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History of fashion greek civilization
History of fashion greek civilization
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The importance of costume in the theatre cannot be rated too highly, for it is not only an outward and immediately visible medium of expression for the actor himself but it is significant of the dramatic values which he is suppose to portray (Brooke, 1). The colors, texture and shape of a costume can create a feeling of the character that the actor may not be able to portray. There is not any definite information on what exactly the Greeks used for costumes because so much time has elapsed since the original records were taken. Most information is based on the different artifacts that were found, such as paintings and pottery. Sometimes hints of what was worn could be found in the plays themselves.
Traditional Greek dress was never shaped for fitted, but draped over the body and was fairly the same for both men and women. All material came straight from the loom and if it was even sewn, it would be a straight seam and a rectangle shape. There are about four different garments that were used in the dress, all very basic and changed through the years. They are: Doric Chiton, Ionic Chiton, Himation and the chlamys.
The Doric Chiton was a wool fabric, usually patterned, worn around the wearer's bust. It reached from shoulder to shoulder and usually down to the ground. The fabric was so large that it is pinned up at the shoulders, which created mock sleeves to try and cover the arms, but usually they were uncovered. This garment was often found in the women's dress.
The Ionic Chiton was also often found in women's dress. Much like the Doric Chiton, it was once piece of fabric that was draped over the wearer. It was woven out of thin woolen type materials, like a gauzy type material. It was sewn at the top across the shoulders and down the arms, and was usually pleated.
The himation was a rectangle of wool with weighted corners, slung over the left shoulder, leaving the right arm free; or worn, by married women, with the corner over the head like a shawl (cwu). Sometimes this garment was worn as is, with nothing under it. If it covered the whole body it was an appropriate garment to wear. The himation was used even used as a blanket. The colors of this garment was usually natural, brown, black or tan, but sometimes dyed different colors, scarlet, crimson or purple.
The attire of the period had variants sometimes when it came to age, social class, economic position, and even job placement. These factors made a difference in style of clothing, style of sleeves, choice of fabric, and amount of fabric used in a garment. A rich woman might buy very expensive brocade for her dress where a poorer woman might simply buy a singular colored wool or cotton. When the war arrived, cotton and silk increased, making it harder to obtain (Mitchell 4). It was these fabrics; wool, silk, muslin, linen, etc., that made the weight of the whole outfit so heavy and awkward.
This dress features trimming with a silk polychrome fly fringe. It compares to the size of an adolescent. It is quite small in size and has sharp angles among the waist, hips, and shoulder areas. The structure of the gown is what some may consider traditional. While the front of the dress has a dip near the chest area the back has a long cape that extends to the ground. The fabric is rather thick and matte. There is various pleating that adorns the ends of the sleeves, the cape, and the hips. At the front of the gown there is cross-hatching in the stitching at the waist. The gown features one main fabric with various colors and patterns. The fabric has a light blue background with cream-colored leaf shapes. There are also olive-green leafs and maroon (white) flowers printed on the
Young single women often wore their hair loose, but once married almost all medieval women wore a linen wimple (wrapup) to cover the hair. This was a sign of modesty. Other items worn by medieval women included hair pins, prayer beads, leather purses, woolen knee stockings, and leather shoes (Hull).
Clothing for both men and women initially was deerskin for shirts and skirts. The men later wore cotton or velvet shirts with no collars, breeches below the knee, and moccasins. Women gradually wore the "squaw dress", made of plain dark blankets.
Tunics were are two rectangles tied together by the top. Making clothing required labor in which slaves did, was very expensive. Women developed different styles of fashion like the “stola”, and different hairdos. There were different categories of slaves, the ones who did clothing labor and hair in which lived pleasant lives unlike the regular slave that worked on farms or for citizens. Many slaves sacrificed their hair to make wigs. Citizens often complained because “…slaves often went out on their own and citizens complained that they were unable to tell a difference”. Many women tried to fit because when a new emperors’ wife developed a new hairdo republican women citizens started to copy her and create their own styles, especially when Augustus wrote “The Art of Love – in which it taught men and women how to be attractive to be each other”.
Clothing affected the lives of women greatly. Women wore many layers of clothing that could be hot and tight, making them uncomfortable. Different types of clothing were also used to make women seem more petite than they actually were (History of Fashion - Elizabethan). Many outfits included most of the following under layers: a smock, stockings, a corset, a farthingale, a rowel, a stomacher, a petticoat, a kirtle, a fore part, and a partlet. Then, most of the following over layers: a gown, separate sleeves, a ruff, a cloak, and shoes. Shoes were often a flat, Mary Jane style, or had a platform to keep one's feet dry. The biggest influence on woman's clothing during the Elizabethan Era was actually Queen Elizabeth I herself.
The ladies dresses of the early Middle Ages were influenced by the classical styles of the Greek and Roman women. Their dresses were tight to display the elegance of their figure. Dresses were embroidered and luxuriously decorated. Some dresses consisted of two tunics and of a veil or drapery. The veil was thrown...
By the use of visual design elements, the overall production of the play can be considered abstract. For example, the set design uses very little props and forces the audience to focus more on the actors and costumes. In addition, the set designer used very dark and dreary color such as black and grey to display the plague that was taking over the city of Thebes. During this time period that the play produced, the plague has made the people in the city weak, bitter, and unhappy. By using colors that represent this internal feeling that the characters are experiencing, the actors move in a certain way that coincidentally goes hand and hand with the set design. In further detail, the costume designer did a fantastic job of portraying certain status ranking by the color of robe they were wearing. For example, Oedipus was wearing a silk, garnish robe that represented royalty and a sophisticated man. Whereas, the ordinary people of Thebes were wearing dull, grey robes that displayed their lack of social ranking. All in all, the visual design elements were used in an appropriate manner that allowed the audience to get a better understanding of the abstract world that this play took place
At feasts, events, and around cities, Macedonian men wear a mix of doric chitons, ionic chitons, chitoniskos, exomis, and most visibly himations, variations of diplax, and chlamyses. For battle, a wider variety of cuirass styles are evident, as well as greaves and buskins. The headwear apparently popular in the period is rarely worn. While most men have short, curly hair and clean-shaven faces (except some soldiers and generals), Alexander’s lover and closest friend, Hephaestion, has long hair, occasionally braided. Hephaestion is almost always wearing kohl on his eyes, and he commonly wears brighter colors and thicker fabrics than most. His costumes are not typical, as most seem tailored and very modernly influenced. For women, ionic and doric chitons are also popular, but the most common is the Hellenistic chiton. As this style was not popular until Alexander’s death, but it is a style many people associate with classical Greek and Macedonian costume, it asserts the pressure of making Hollywood historical
Bonfante, L. (1989). Nudity as a costume in classical art. American Journal of Archaeology, 93(4), 543-570. (greek male nude, excellent )
covering the bed such as silk and linens. Also over the top of the bed
Roman men generally wore two garments, the tunica and the toga. The tunica was a short woolen under garment with short sleeves It was originally worn mainly by the working class plebes, freedmen and slaves, though its function as an undergarment for any class of people is attested. Tunic was made from white wool or expensive linen, while the poor would wear whatever fabric was readily available. A belt would be worn around the waist of the tunica to hold the waist of the garment snug, giving the impression of a two piece garment. As time passed and Roman societal tradition shifted and absorbed new cultures, these rules were relaxed. The more comfortable tunic, covered by a cloak called the lacerna, became commonplace in all facets of society.
Like any journey, it is necessary to begin with a single step – the evolution of lighting in theatre began with the resources available to the ancient Roman and Greek societies; sunlight and candles. As such, performances and events were held at the height of the day, so as to allow the most natural light to fill the stage. While this method successfully brought the stage to life and made the actors and scenery visible, it did little to create dynamics, establish mood, or manipulate the audience’s perspective and emotion. Rather than a creative tool, lighting was viewed as a solution to a problem – a product born out of necessity. Innovative uses of light were limited to grand demonstrations that often became the centerpieces of Greek and Roman theatre. For example, large burned houses graced center stage, but any other indications of lighting were strictly two-dimensional, painted on the backdrop. While this forced the audience to focus their energy and attention on the players and the action, it also limited their experience – without lighting t...
One of the basic elements of theatrical production is costumes. In Oedipus the King, a 1984 movie adaptation of a prominent tragedy written by Sophocles in 429 BC, costumes provide a unique feel and version. The tragedy follows a tragic hero named Oedipus, who seeks to find the truth about the murderer of the late king, Laius. Unbeknownst to him, he is the murderer of his own father and marries his mother, Iokasta. Costume design in the movie offers an important meaning to the play. Each character’s costume suggests which class they are from, what they symbolize, and altogether imply what time or era the tragedy is set in.
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...