing the tabard, the sleeveless loose outer garment worn over his other clothes, is about to be offered a selection of rolls for sale. Source: Racinet, The Complete Costume History, 2003.
These 16th-century Italian ladies wear gowns made of wool, velvet or figured brocade. The young lady with the long braid wears a gown made of six colors of pieced silk. The sleeves are attached to the cap sleeve with laces that also lace down the side but the chemise underneath barely protrudes. Source: Racinet, The Complete Costume History, 2003.
WHAT NOT TO WEAR: rites, ranks and regulations
THE CASE OF THE WIFE’S VELVET DRESS
Fathers paid fines for infringement of these regulations on behalf of their daughters, and by doing so the level of the man’s wealth was circulated and the marriageability of his daughter was increased since it would increase the probability of a generous dowry. After a woman was married, her husband
would be responsible for paying the fine for inappropriate attire. In April of 1476 in Siena, Messer Lorenzo di messer Antonio de’ Lanti appeared in the office of the Tre Segreti who enforced these laws because his wife had worn a silk velvet gown. Although he explained that he observed the laws and that the dress had cost less than one of more ordinary material, and his father had been knighted by the King of Cypress in Milan, the officials did not accept this statement. His title was in doubt, and his tax assessment did not qualify him for entrance into elite Sienese society. He paid the fine and his wife had to give up her velvet dress to stop further fines from being levied.
