Showing posts with label Clothes. Show all posts
Showing posts with label Clothes. Show all posts

Friday, 29 August 2025

Clothes Maketh the Man/Woman Even in 14th Century Ireland by Kristin Gleeson



Irish Gael 14th century dress
You have probably heard phrases like “dress for success”, a phrase that hints of the older saying “clothes maketh the man”. Both phrases clearly indicate that clothes certainly form a part of the judgement one person makes about another, whether it’s conscious or not. It’s not a new concept. In the past, for example, in parts of Europe during Medieval and Renaissance times, nobles enacted sumptuary laws that prevented the rising middle classes from wearing certain items and fabrics in case those middle classes might be mistaken for nobles.

The history of fashion in a social history context has fascinated me for a long time, back to my teen years when I would pore over the two enclopedias of fashion history that I bought with my hard earned babysitting money. So, recently, when I was researching 14th century Ireland for a book I was writing, I came across a fashion rabbit hole about the clothes of that time period and gleefully travelled down it.

The first half of the 14th century was a time of great change and stress in Ireland. After 150 years or so dealing with the results of the Norman English encroachment in Irish land, the descendants of these invaders held sway over a significant portion of the country. The English king counted Ireland as its vassal by and large and, in an effort to establish greater control over the land created loosely drawn lordships or earldoms over the four Irish provinces whose boundaries were fluid. These earldoms were headed by descendants of the invaders and their Irish wives, as were their retainers, creating an Anglo Irish population (known as Galls).The earls, in an effort to expand the regions under their control fought each other and Irish chieftains constantly. The Irish Gaels formed alliances with each other or an earl, whichever achieved their struggle to maintain or expand their own holdings

Such conflicts often caused bouts of famine from neglected, plundered or unplanted fields. In addition to those challenges there were long stretches of bad weather which also contributed to sickness and high death rates. The arrival of the plague in 1348 made matters worse. The death rate from plague was higher among the Anglo Irish than the Irish Gaels for complex reasons of settlement, trade and social patterns (at least that’s what the sparse evidence suggests).

In such tumultuous times, when interaction with members of the other culture could be dangerous, assessing and correctly concluding a stranger’s identity when encountering them could be critical. The style of dress was part of that assessment, because there were distinct differences between the Anglo Irish manner of dress and the Irish Gael manner of dress. Many of the clothes that the Gaelic Irish wore were suited to the particular climate and others revealed a particular Gaelic sense of flamboyant, unlike the Anglo Irish who adopted the fashions most prevalent in England or places on the continent with which they traded.

One distinctive clothes item the Gaelic Irish wore was the cloak/mantle or brat. The brat was a rectangular shape garment and was sometimes large enough to wrap around the body five times. It could be brightly coloured with ornate decorative borders fringed and plaited or tablet woven. It was made of frieze (loosely woven wool) with tufts of wool tucked into the weave to keep out the rain. The brat was secured at the breast often with a bronze, silver or iron brooch or pin, depending on the wearer’s social status. Under the brat, they wore a long shirt /tunic(léine), an ankle length sleeveless garment worn next to the skin and made of either white or gel (bright) linen. It was secured at the waist by a belt with which it could be hitched up to allow greater freedom of movement. The footwear among those of higher status would be leather boots or shoes, but for those of lesser status it was more practical and cheaper to go barefoot in a country whose climate was wet with winters that were relatively mild.

Irish Gael dress 

If riding, or engaged in vigorous outdoor activity, a male Irish Gael often wore truibhas (trousers). It’s difficult to know with certainty the range of clothing women wore specifically because of the scarcity of images. The few images that do exist show them each wearing a brat and a léine, like the men, but their heads are covered with a veil or headdress and occasionally, like the men, they would wear an ionar, a form of short tunic. Other parts of the Irish Gaelic clothing range included a short-hooded cloak called a cochall and a poncho-type cloak of coloured and patterned cloth called a fallaing and interestingly, a kind of woollen truibhas (trousers) with feet and soles.


In contrast, as previously mentioned, the Anglo Irish wore more sober coloured clothes that were closer to that of the style found in England and parts of the continent. They wore tunics of mid to lower calf length with Magyar style sleeves belted at the waist, with a white sash from which a scabbard was suspended. On top of that, if needed they wore a traditional mantle or cloak. In the mid-14th century a closer fitting outfit emerged for Anglo Irish men, consisting of a knee length garment called a gipon, a forerunner of the doublet, which was worn with hose. Unlike the Gaelic Irish men, the Anglo Irish tended to be clean shaven. Anglo Irish men and women also wore an underdress, or kirtle, and an overgown, or surcoat. The surcoat could be sleeved or sleeveless, with deep armholes and vertical slits called fitchets that provided access to objects suspended from the girdle. Both male and female versions of the surcoats had a slit at the neck. In winter a mantle, or fur-lined cape was also worn. Later, the Gaelic Irish mantle was adapted and became and important trade item. Among the Anglo Irish, by the early part of the 14th century, along with the mantle, some of the men apparently adapted the Irish Gaelic truibhas as indicated in statutes that were enacted that sought to discourage Anglo Irish from adopting Irish Gaelic modes of dress.

English Medieval dress
Fashion and clothes styles for any one time period in the past can tell much about the peoples and the time in which they live. The style and composition of the clothes of the Irish Gaels show them to be aware of the need to be out in a wet climate and the need for a flexible type of clothing for active outdoors, for example. The Anglo Irish clothes reflect their close connection to their English overlord and the importance and profitability of showing their links to their trade partners in England and on the continent.

The distinct differences in fashion between the Anglo Irish and the Gaelic Irish meant that when encountering a stranger or a group of strangers, each could use the information about their appearance to judge whether they might be a potential enemy, or even a person who would more likely been exposed to the plague. And those clothes certainly might “maketh the enemy” or the friend.










 

 

Friday, 14 August 2015

The Day The World Turned Day Glo Catherine Johnson

The first punk gig I went to was X Ray Spex at Hornsey School of Art. The college had closed down for good and the building was empty. I have tried to check the year but can't find it, 77 I think, I'd started buying punk records by then,  but seeing Poly really kicked it off for me. There was a girl, not much older than me and brown like me and she was brilliant. I mean, the woman wore a crochet blanket on her head on Top of the Pops!
This is my favourite X Ray Spex song. The Day The World Turned Day Glo....


I've been in the 1970s a lot lately. More work on a script, I know you've heard it all before, but what also triggered this post was reading Viv Albertine's enjoyable and superbly readable autobiography, Clothes Clothes Clothes Music Music Music Boys Boys Boys. Viv Albertine was a member of the The Slits, an uncompromising female band, and a lot of the early part of the book is about that time in London.  I came to punk too young to take part but old enough for it to change my world.  And this lovely woman above Poly Styrene was instrumental in changing everything for me.





There was before punk, a world of flared everything and bands with songs that went on forever, and then there was punk and excitement and being part of something and trawling across London to second hand clothes shops, looking for the exact item you needed to make your outfit.

Albertine paints a familiar picture of pre mobile phone, pre internet, life, friendship, and sex. One thing that really resonated with me was the way she talked about clothes. Perfecting your look those days took a huge amount of effort, you needed to be able to run away from Teds or Skins, (I carried knitting needles they served me well) just your look was enough to send straights (this had nothing to do with sexuality) into a rage. Most of the time though we weren't about engendering rage, we needed to signal to our people that we knew. That we were like minds.

Albertine's book took me back to my mid teens, it's an interesting read and full of wonderful detail, of clothes of attitudes, of always being right.

There's a wonderful postscript in which she lists her favourite clothes of any particular time. Some of mine from the mid seventies were these.
Blue suede Chelsea boots
A black PVC Mackintosh
A cream silk beaded flapper dress (I wore it torn - it was original and every time I wore it it tore. This makes me cringe thinking about it now)
A skirt made out of a pillow case (!)

I must admit I wasn't a big Slits fan, I preferred The Ramones and Poly and The Buzzcocks. But Viv Albertine's book's a great read. If you don't think so well, as  Poly (who died far too young of cancer in 2011) would say, Oh Bondage! Up Yours!



Catherine's latest book is The Curious Tale of The Lady Caraboo. Buy it now or it's the knitting needles....

PS. I re read this when I posted it and realised I did 'do' something. I took pictures and blagged free gigs by pretending to be a 'proper' photographer (there was a risible fanzine I think) and even though I am the worst photographer in the world, I thought I might want to make films that sent me to art school eventually and from there 10 years later, to writing.

Wednesday, 14 January 2015

The Language of Clothes by Alison Lurie Catherine Johnson



I thought I'd share one of my most favourite and useful books; The Language of Clothes by Alison Lurie (yes that Alison Lurie) and it's a dream of a read, accessible as well as heavily and lavishly illustrated.

I was thinking about last years Fair Isle post, and almost posted a short story that was inspired by a visit I made to the island over 30 years ago when I was researching my thesis. Yes, it  was knitting based, but I was on a film course.  And I couldn't have done my thesis without Alison Lurie's wonderful book. It was published in 1982, just at the time I needed it and one of my tutors at St Martin's School of Art recommended it to me. 

Alison Lurie is a wonderful novelist and writer, she's a Pulitzer Prize winner and  her fiction includes The War Between the Tates, filmed as The War of The Roses.

I know that many of us came to historical fiction partly through clothes and costume, (or is that just me?).  But it really has to be said that fashion is always political, and women have used dress to express themselves sometimes when it was the only avenue open to them.  Corsets, heels, how we wear our hair, how much we reveal about ourselves, or how much we hide.  It's all completely fascinating.

Having re read the book,  I have to admit it can seem simplistic and obvious at times, especially about colour  - blue's for fidelity work and service, red for love and anger. But she's useful on the differences of black - Modern Bohemian, Dancers' and Brando Black. She looks at concealment, at how clothes unite and divide, the decline of the symbolic hat and much more. 

If you don't have a copy I cannot recommend it enough. My one cavil is that it could do with being throroughly updated and expanded. It looks at fashion very much from the North American/ North European point of view at the close of the twentieth century.

These days there are far fewer clothes 'tribes'. Older women (me!) dress much the same in our 50s and 60s as we did in our 30s. Nightwear as street wear seems far more commonplace. 

And clothes in cities have changed not only because of fashion and music but because of culture too. I knew so many little girls desperate to wear trousers AND dresses at primary school in East London in the 90s.

And There was a programme on  Radio 4 this morning  that illustrated this point beautifully.  Hip in a Hijab http://www.bbc.co.uk/programmes/b04wwtsn . The presenter interviewed London girls from two schools I know well, Central Foundation in Bow and The Mulberry in Whitechapel and addressed, amongst other things the current fashion for enormous headscarves, one girl referred to this as 'like a beehive only with scarves,'. 

The politics of clothes and hair in the 21st Century is ripe for addressing.  Black Hair especially is incredibly political - if you are interested a good starting point is the film, Good Hair.  

In the meantime, until that book comes out, read this. It's lovely.


Happy New Year!
Catherine

Wednesday, 7 August 2013

YESTERDAY Part 2.....THE CLOTHES by Adèle Geras

This is the second of the extracts from my memoir YESTERDAY (first published in 1992) which details my time at Oxford between 1963 and 1966. It’s 50 years this September since I matriculated and in honour of that, I’m putting up some bits from the book which is now out of print. This one is about what I was wearing in the early Sixties.

CLOTHES.

Fashionwise, it was a time when I should probably have gone into hiding. The Mini was upon us, and I ought to have shunned it, but I didn’t. I wore short skirts and dark tights and sometimes white tights, although I never went as far as white plastic boots.

Everyone was very Body Conscious in those days, and the bodies they were conscious of looked like Twiggy and Jean Shrimpton. Therefore I always felt myself to be fat, even though I was probably no more than plump. This plumpness was (is) not helped by lack of height and a distressing shortness of leg. However none of this has ever prevented me from trying to follow the fashion, and from loving clothes and jewels and dressing up in any way I can. This was also the era of the High Heeled Shoe. I cannot emphasize too strongly the liberation that Flat Shoes (the blessed Trainer and the glorious Doc Marten) brought us. I think my feet must have been hurting for a major proportion of my youth. I also wore various shapes of trousers, although these were always black because black was supposed to be slimming. All my jumpers, blouses etc. hung loosely over my hips on the “hiding a multitude of sins” principle. Laura Ashley opened a shop in Oxford in my last year (1966) and transformed me into a buxom Victorian wench.

I remember several outfits in detail: 1) A fuchsia pink smock-type dress ending three inches above the knee 2) A wonderful long jungle print evening dress made by my friend Franny in about two hours. It had no sleeves and sort of gathered itself round my neck leaving my shoulders bare. (NB to plump young women: do not despair. Your waist may not be up to much but your shoulders, neck and cleavage will be terrific!) 3) A bottle green knitted dress from Marks and Spencer, like a very long jumper. I thought I might end up looking elegant like Liz, but discovered quickly that knitted dresses cling to one’s bottom with dismaying tenacity. 4) A bright scarlet duffel-type jacket, which I loved and wish I still had. 5) A black dress I used to sing in whenever I did cabaret. Everything they say about little black dresses is true. 6) My first Laura Ashley: a full-skirted, long, cap-sleeved pinafore in blue cotton printed with white swans. [This dress is almost exactly like the one I had and I found it on the internet on a website called Moonchild Vintage. I've tried to contact it for permission to use this image with no success, so Mooonchild, if you're out there, please may I use this image?]