The Dictionary of Fashion History

THE DICTIONARY OF FASHION HISTORY
THE
DICTIONARY
OF FASHION
HISTORY
Valerie Cumming, C. W. Cunnington and
P. E. Cunnington
Based on A Dictionary of English Costume 900–1900
by C. W. and P. E. Cunnington and Charles Beard,
now completely revised, updated and supplemented
to the present day by Valerie Cumming
Oxford • New York

This edition first published in 2010 by
Berg
Editorial offices:
First Floor, Angel Court, 81 St Clements Street, Oxford OX4 1AW, UK
175 Fifth Avenue, New York, NY 10010, USA
All materials not appearing in A Dictonary of English Costume 900–1900 © Berg

A Dictionary of English Costume 900–1900 first published 1960
Reprinted 1965, 1968 and 1972
Reprinted 1976 with ‘Glossary of Laces’
by A&C Black
© 1960 C. Willett Cunnington and Phillis Cunnington
All rights reserved.

No part of this publication may be reproduced in any form
or by any means without the written permission of
Berg.
Berg is the imprint of Oxford International Publishers Ltd.
Library of Congress Cataloging-in-Publication Data
A catalogue record for this book is available from the Library of Congress.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN 978 1 84788 534 0 (Cloth)

978 1 84788 533 3 (Paper)
Typeset by JS Typesetting Ltd, Porthcawl, Mid Glamorgan

Printed in the UK by the MPG Books Group
www.bergpublishers.com
CONTENTS
Acknowledgements ix
Introduction xi
Preface to First Edition xiii
Guide to Using the Dictionary xv
The Dictionary of Fashion History 1
Glossary: Fibres, Fabrics, Materials 229
Glossary of Laces 279
Glossary: Obsolete Colour Names 283
Bibliography 285
We are ill informed even of the names of the articles we wear. People come to years of discretion
scarce know the difference between a plain Hat and a Lunardi; and I have heard a lady, who I
was told had a very good education, mistake a Parachute for a Fitzherbert.
1786. The Lounger no. 76
History is a gallery of pictures in which there are few originals and many copies.
The Old Regime and the Revolution, Alexis de Tocqueville, 1856
Acknowledgements
I would never have contemplated lexicography, even in an area with which I am familiar,
without the encouragement of Kathryn Earle at Berg. She has left me to do the work of revision
and addition without interference and has regularly provided useful texts for me to dip into or
reject. The Cunningtons are totemic figures in fashion history and I am pleased and somewhat
alarmed to have my name linked with theirs; and for that I offer my thanks to their daughter
Susan Luckham and the literary estate who administer their considerable oeuvre for agreeing to
this revised and updated version of the dictionary.
Over the past three years, my involvement with volume 8 of the Berg Encyclopedia of World
Dress and Fashion provided useful evidence about how and why the words about costume, dress
and fashion need careful thought because of the many different cultural and practical traditions
from which they spring. Obviously, the bane of all lexicographers is that there are constant shifts
in usage, new research within discrete areas, and the problem of what to include and what to
leave out. Whenever I felt overwhelmed by the scale of the revision and update, I found the
Cunningtons’ original approach inordinately helpful. Colleagues within the Costume Society
and CHODA, former students and email correspondents have patiently answered questions
about arcane fabrics or unlikely usage; I am grateful for their ideas but any errors are mine.
Finding appropriate illustrations was not easy but again I found help among colleagues
and friends with private collections. As always, John Cumming has been generous with his
expertise and good humoured as the dictionary invaded every aspect of our lives. Last, but by
no means least, I owe a huge debt of gratitude to the staff at Chertsey Museum, especially Grace
Evans, Keeper of Costume, for her help with selecting strong and multi-applicable images from
the outstanding Olive Matthews Collection curated and displayed at that museum.
Picture credits
I am indebted to the following individuals and organizations for the use of their images:
National Portrait Gallery

Olive Matthews Collection, Chertsey Museum
Private collections
Victoria & Albert Museum
Introduction
This revised and updated edition of what was once known as A Dictionary of English Costume
900–1900 builds on a successful formula which encompassed four reprints and minor revisions
between 1960 and 1976. C. Willett Cunnington (1879–1961) and his wife Phillis (1887–1974)
separately, together and in partnership with other authors dominated the discipline of costume
history in Great Britain for several decades from the 1930s. Key texts from their publishing
history are listed in the Bibliography for this book.
Although they were familiar with the work of earlier dress historians, notably J. R. Planché
(1796–1880) whose encyclopedic approach had inspired Charles Beard, their innate curiosity
and collecting instincts ensured that they re-examined sources and redefined the role of cos
tume history, as it was then known. Their dictionary was an important addition to their output,
in terms of both the summation and the distillation of their long commitment to the discipline.
Today we use different words to describe the study of human apparel – clothing, dress and
fashion; “costume” is often perceived as being descriptive of theatrical disguise but terminology
in this discipline is fluid and full of surprises.
The Cunningtons’ dictionary covered the period starting from 900 and ending at 1900. How
ever, they certainly went beyond 1900 in their research and information gathering, thereby
leaving a legacy of information which has informed this revised dictionary, alongside much
more recent work into many aspects of post-1900 clothing, fashionable or otherwise. A major
difference between the pre-1900 period and the succeeding 110 years is that fashion becomes
increasingly associated with fame; couturiers, their internationally known clients, film stars
and that awkward group that we define as “celebrities” redefine the construction of personal
appearance. This revised dictionary includes a limited number of these but only when strictly
necessary; there are other sources through which they can be tracked and which are specifically
devoted to them.
Since the 1980s, several dictionaries have been published in Europe and North America,
complementing rather than challenging the dictionary of Cunnington and Beard. They include
earlier information, such as on Greek and Roman dress; offer a wider and more inclusive world
view of clothing terminology; consider post-1900 developments in dress and fashion; or describe
themselves as dictionaries when they are companions or directories offering descriptions of pro
cesses, and biographies of designers, producers and purveyors of fashion. There are infinitely
more sources of information about this subject than when the Cunningtons were writing books
and students of this discipline will either own or be able to find these in libraries or, increasingly,
online. Also, there are academic projects operating within the dictionary tradition, such as The
Lexis of Cloth and Clothing Project c. 700–1450 led by Professor Gale Owen-Crocker, which is
producing an ‘analytical corpus of medieval dress and textiles terminology of the British Isles in
Introduction xii
the form of a searchable database innovatively illustrated’. This will be a rich resource for early
period specialists when it is available.
The intention of this revised edition of the dictionary is to continue the best elements of the
Cunnington–Beard volume, such as its cautious use of cross-referencing. Drainpipe trousers
will appear under the appropriate alphabetical letter “D” and not under “T” for trousers. Also,
where in English and American-English there are different meanings, these will be noted under
the appropriate letter; for instance, the fact that trousers in American are called pants, whereas
in English pants usually means an item of underwear. Ignoring these differences perpetuates
the notion that one is correct and the other can be ignored; both are correct but in different
parts of the world. It will be obvious to readers that American usage becomes increasingly
important to fashion in the twentieth century, though possibly not as overarchingly influential
as the many terms from European languages, especially French in earlier centuries.
The main dictionary in this edition contains both additions and amendments to existing
entries. Some original entries were almost mini-essays; these have been kept but adjusted and
updated when appropriate but there are relatively few new mini-essays. The practice of includ
ing dates at which terms emerge or change their meanings is retained, as is the occasional use
of quotations to place the term in context. A useful organizational feature of the original diction
ary is the categorization – the main dictionary deals with articles of clothing, mainly fashion
able clothing, with appendices devoted to fabrics, lace and outdated names for colours. There
are notable omissions – armour; classical and ecclesiastical dress; jewellery and embroidery
are mentioned in passing and dressmakers and fashion designers barely rate a mention; to
rectify this omission is impossible due to constraints of length but several gaps have been
filled. The revised edition contains more information about people, practices and processes
that support the production and wearing of clothing. Basic terms descriptive of the processes
of dressmaking, tailoring and allied skills have been expanded and rationalized. The section
originally called “Glossary of Materials” has been enlarged to include major twentieth-century
fibres and fabrics but could be even longer. Trying to include each and every term in each and
every language which has affected descriptions of fashionable clothing and fabrics in English
would be impossible without several unwieldy volumes. Inevitably, any dictionary will always
be a “work-in-progress” as more terms emerge and are added, and new evidence requires
adjustments to early entries.
An obvious visual difference is the omission of the drawings which illustrated the earlier
dictionary; instead, there are original images. These are fewer in number and have been chosen
to prompt the reader to look at images online – a wonderful new resource that no book can
emulate in range.
Valerie Cumming
The Dictionary of Fashion History

Preface to First Edition
The authorship of this dictionary requires a word of explanation. For a number of years the
late Charles Beard had been collecting material for an encyclopaedic work on English Costume
on the lines and dimensions of Planché’s familiar volumes. As a mediaevalist Mr. Beard’s chief
interest lay in the early centuries with particular attention to armour and heraldry. At his death
it appeared that the later centuries had not yet been adequately explored by him. We, on the
other hand, unaware of his researches, had started to make a concise reference dictionary of
English Costume; and now, invited to incorporate as much of Mr. Beard’s material as might
be relevant to our design, we have gladly accepted his mediaeval items as authoritative while
reluctantly discarding much that lay outside our own plan.
At a rough computation about a sixth of the text of this volume may be attributed to him
while for the rest we alone are responsible. In Part 1 the name of each garment is followed by
the date when it came into use (in England) with, in many cases the date when, approximately
it ceased to be fashionable; and the sex—M. or F.—which wore it.
Part 2 is a glossary of materials with the dates when they came into use.
C. Willlett Cunnington
Phillis Cunnington
Guide to Using the Dictionary
Using the Dictionary
This is simple. Cross-referencing is light-handed or entries would be impossible to read; the

term “accessory” has been left with heavy cross-referencing to indicate the absurdity of this
approach. Key words are cross-referenced; cloths, fabrics and materials including lace are
found in the extra glossaries leaving the reader to decide whether to pursue that extra level of
information.
Conversion Tables
Imperial to metric measurements:
1 inch = 2.54 cm.

1 foot = 0.3048 m.
1 yard = 0.9144 m.
£. s. d. to Decimal Currency
240 d. = 100 p. = £1
There are useful conversion tables online for readers who want fractional accuracy.
1 Adonis
A
a
Abillements, habillements Adelaide boots

See Billiments. (F)
Accessory Period: ca. 1830–1870s.
(F & M) Side-laced, cloth top boots with patent toe-cap and flat,
Period: Medieval onwards. heel-less soles.
An item which contributes to the overall effect but is of Adonis
secondary importance is the dictionary definition of an (M)
accessory, but the term has only been applied in relation Period: 18th century.
to personal appearance since the 19th century. As de-
fined by dress historians, accessories usually complete
an outfit and are chosen to complement it.
Accessories fall into two groups: those worn, such as
bonnets, caps and hats, boots and shoes, cravats
and ties, gloves, mittens and muffs, jewellery,
scarves and shawls, socks and stockings, and
those that are carried, such as bags, canes, fans,
parasols and umbrellas, and swords.
If a detachable nature defines an accessory, there are
many more, from aigrets to shoe-roses, thereby en-
suring a limitless supply of such “secondary” items.
Accordion-pleating
(F)
Period: ca. 1889 onwards.
A form of close-pleating which enables the garment to
expand its shape on movement, inspiring the fashion for
“skirt-dancing” introduced by Loie Fuller, the American
dancer (1862–1928). Also used for sleeves of some day
dresses, the pleating ending at the elbow, with the full-
ness gathered into a close, long cuff.

Adonising 2
A long, bushy, white wig, “like the twigs of a gooseberry of clothing worn from early morning to late at night by
a
bush in a deep snow” (1734, The London Magazine). “A elite women. Afternoon visits quickly acquired afternoon
fine flowing Adonis or white periwig” (1773, R. Graves, gowns or dresses.
The Spiritual Quixote). Aggrafes, aggrapes
Adonising Period: 16th century onwards.
Period: 1807. Hooks and eyes; also a clasp or buckle.
A fashionable expression for “dressing for dinner”.
Period: 19th century.
Adrienne, Andrienne
An ornamental clasp or a hook, known as an “agrafe”.
(F)
Aggravators
Period: 1703 to mid-18th century.
(M)
A style of sac gown; named after the character Andria
Period: ca. 1830–1870.
played by the French actress Marie Dancourt who wore
“His hair carefully twisted into the outer corner of each
such a gown in a 1703 version of the eponymous play
eye till it formed that description of semi-curls usually
by Terence.
known as “aggravators” (1835–6, Sketches by Boz).
Aesthetic dress
Aglets, aiglets, aigulets
(F)
(M, later F)
Period: 1870s to early 20th century.
Period: 15th to mid-17th century.
An attempt to revive in modified form the “artistic” dress
Ornamental metal tags at each end of the ties called
of the 14th century. Encouraged and espoused by those
points, used to join hose to a doublet in the 15th
associated with the Pre-Raphaelite circle of artists; a
century. Often of gold or silver or sometimes cut into
well-known enthusiast was the celebrated actress Ellen
the shape of little images; hence the term “aglet-baby”
Terry (1847–1928). It took the form of high-waisted,
meant a diminutive person. From the 16th century aglets
flowing garments using natural dyes, with patterned
were used by both sexes as trimming, either as tags to
materials in “indescribable tints”, or variants of oriental
short lengths of ribbon or sewn on in pairs or bunches.
styles, such as kimonos.
Agnes Sorel bodice
Satirized by W. S. Gilbert as the “Greenery-yallery,
(F)
Grosvenor Gallery” costume and depicted by George
Period: 1861.
du Maurier in his Punch cartoons.The Regent Street
A type of bodice for day wear, with the neckline cut
shop of Liberty & Co. provided fabrics and also
square but not low at front and back, with full bishop
produced a catalogue of dresses which captured the
sleeves.
quasi-medieval, classical lines which suited those with
Agnes Sorel corsage
such tastes.
(F)
Period: 1851.
(M)
A corsage of a pelisse-robe or redingote in the form of
Period: 1870s–1890s.
a day jacket with a plain or tabbed basque; either worn
The best-known male exponent of aesthetic dress was
closed to the neck or open, showing a waistcoat-front.
the Irish critic and dramatist Oscar Wilde (1854–1900),
Agnes Sorel style
who wore knee breeches, velvet jackets and shoulder-
(F)
length hair and is associated with the poet Bunthorne
Period: 1861 onwards.
in Gilbert and Sullivan’s Patience of 1881, though
French term for the English princess style of dress,
Swinburne and Whistler had also prompted amusement
the bodice and skirt cut in one without a seam at the
with their aesthetic attitudes and appearance.
waist. Agnes Sorel (1421–1450) was the mistress of the
See Dress reform.
French king Charles VII and noted for her beauty.
Afro
Aigret, aigrette, egret
(F & M)
(F)
Period: From the 1960s onwards.
Period: 18th century onwards.
A hair style popular among African-Americans and
An upright plume of feathers or a jewelled ornament in
widely copied in Europe and elsewhere. The hair is left
the shape of feathers, worn on the head, fashionable in
to curl naturally, grown a few inches and styled to form
the last decades of the 18th century. “A bracelet or a
a circle around the face.
well-fancied aigret” (1772, S. Foote, The Nabob).
Afternoon dress
(F) Period: 1880s–1940s.
Period: 19th to mid-20th century. Aigrettes were worn on hats for day and also on or as an
The rigid etiquette of carefully defined social occa- evening head-dress. The favourite feathers in the 19th
sions was matched by many differing styles and forms century were osprey and heron. In the 1990s there was

3 Alice band
a revival in the fashion for small feather head-dresses, A single-breasted coat, “the fronts slanted rather like the a
now called fascinators. Newmarket style”, with a broad collar and narrow lapels;
Aile de pigeon buttoned high on the chest. Full skirts with rounded cor-
(M) ners and pockets on the hips.
Period: ca. 1750–1770. Albert slipper
The “pigeon-wing” periwig; a toupee with one or two (M)
stiff, horizontal, roll curls projecting above the ears, with Period: After 1840.
the foretop and sides smooth and plain. A slipper with an extended vamp in the form of a tongue
À la marinière covering the foot; named after Prince Albert of Saxe
(M) Coburg Gotha (1819–1861), consort of Queen Victoria.
Period: 1750–1800. Many items of clothing were given his name after his
A small, round cuff crossed in front by a vertical flap, marriage to Victoria in 1840.
often scalloped, with three or four buttons matching Albert top frock
those on the coat. (M)
Albert boots Period: ca. 1860–1900.
(M) An overcoat in the form of a frock coat with a velvet
Period: 1840–ca. 1870. collar three inches deep, a short waist, long skirts and
Side-lacing boots with cloth tops and patent-leather flapped pockets on the hips. The collar, lapels and cuffs
toe-caps; often with “a close row of little mother-of-pearl were broader than those on the ordinary top frock and
buttons down the front; not for any purpose, for the real the cloth was usually heavy. In 1893 it was made in a
method of fastening being by the humble lace and tag double-breasted version, very long and close-fitting.
at the side” (1847, Albert Smith, The Natural History of Albert watch-chain
the Gent). (M)
Albert collar Period: ca. 1870 to mid-20th century.
(M) A heavy chain worn across the front of the waistcoat
Period: ca. 1850 to early 20th century. from one pocket to the opposite, with the watch at one
A separate stand collar of starched white linen, fas- end and a “guard” (short rod of the metal) at the other;
tened at the back to a button attached to the shirt. the chain passed through a buttonhole or, after ca.
Albert driving cape, sac 1888, through a special “chain-hole” in the waistcoat.
(M) Alexandra jacket
Period: 1860 to early 20th century. (F)
A very loose form of single or double-breasted Period: 1863.
Chesterfield overcoat, sometimes called simply a driv- A day jacket without a centre back seam, the front with
ing-cape or a sac. The back was usually made without small revers and a collar, the sleeves with epaulettes
a seam down the centre. “Sometimes these coats are and cuffs.
cut without a seam under the arms in which case there Presumably named after Princess Alexandra of Denmark
must of course be a back-seam” (Minister’s Complete (1844–1925) who married the Prince of Wales in 1863;
Guide to Practical Cutting, 3rd edn). various “Alexandra” and “princess” styles were named
Albert jacket after this elegant woman.
(M) Alexandra petticoat
Period: ca. 1848. (F)
A very short, skirted coat; single-breasted and slightly Period: 1863.
waisted, with or without a seam at the waist, and with A daytime undergarment of poplin with a broad plaid
or without side pleats. No breast pocket. border above the hem.
Albert overcoat Algerian burnouse
(M) See Burnouse.
Period: 1877. Alice band
A loose overcoat with fly-front fastening and a half- (F)
circle cape cut to lie flat on the shoulders. Vertical slit Period: 1865 onwards.
pockets on each breast; flapped pocket on hips. Deep The publication of Lewis Carroll’s two novels, Alice’s
back vent closed by buttons under a fly. Length to mid- Adventures in Wonderland (1865) and Through the
calf. Close-fitting sleeves with stitched cuffs. Looking Glass(1871), popularized a style of children’s
Albert riding coat clothing including the narrow band of ribbon which held
(M) Alice’s long hair away from her face in some, though
Period: 1841. not all, of Sir John Tenniel’s illustrations. In the late 20th

A-line 4
century, velvet Alice bands, the fabric covering a half for day wear in the 1830s; revived in the 1850s when
a
circle of plastic or similar, were a feature of Sloane the tightness extended to the elbow and was closed
Ranger appearance in the UK. by buttons. To be distinguished from the turned-back
A-line cuff end.
(F) See Mousquetaire cuff.
Period: 1955. Amazon corsage
One of three lines (H, A and Y) introduced by French (F)
designer Christian Dior (1905–1957) between 1954 and Period: 1842.
1955. The A-line was a reworking of the 1954 H-line A plain, high bodice tightly buttoned up to the throat,
and coats, dresses and suits with this cut formed a with a small cambric collar and cuffs; for day wear.
triangle from shoulder to hem, with the cross-bar of the Amazon corset
A below the bust or on the waist or the hips. (F)
All-rounder Period: 1850s.
(M) A riding corset with elastic lacings. “By pulling a con-
Period: 1854. cealed cord can be shortened 3” for riding.”
A rigid stand collar attached to the shirt and complete- Amazone
ly encircling the neck. “No military stock ever strangled (F)
an unfortunate soldier half so cruelly as these all-round Period: Early 18th century.
collars” (1854, Punch). A form of riding dress, probably named after the leg-
Almain coat, Almain jacket endary Amazons, the Greek female warriors; “…a coat
(M) and waistcoat of blue camlet trimmed and embroidered
Period: ca. 1450 to 16th century. with silver…this Amazonian hunting-habit for ladies,
A short, close-fitting coat or jacket with short, flared was, I take it, first imported from France…” (R. Steele,
skirts and long, pendant sleeves open in the front Spectator, Friday 29 June 1711, no. 104).
seams; worn over the doublet. Almain meant “German” American coat
at that time. (M)
Almain hose, German hose Period: 1829.
(M) “A new kind of coat called an “American” has very broad
Period: Late 16th century. collar, narrow lapels, skirt flaps, very long and wide, and
Very baggy, paned hose with voluminous puffs or pull- is made S-B (single breasted). It may be in black cloth.”
ings out. American neckcloth, Yankee neckcloth
See Pluderhose. (M)
Alpine hat Period: 1818–1830s.
(M) A form of stock with vertical pleating on each side of the
Period: 1890s. central portion in front, and with narrow ends brought
A soft felt hat with a low, round crown slightly depressed forward and tied low down in a small knot called a
circularly. “Gordian Knot”.
Alpine jacket American shoulders
(M) (M)
Period: 1876. Period: 1875.
An “improved” form of Norfolk jacket; double-breasted The padding inserted in the shoulders of men’s coats
with a pleat down the centre of the back skirt; vertical to produce the effect of “square”, broad shoulders. “In
pockets in the side seams, ornamented with side edges. New York they place the thickest part of the wadding
Worn fastened to the neck, often without a waistcoat. about 2” in front of the shoulder seam” (The Tailor &
Alternative fashion Cutter).
(F & M) See Padded shoulders.
Period: ca. 1950 onwards. American trousers
Term encompassing all styles of youth, or non-main- (M)
stream, styles of clothing; also described as sub-cultural Period: 1857 onwards.
and discussed as Goths, hippies, Mods, Rockers, The cloth was gathered into a narrow waistband with a
Teddy boys, etc. strap and buckle behind; worn without braces.
Amadis sleeve American vest
(F) (M)
Period: 1830. Period: 1860s onwards.
A style of sleeve with a tight cuff at the wrist. Fashionable A single-breasted waistcoat, without collar or lapels

5 Ankle socks
and buttoned high. Later, known also as the French The bottoms were cut into obtuse angles instead of a
vest. being rounded. Usually single-breasted, occasionally
Anademe double-breasted.
(F) Anglesea hat
Period: Late 16th and early 17th centuries. (M)
A fillet or garland of flowers or leaves for the head. Period: ca. 1830.
Andalouse cape A hat with a high, cylindrical crown and flat brim.
(F) Anglo-Greek bodice
Period: 1846. (F)
An outdoor cape of silk trimmed with broad streamers Period: 1820s.
of fringed crêpe lisse; the front borders cut straight, the A bodice made with fichu-robings, the lapels broad
arms being free. and wide apart, often edged with lace. For day or
Andalusian casaque evening wear.
(F) Angoulême bonnet
Period: 1809. (F)
A tunic worn with evening dress; fastened down the Period: 1814.
centre and sloping away to knee-level behind. A bonnet made of straw with a high crown and broad
Androgynous styles front brim, tied on one side.
Period: Late 1960s onwards. Ankle boots
(M) (F & M)
The appropriation of elements of female dress – feather Period: 14th century onwards.
boas, lurex, satin and sequins, and cosmetics – by pop General term for any boot that covers the foot and
and rock stars such as Marc Bolan, David Bowie and reaches up to just above the ankle.
used as performance clothing and as a mark of sexual See half boots.
ambiguity. Ankle bracelet
(F)
(F) Period: Late 20th century onwards.
Experimentation with forms of culottes, knickerbockers, Although ankle bracelets or chains were worn by per-
trousers and jackets by designers of womenswear. The formers at earlier periods, it was only in the later 20th
innovative French designer Yves Saint Laurent (1936– century that they became fashionable. Usually one
2008) developed a distinctive style for female day and bracelet was worn; often a thin chain in a precious
evening wear using trousers and a jacket; the evening metal; its position on one or other ankle supposedly
version was a variant of a dinner jacket, le smoking. signalled availability, or otherwise, to a potential partner.
Angel overskirt Ankle-breeches
(F) (M)
Period: 1894. Period: ca. 1600–1650.
Day wear; a short upper skirt made with two deep A nickname for Spanish breeches, generally called
points on each side. Spanish hose.
Angel sleeve Ankle-jacks
(F) (M)
Period: 1889. Period: 1840s–1870s.
Long, square panels reaching nearly to the ground, Short boots fitting round the ankles and laced up in
covering the arm-holes and attached to some mantles. front through eyelets, five on each side. “The laced-up
the Anglaise shoes called ankle-jacks” (1874, T. Hardy, Far from the
(M) Madding Crowd).
Period: 1840 onwards. Ankle-length
Term describing “the collar and fold of the turnover” of (F)
a coat or waistcoat. Period: Early 20th century onwards.
Angle-fronted coat, university coat Term describing the length of a coat, dress or skirt; oc-
(M) casionally applied to trousers but rarely used for male
Period: 1870–1880. styles.
A fashionable variant of the morning coat. Instead Ankle socks
of the fronts sloping away in a curve from the second (F)
button, the fronts were cut so that the gap between Period: 1930s onwards.
them formed an angle, exposing much of the waistcoat. Short woollen or cotton socks, often with a turnover

Ankle straps 6
cuff, worn for sports such as tennis; during the 1939–45

a
war they often replaced stockings, which were rationed,
and patterns for hand-knitted ones were popular. From
the late 1940s they were associated with schoolchildren
until new yarns, colours and patterns made them fash-
ionable again from the 1970s, and in 1983 Sock Shop
was founded in the UK.
Ankle straps
(F)
Period: 1880s onwards.
Throughout the long history of footwear a ribbon, strap
or tie attached to a shoe or slipper has often been
passed around the ankle to decorate and/or secure the
shoe. However, as skirts shortened this feature became
apparent and a buttoned or tied strap became an ele-
ment in shoe design.
Anorak
(F & M)
The term describes a traditional, hooded, waterproof
garment, originally made of hide, birdskin or treated fastening behind with a bow, with the long ends floating
cloth, worn in Greenland and Canada. Adapted for use at the back.
in other countries, the word now applies to a type of See Fichu.
sturdy, hooded, waterproof jacket worn by men, women Apollo corset
and children. (F & M)
See Parka. Period: 1810.
Anslet A form of whalebone corset worn by dandies; a rival of
See Hanslet. the Brummell bodice and the Cumberland corset.
Antigropolis Also “worn by the ladies to make their waists look slen-
(M) der and genteel” (1813, Spirit of the Public Journals).
Period: 1850s. Apollo knot
A form of high gaiter “adapted to either walking or riding; (F)
generally of leather, similar in shape to the mud boot Period: 1824–1838.
but fastens at the side by means of a spring. The back False hair plaited into a loop or loops and wired to stand
part is cut away at the ham and the front is raised to above the head; for evening and some day hair styles.
protect the thigh” (1855, The Gentleman’s Magazine of Apparel
Fashion). (F & M)
Antique Period: Early 14th century onwards.
Term found in complimentary and derogatory forms; the A term used to denote clothing, in particular a suit of
former suggestive of an admired detail, fabric or style clothes. In the late 14th century it also described the
from an earlier period, e.g. antique lace; the latter indica- embroidered borders of ecclesiastical garments and the
tive of something old-fashioned, e.g. “a suit of rather embellishment of a harness or armour.
antique appearance”. Appliqué
Antique bodice French term to describe fabric cut into decorative
(F) shapes and applied to another fabric with plain or fancy
Period: ca. 1830–1850. stitching. In the 1950s the use of felt motifs on circular
An evening bodice with low décolletage and deeply skirts was popular; from the 1970s motifs were applied
pointed waist. to jackets and jeans to customize them.
Antoinette fichu Après-ski wear
(F) (F & M)
Period: 1857. Period: 1954 onwards.
Worn for summer morning wear, a “fichu Antoinette” Designed for the evening activities after a day of ski-
of muslin trimmed with black lace and narrow velvet, ing. Ski-wear is streamlined but too bulky and warm
covering the shoulders and crossing at the front but for indoor wear, so the idea of “après-ski wear” was

7 Army surplus
developed; the informality of these trousers, sweaters An early form of sports shirt worn for boating; also a
and loose jackets was often based on Scandinavian for country and seaside wear. Of cotton in coloured
colours, patterns and styles. stripes or checks or in whole colours (red, blue, green).
Apron Decorated with sporting motifs and popular in the
Period: 13th century onwards. 1840s and 1850s.
Also “aporne” and napron, the latter term used in 14th Aragonese bonnet
and first half of the 15th century; subsequently “apron” (F)
was used. Period: 1834.
A bonnet mainly of silk, with arched front brim, and
(M)
pyramid-shaped crown.
Worn by artisans and workmen to protect the front of
Aran knitwear
their clothing; tied at the waist and often cut in one
(F & M)
to spread up over the chest. “Checkered apron men”
were 16th century barbers who wore check-patterned
A distinctive style of knitting found in the Aran Islands
aprons. “Blue-aproned men” often meant tradesmen
which used thick unbleached wool and incorporating
from the 16th to the 18th century. “Green-aproned
raised motifs including bobbles, cables and twists.
men” applied to London porters in the 18th century, and
There were different traditions and patterns to the east
green baize aprons were worn by furniture removers,
and west coasts of Scotland and Ireland. One tradition
and in auction-rooms, in the 19th century.
produced horizontal patterns, another produced vertical
(F) patterns. Originally produced as sweaters for fisher-
Sometimes worn to protect the clothing but also used men, from the mid-20th century the motifs have been
as a decorative feature. The fabric was gathered into used on other informal garments, such as cardigans,
a waistband and tied round the waist; some working coats, etc., and copied in different countries.
aprons had an attached bib extending up from the waist See Guernsey.
to protect the bodice. Decorative aprons were of fine Argyle knitwear
fabrics, usually without bibs, and often embroidered. (F & M)
They were fashionable from the late 16th century to ca. Period: ca. 1920 onwards.
1640, and especially fashionable throughout the 18th A diamond-shaped motif knitted in coloured wools and
century and again in the 1870s. The latter were very used on sweaters and socks; often associated with
small, of black silk sometimes embroidered in colours golf and other outdoor activities. Possibly connected to
and popularly known as “fig-leaves”. From the 20th cen- the Dukes of Argyll (the modern spelling), though their
tury onwards aprons were practical rather than decora- tartan is that of the Clan Campbell.
tive, and came in washable cotton and wipeable PVC. Arisaid
Apron skirt (F)
(F) Period: 16th to mid-/late-18th century.
Period: Late 19th century onwards. An item of traditional clothing worn in the Highlands
Either an overskirt to a dress, simulating an apron, or a and Islands of Scotland. The name may derive from
half-skirt worn when riding to conceal breeches. the Gaelic and is a term applied to a large rectangle of
Aquascutum woollen fabric worn over the shoulders, draped across
Period: 1850 onwards. the body, reaching as low as the ankles, and held by
Along with Burberry, a name synonymous with rain- a brooch or decorative pin. It was possibly a sign of
wear since the 19th century. Originally an English tai- wealth and/or status and worn as outerwear for special
loring firm funded in 1851 by John Emary and widely occasions. Surviving examples indicate that it usually
known after he introduced a waterproof garment in had a white ground, woven with colours to produce a
1853; this London-based business became interna- tartan or checkered pattern.
tionally celebrated during the 1914–18 war when they Armenian mantle
provided waterproof trench coats for British officers to (F)
wear. An innovative approach with new fabrics, proc- Period: 1847.
esses and styles has ensured that the firm has retained A loose pelisse without a cape, the front trimmed with
its reputation for chic but practical outerwear while add- passementerie.
ing many other product ranges. Army surplus
See Classic style. (F & M)
Aquatic shirt Period: From 1920s onwards.
(M) Clothing worn by British air-force, army and navy per-
Period: ca. 1830 to late 19th century. sonnel that was surplus to requirement and was sold to

Arrow collars and shirts 8
the public. This started after World War I but was more The influence of the pre-Raphaelite brotherhood, a
a
significant after World War II. Duffle coats, issued to the group of painters founded in 1848 by Holman Hunt,
navy, were much sought after as warm winter coats and Millais and Dante Gabriel Rossetti, on clothing was re-
were joined by battle dress, bomber jackets, trousers, flected later by Walter Crane: “…the dress of women in
sweaters and boots. The quality was good and students our own time may be seen to have been transformed for
found army surplus stores a vital source of clothing and a while, and, though the pendulum of fashion swings to
mixed these classic styles with modern fashions and and fro, it does not much affect, except in small details,
colours. a distinct type of dress which has become associated
Arrow collars and shirts with artistic people…” (1894, Aglaia, p. 7).
(M) The ideal pre-Raphaelite woman had thick, softly
Period: 1889 onwards. curling hair, a pale complexion, strong features and a
Detachable and stiffened shirt collars were an American taste for unstructured garments in natural colours. This
invention of the 1820s but Arrow collars and shirts alternative style, one of the first successful movements
(Arrow was a patented trademark) are symbolic of antithetical to fashion, continued and evolved, and was
American masculine elegance. The combination of the caricatured and satirized, but the ideas of comfort and
crisp, rounded collar with a contrasting coloured or timeless elegance influenced designers such as Paul
striped shirt became known through the advertisement Poiret and Mariano Fortuny in the 20th century.
drawings by J. C. Leyendecker which appeared from See Aesthetic dress, Delphos dress, Liberty & Co.
1913. By the 1920s there were many colours, sizes and Artist’s smock
types of shirt and the company adapted to changing (F & M)
tastes by introducing integral collars and sleekly fitted A loosely fitting cotton or sailcloth garment, usually
shirts. between thigh- and knee-length, with long sleeves, not
Art Deco dissimilar to the female smock and worn to protect
Period: ca. 1910–1939. clothing. Portraits and self-portraits of artists are unin-
A fashionable artistic movement which supposedly formative until the mid-to-late 19th century when pho-
took its name from the Exposition Internationale des tographs depict painters in smocks, often with a loose
Arts Décoratifs et Industriels Moderne which took place bow at the neck and a soft beret. Smocks are made in
in Paris in 1925. In fact, the name first appears in the a range of colours.
1960s and was popularized by Bevis Hillier’s book. Art Nouveau
However, the highly ornate and decorative styles, often Period: ca. 1890–1914.
influenced by 18th-century revivalism, are perceived to A decorative art form using sinuous, curving lines and
have started soon after the decline of Art Nouveau flower-and-leaf motifs, often exaggerated in scale. The
and to have reached their apogee in the 1920s, but name was attributed to the Paris shop L’Art Nouveau
continued into the 1930s as an aspect of the modern- opened in 1895, but a celebrated British exponent was
ist aesthetic which was prevalent in clothing and textile Liberty in London. Fabrics, embroidery and jewellery
design. The German fashion designer Karl Lagerfeld (b. of this type were popular from the 1890s up to about
1938) adapted Art Deco motifs for his work in the early 1910. Liberty revived interest in the textile designs in the
1970s. 1960s.
Artificial crinoline Artois buckle
See Crinoline. (M)
Artificial flowers Period: ca. 1775–1790.
Period: 19th century onwards. The very large, decorative and fashionable shoe buckle
Flowers, exotic, natural or wild, have been a source named after the Comte d”Artois (1757–1836), younger
of inspiration to embroiderers, designers, printers and brother of Louis XVI of France and later Charles X of
weavers from the earliest times. Real flowers were often France.
held in portraits, woven into the hair, etc. Artificial flow- Ascot jacket
ers, often made of silk, were much used on millinery (M)
from the early 19th century onwards. Artificial flowers Period: 1876.
also decorate garments, individually or in groups, are A double-breasted jacket with its skirts rounded off at
regular substitutes for brooches, and are an integral the front bottom edges, and a belt of the same cloth
feature on many fascinators – the hat substitute of the passing through loops at the sides, drawing in the
1990s onwards. fullness.
Artistic dress Ascot tie
(F, occasionally M) (M)
Period: 1848–ca. 1900. Period: 1876 onwards.

9 Babygro
The plain form of this tie was similar to the Octagon tie. A head-dress of goldsmith’s work and gemstones, worn
The “Puffed Ascot” was puffed out in the centre. Both on state occasions. Later shortened to “tire”.
versions, usually of patterned silk, were often self-tied
but some were ready made-up. (F & M) b
Asooch, aswash Clothing worn by men and women.
(M) Aulmoniere, aumoniere, almoner, aumer
Period: 17th century. (M)
A term signifying sash-wise or scarf-wise; a garment Period: Medieval.
worn “asooch” or “aswash” was draped diagonally A pouch or purse suspended from the girdle and worn
across the body instead of hanging normally; a fashion- by nobles. The first two terms are comparatively recent
able style for cloaks and sometimes for shamews. pseudo-archaic forms.
Assasin, veney-a-moy Aurum potabile
(F) Period: 16th and 17th centuries.
Period: Late 17th century. A cosmetic; “a red dye for the tongue furred by too
“A certain Breast-knot, as much as to say, Come to me, much indulgence”; “a blood-red, gummie or honey-like
Sir” (1690, J. Evelyn, Fop-Dictionary). substance” (1678, Phillips).
Attaché case Automobile coat
(F & M) (F & M)
Period: Late 19th or early 20th century. Period: Late 19th century onwards.
A rectangular, lockable case with two handles and of a Literally a coat worn in early automobiles as a protection
size to take business papers. Often made of leather, but against the elements; made of leather or cloth with a
inexpensive versions in canvas or fibre were made. Also thick lining, often of fur in winter and linen in summer.
called a briefcase. Later, a loose informal coat, often three-quarter length.
Attire Also called a motoring coat, a car coat, or a travelling
(F) coat.
Period: 15th century onwards. See Dust coat.
B
Babet bonnet the waistband. In 1897 the neck was drawn in with
(F) threaded ribbons, and a wide sash with hanging ends
Period: 1838. replaced the belt.
A small bonnet of tulle covering the back of the head Baby cap
and descending over the ears; for evening wear. (F)
Babet cap Period: Late 16th and early 17th centuries.
(F) Term used for a fashionable woman’s coif of lawn or
Period: 1836–1840s. lace resembling a baby’s bonnet.
A morning cap of muslin with a small, round caul, the Baby doll
sides descending over the cheeks; trimmed with ribbon. (F)
Baby Period: 1956 onwards.
Period: 16th century onwards. The film Baby Doll, based on Nabokov’s novel of the
Used as a suffix to describe items worn by small chil- same name, inspired a range of childlike nightwear,
dren, such as babygro, or items suggestive of infants’ including a type of short, loose top worn with short pan-
clothing or of its diminutive scale if intended for adults, ties and a short nightdress, both similar to 19th-century
such as baby doll. children’s garments.
Baby bodice Babygro
(F) (F & M)
Period: 1878–ca. 1900. Period: 1959 onwards.
A day bodice with a square neck, vertical pleats down Term patented by the North American company Lisle
the centre, and a large basque extending below Mills. This multi-purpose item of baby clothing was a

Bachlick 10
one-piece garment which allowed the baby move- Back piece

ment when sleeping or awake. Now worn throughout (M)
the world, this style of baby clothing is made in easily Period: 19th century.
b laundered stretch fabrics, often in natural yarns such as Tailor’s term for the part of the back of a coat between
cotton and wool. the midline seam and the side seam.
Bachlick Back string
(F) Period: 18th century.
Period: 1868. A child’s leading strings attached to the shoulders of
A fichu with a hood-like point behind having a tassel; the dress. ‘Misses at whose age their mother wore. The
of cashmere edged with swansdown; worn over day back-string and the bib” (1785, Cowper, The Task).
dress. Bag
Back, bak (M)
Period: 14th century. Period: Late Medieval and 16th century.
Term used loosely for any outer garment; also, in the Term for the girdle pouch.
plural, for clothing in general. “Oure bakkes…that moth-
etan be” (1377, Langland, Piers Plowman).
Term sometimes used for the padding of doublets.
A wig.
See Bag-wig.
(F & M)
Term used for a handbag or similar.
Back breadth
(M)
Tailor’s term for the combined width of the two back
pieces of a man’s coat, at waist level.
Backpack
(F & M)
Period: Early 20th century onwards.
Originally a carrier for outdoor activities such as camp-
ing and hiking, the term later became associated with
rucksacks and other smaller, more fashionable bags
worn on the back, especially in the late 20th century,
allowing posture to benefit as a result of not carrying
heavy items suspended from one arm.

11 Ballets Russes
Bag bodice Period: 19th century.

(F) A black silk bag in the form of a rosette attached to
Period: 1883. the back collar of a court suit even when wigs and their
A day-wear blouse bodice, the front of which sagged powder were no longer used. b
pouch-like over the waistband. Bahut
Bag bonnet (F & M)
Period: Early 19th century. A masquerade dress or domino.
An outdoor and daytime style of capote with a soft Balaclava
crown loosely covering the back of the head. (M)
Bagging shoe Period: 1854 onwards.
(M) A woollen cap which covered the head and neck leav-
Period: 16th and 17th centuries. ing the face revealed; worn by military personnel and
A loose shoe roughly made for country wear; the term named after the Crimean village of Balaclava where a
sometimes applied to startups. battle was fought in 1854.
Bag-irons, bag-rings Balandrana
(M) Period: 12th and 13th centuries.
Period: 15th and early 16th centuries. A wide cloak or mantle worn by travellers.
The cross-bar and swivel for suspension of a pouch Balayeuse
and the pendant concentric semicircular rings which (F)
acted as stiffeners for the pouch-mouth and the cover- Period: 1870s onwards.
ing flap. The bag-irons might also be of bronze, silver A flounce or frill of stiff white muslin protecting the in-
or latten (a mixed metal similar to brass) and were oc- ner surface of the hem of a skirt and detachable for
casionally engraved with posies or mottoes. laundering.
Bagpipe sleeves, pokys Baldric, baldrick
(F & M) (M)
Period: 15th century. Period: 13th century to 1700.
Very wide sleeves, deeply pendant from a closed A belt worn diagonally across the chest, or sometimes
wrist and forming a huge hanging pouch, often across the abdomen, for suspending the sword, dag-
used as a pocket. These sleeves were peculiar to ger, bugle, horn or pouch.
houppelandes.
Bag plastron
The bugle baldrick was called the “corse”.
(F)
Period: 1884. Period: 17th century.
A plastron or front panel of a day bodice, the plastron The term “shoulder-belt” was used; it suspended a
sagging in front and forming a “bag”. Sometimes worn rapier.
instead of a waistcoat-front. Ballerina skirt
Bags (F)
(M) Period: Early 20th century onwards.
Period: 19th century onwards. A wide skirt, often of several layers of light fabric, of
Slang term for trousers; in the 1920s trousers with wide mid-calf length and inspired by classical ballets such as
legs were called Oxford bags. Giselle. Especially popular in the 1930s and 1950s.
See Unmentionables. Ballet-skirt
Bag-waistcoat (F)
(F) Period: 1883.
Period: 1883. For evening dress, a skirt of tulle composed of three
A day waistcoat sagging in front to form a pouch. or four skirts diminishing from below upwards and
Bag-wig, bag mounted on a silk or satin foundation; the uppermost
(M) skirt spotted with stars, pearls or beetle-wings. Worn
Period: 18th century. with a velvet, plush or satin bodice. ‘A ballet skirt is three
The queue of this wig was enclosed in a square, black, yards wide and required 20 yards of material” (C. W.
silk bag drawn in at the nape of the neck with a run- Cunnington, Englishwomen’s Clothing in the Nineteenth
ning string, concealed by a stiff, black bow. Worn with Century, 1937).
“dress” and “full dress” from the 1720s until the end of Ballets Russes
the century. Period: Early 20th century.

Ball gown 12
The first of these Russian ballets, the idea of the impre- taken from a Scottish estate in Inverness-shire.
sario Serge Diaghilev, was seen in Paris in 1909 and in Balmoral bodice
London in 1910. The exotic, innovative designs by Leon (F)
b Bakst (1866–1924) had an impact on fashion and influ- Period: 1867.
enced designers such as Paul Poiret (1879–1944) and The name then given to the postilion corsage with two
Mariano Fortuny (1871–1949). Harem pants, hobble short basques, similar to a postilion’s coat-tails, falling
skirts and turbans, all in brilliant colours can be traced over the upper part of the back of the day skirt.
to designs for the Ballets Russes. Bakst designed fash- Balmoral boot
ionable clothing for Madame Paquin (fl. 1891–1956) and (F)
Natalia Goncharova (1881–1962), a Cubist-inspired de- Period: Late 1850s–1870s.
signer for Diaghilev, designed for Myrbor, a Paris textiles A short, black boot lacing up the front, often with col-
boutique in the 1920s. oured laces and generally worn with country or walking
Ball gown dress.
(F) Balmoral cloak
Period: Early 19th century onwards. (F)
Ball gowns or ball dresses are regularly illustrated and Period: 1852.
described in women’s magazines from the 19th century, A short, sleeveless cloak with a narrow hood. The
when minute distinctions between ball, dinner, evening name appeared in the year that Queen Victoria bought
and opera gowns became noticeable. Styles have Balmoral Castle in Scotland.
changed, but the principal features are expensive silk Balmoral jacket
fabrics, light or heavy, decorated with lace, embroidery (F)
or beading, with low-cut bodice, short or no sleeves, Period: 1867.
and a full skirt. A jacket simulating a waistcoat, with pointed fronts and
Balloon hat, Lunardi, parachute hat long pointed ends behind; buttoned up to the throat.
(F) For day wear.
Period: 1783–1785.
A hat with a large, balloon-shaped crown and wide brim Period: 1870.
made of gauze or sarcenet over a wire or chip founda- A tailor-made version: “Resembles the Riding Habit but
tion. Very fashionable in those years as a compliment to not made to fit so close; the back cut without a centre
Vincenzo Lunardi (1759–1806) and his balloon ascents. seam; side bodies added; D-B foreparts with lapels. The
Balloon skirt fronts rounded off; pocket flaps on the front of the skirts
(F) of the jacket. Sleeves with small gauntlet cuffs. Band or
Period: 1950s onwards. belt round the waist” (The Tailor & Cutter).
A full skirt curving out from a narrow waistband to re- Balmoral mantle
semble a balloon and narrowing towards the hem. Also (F)
called a “bubble skirt” or “tulip skirt”. Period: 1866.
Balloon sleeve A mantle made like an Inverness cape, of velvet, cash-
(F) mere or cloth; for outdoor wear.
Period: 1890s. Band
Term sometimes used for a gigot sleeve or puffed (F & M)
sleeve, the very full upper sleeve for day and evening Period: 16th and 17th centuries.
wear. A white collar, the word being transferred from the shirt-
Ball-room neckcloth band to a separate collar. A falling band or fall was a
(M) turned-down collar whether raised or flat. A standing-
Period: 1830s. band was an upright collar without a turnover. Short
A white, starched neckcloth, the ends crossing in front bands were a pair of short, narrow pendants of white
in broad folds and secured to the braces. A brilliant linen worn by ministers of religion, barristers and col-
brooch or pin in the centre held the neckcloth in place. legians. After ca. 1850 they were gradually discarded by
Balmacaan High Church clergy and later by all Church of England
(F & M) clergy, but still used by evangelicals and nonconformist
Period: 19th century onwards. ministers into the 20th century.
Originally a single-breasted male overcoat of heavy Bandana, bandanna handkerchief
tweed or wool, calf-length and loose-fitting, with a small (M)
collar and raglan sleeves. This style had been adapted Period: 18th century onwards.
for women by the end of the 19th century. The name is A handkerchief, originally of silk, later of cotton, having

13 Barme cloth, barm cloth, barmhatre
a dark ground commonly of Turkey red or blue with A loose-skirted coat, knee-length, with a short back
small white or yellow spots. Imported from India and vent and fastened by a clasp, or buttoned or hooked
used, in the 18th century for neckcloths; later as down the front; sleeves close and slit. Worn domesti-
snuff-handkerchiefs. cally and in 1780s often out of doors, when it was b
Band-box very fashionable and of expensive fabrics. In the
Period: 16th and 17th centuries. early 19th century it had become a superior kind of
A box in which collars and ruffs were kept. dressing-gown, made without a back vent but with
Bandeau a banyan pleat and ankle-length. The name derives
(F & M) from the term for an Indian trader in the province of
Period: ca. 1800 onwards. Gujarat.
A band of fabric worn around the head to contain the Banyan pleat
hair or for decorative effect; a style associated with (M)
women from the early 19th century, until elasticated Period: 19th century.
bandeaux became popular amongst both sports men Tailor’s term for a pleat at the back of a garment made
and women in the 1970s. with a tackover but without a back vent.
Bandelet Barbe
(F & M) (F)
Period: 16th century. Period: 14th to late 16th century.
“Any sort of scarf” (1598, Florio). The head-dress of widows and mourners. A length of
Bandore and peak vertically pleated linen encircling the chin and falling to
(F) the bosom; worn with a black hood and pendant veil
Period: 1700–ca. 1730. behind. The barbe covered the chin of elite women; by
A widow’s head-dress, a black bonnet curving to a all others it was worn with the chin exposed.
point over the forehead; worn with a black veil flowing See Mourning attire.
behind. Barbette
See Mourning attire. (F)
Band-strings Period: ca. 1200–ca. 1350.
(F & M) A French term for the wimple and also for the linen
Period: 16th and 17th centuries. band worn under the chin and pinned on the top or
Tasselled ties to fasten bands or ruffs in front; some- sides of the head; usually worn with a white fillet.
times several pairs were used. In the 17th century, Barbour
“snake-bone” band-strings were woven to resemble the (F & M)
backbone of a snake. Period: 1894 onwards.
Bang Originally a general drapery firm in South Shields,
(F) Tyneside, England; by 1908 it had a 12-page mail-order
Period: 1880s onwards. catalogue which included the waxed and waterproof
An American term for hair cut in a straight fringe across garments for which it became famous. By the late
the forehead. 1950s it had its own factory and diversified in subse-
Banging chignon quent decades to produce a wide range of clothing and
(F) accessories. Its reputation was further enhanced by
Period: 1770s. Helen Mirren wearing its traditional waxed jacket in the
A wide, flat loop of hair dressed to hang from the top film The Queen (2006).
down to the nape of the neck; sometimes tied round Barcelona handkerchief
with ribbon. (F & M)
Bangle Period: 18th and 19th centuries.
(F) A handkerchief of soft, twilled silk from Barcelona, usu-
Period: Late 18th century onwards. ally black; used as a neckerchief. “A Barcelona black
A ring worn around the wrist or ankle as a decorative and tight” pinned round the neck. (Peter Pindar).
item of jewellery; unlike a bracelet it is slipped on or off Also used as a handkerchief; “Barcelona silk snuff-
and has no fastener. Many different styles were popular handkerchiefs” (1734, Essex Record Office, Inventory).
and ranged from simple bangles of precious metal to Barme cloth, barm cloth, barmhatre
beads, plastic and plaited leather. (M, later F)
Banian, banyan, banjan, Indian nightgown Period: Early Medieval.
(M) An apron; a term used to the end of the 14th century
Period: ca. 1650 to early 19th century. and then gradually replaced by apron.

Barmfell, barmskin 14
Barmfell, barmskin was offered in straight and curved forms. Many im-
(M) provements took place in the second half of the 20th
Period: 14th–17th centuries. century using synthetic fabrics, Velcro fastenings, etc.
b A leather apron. A team, college or sponsor logo was often prominently
Barouche coat displayed on the front of the cap and many colours and
(F) combinations of fabrics were devised. Since the 1980s
Period: 1809. these caps have become a general form of headwear
A three-quarter-length, close-fitting outdoor coat, with and groups of young people often wear them with the
shaped bodice and full sleeves; fastened down the front brim to one side or at the back, shielding the neck.
with barrel-snaps and a buckled girdle round the waist. Base coat
Barrel hose (M)
(M) Period: 1490–1540.
Period: 1570–1620. A jacket or jerkin with deep skirts called bases hanging
Breeches voluminous throughout; after 1610 heavily in tubular pleats to just above the knees; with a square
pleated or gathered from top to bottom. Certain Cam neck and short sleeves. The half-base coat was a mili-
bridge students were seen “waring greate Galligaskins tary garment.
and Barreld hooese stuffed with horse tayles, with Bases
Skabilonians and knitt nether-stockes too fine for schol- (M)
lers” (1570, MS in Corpus Christi College, Cambridge). Period: 1490–1540.
Barrel shape The tubular, pleated skirts of a jacket or jerkin; some-
(F) times separate items, especially when worn with armour.
Period: 20th century onwards. Base socks
A term describing a skirt which is, like a barrel, narrow (M)
at top and bottom but much fuller between, in this in- Period: 16th century.
stance, the waist and hem. Descriptive of the hobble A sock worn beneath the outer one for added comfort.
skirts of ca. 1908 and found also in the 1960s and Basket
occasionally later. (F)
Barrel-snaps Period: ca. 1550–1600.
Period: 1800–1830. A tall, wickerwork hat. “Their maried Women weare on
Tubular snap-fastenings of gilt metal; fashionable for their heades fine wickre Basquettes of a foot and a half
cloaks and pelisses. long” (1555, Fardle of Facions).
Barrette Basket buttons
(F) Period: 1700 onwards.
Period: ca. 1850 onwards. Buttons decorated with an interlacing pattern, in a bas-
The instep of low-cut shoes was covered with several ketwork pattern or a metal imitation thereof; especially
decorative bars known as barrettes. fashionable on men’s coats in the 18th century.
Basque
Period: 20th century. (F)
From the French term for a biretta or small cap, the term Period: 19th century onwards.
was used to describe a support for long hair early in the French term for an extension of the bodice below the
century, and then a decorative hair grip. waist.
Barrow, barrow-coat Basque-habit
A baby’s flannel garment wrapped round the body and Period: 1860s–ca. 1900.
turned up over the feet. “The barrow-coats are best A bodice with square-cut basques.
made of real Welsh flannel” (Cassell’s Magazine, April Basque-waistband
1884). (F)
Baseball cap Period: 1867–ca. 1900.
(M, occasionally F) A waistband with five vandyked tabs; for afternoon-
Period: Mid-19th century onwards. dress styles.
Specifically associated with the American game of Basquin-body
baseball, these caps were originally soft and flexible (F)
but always with a brim to shield the eyes attached at Period: 1850s.
the front. The segmented sections of the dome-shaped A day bodice with basques sometimes cut in one piece
cap gradually acquired air-holes or vents and the brim with the bodice.

15 Bathing suit
Basquine, basquin Bast hat

Period: 1857. A hat made of plaited bast or bass, the inner bark of the
A coat with deep basques, fringed trimming, a bertha lime or linden. “Bast or Straw-Hats both knotted and b
and pagoda sleeves. plain” (1670–5, Book of Rates).
Bateau neckline
Period: 1860s.
(F)
A new name for a fashionable outdoor jacket.
Bass Weejuns
Shallow neckline, the same depth at front and back and
(M)
running from one shoulder to the other; named after the
curving upper line of a boat (bateau in French).
A leather slip-on shoe first called “Norwegian moc-
Bathing costume, bathing dress
casins” and made by G. H. Bass of Maine, USA.
(F & M)
Sometimes called “penny loafers” because there is a
Period: Medieval to late 16th century.
slot in the band across the tongue into which a coin
In rivers, in the sea, or at spas men usually bathed naked,
can be placed.
but at Baden in Germany in 1416 and in the Bath spa
See Loafer.
waters in 1449 men wore drawers and women wore
smocks, probably undergarments used for modesty.
Period: From 17th century onwards.

(M)
Voluminous flannel gowns, spoken of as “flannels”,
were worn at public baths in the 17th and up to the
early 19th centuries. For seaside bathing nothing was
worn by men until ca. 1870 when brief, triangular
trunks, longer, woollen, all-in-one garments and, from
the 20th century, various forms of swimming trunks us-
ing new fabrics were introduced, usually because they
were required in swimming pools or by local regulations
preventing nude bathing. From the late 20th century
they became fashion items with seasonal changes in
colour and cut.
(F)
Until 1865 a loose, ankle-length, flannel gown with
sleeves was worn. In that year “the Zouave Marine
Swimming Costume” with “body and trousers cut in
one”, of stout brown holland or dark-blue serge ap-
peared. In 1868 an attached knee-length skirt was
added; in 1878 the skirt was shorter and a separate
item. By 1880 the garment became combinations, often
of stockinette, and was knee-length, sleeveless, with a
short, detachable skirt. “Ladies Navy Blue Stockingette
Bathing Costumes, trimmed with white work; sale
price 2s. 11 ½d. each”, (1900, August 4, Daily Mail).
In the 20th century shorter, simpler one-piece bathing
costumes were introduced, and as early as the 1920s
two-piece costumes were worn, well in advance of the
bikini of 1946.
Bathing suit
(F & M)
Another description for bathing costume, but the term
swimsuit was usual by the 1930s, suggestive of physi-
cal exercise rather than taking the waters.

Batswing tie 16
Batswing tie Bavolet

(M) (F)
b A bow tie, the ends shaped to resemble bats’ wings; The curtain or pendant fabric at the back of a bonnet
for day wear. shading the neck.
Battenburg jacket Bayadere trimming
(F) (F)
Period: 1880s. Period: 1850s.
An outdoor short jacket with loose fronts, large but- Flat trimming of velvet woven in or sewn on to the dress
tons and a turned-down collar. Probably named after fabric.
Princess Beatrice of Battenberg (the correct spelling Beachwear
but often ignored at the time), the youngest daughter of (F & M)
Queen Victoria who married Prince Henry of Battenberg Period: 1920s onwards.
in 1885. As seaside holidays increased in popularity a range of
Battledress jacket informal garments emerged, including beach gowns,
(M) beach pyjamas, beach robes, beach sandals, beach
Period: 1939 onwards. shirts and beach wraps. These were often brightly col-
A waist-length, khaki, wool jacket, buttoned and single- oured and sometimes made of towelling.
breasted with two buttoned chest pockets worn by Beanie
conscripts and regular soldiers during the 1939–45 war (F & M)
and for several subsequent decades. Correctly termed Period: 1920s onwards.
a battledress blouse, it had a cross-over fastening band An American term originally describing a small, round,
at the waist, not dissimilar to certain blouses. It was one felt cap worn by schoolchildren. This developed into a
of many garments which could be acquired from army female hat in the 1940s. In the late 20th and early 21st
surplus outlets and was popular with students. centuries it describes a knitted cap, with or without a
Batts turnover edge.
(M, possibly F) Beard
Heavy, low shoes laced in front; for country wear. Period: ca. 1550–ca. 1650.
Batwing sleeve Although the beard was worn by men in earlier periods,
See Dolman sleeve. it was from the mid-16th century that it acquired a pecu-
Bavarette liar social significance; in that hundred years there were
Period: 17th century. over fifty named cuts of beard in fashion. The travel-
“A bib, mocet or mocheter to put before the bosom of a ler returning from abroad would sport a style of beard
child” (1611, Cotgrave). indicating the country he had visited; his beard might
See Muckinder. reveal his social rank or occupation, or express “every
Bavarian pelisse-robe man in his humour”. The following are documented and
(F) important styles:-
Period: 1826. Cadiz beard: sometimes called Cads beard, after the
A pelisse-robe with two lines of trimming descending expedition to Cadiz in 1596. A large and disordered
from the shoulders to the bottom of the skirt en tablier growth. “His face, Furr’d with Cads-beard” (1598, E.
(the French term which is an elegant way of describing Guilpin, Skialetheia).
an apron or a feature which copies the look of an apron). Goat beard: “How, Sir, will you be trimmed? Your mous-
Bavarian-style dress tachios sharp at the ends like a shoemaker’s awls, or
(F) hanging down to your mouth like goat’s flakes?” (1591,
Period: 1826. J. Lyly, Midas).
A carriage dress with rows of decorative bands down Peak: a common name for the beard, exclusive of
the front in the Bavarian style. the moustache. The beard cut to a point and often
Bavaroy, beveroy starched. “Some spruce yonker with a starcht beard
(M) and his whiskers turned up” (1623, J. Mabbe, The
Period: Early 18th century. Rogue).
A coat, the exact nature of which is unknown but possi- Pencil beard: a slight tuft of hair on the point of the
bly from bavarois (Bavarian), a garment introduced dur- chin. “Sir, you with the pencil on your chin” (1599, Ben
ing the War of the Spanish Succession, 1701–1713). “A Jonson, Cynthia’s Revels).
sandy colour Beveroy broadcloth coat” (1711, London Pick-a-devant, or Barbula: so called “when it ends in
Gazette). a point under the chin and on the higher lip, chin, and

17 Beau
cheeks” (1688, R. Holme, The Academy of Armory). Period: 17th century.

Pisa beard: synonymous with “stiletto beard”. “Play Stiffening for boot hose tops; “…a paire of bearers for
with your Pisa beard! Why, where’s your brush, pupil?” my toppes” (1656, Sir M. Stapleton’s Household Books).
(1618, Fletcher, Queen of Corinth).
b
(F)
Roman T beard, also called Hammer cut: a straight tuft Period: ca. 1650 to early 18th century.
under the lower lip, forming the “handle”, the waxed Padded rolls acting as bustles, worn “under the skirts
moustache horizontal forms the cross-piece of the ham- of gowns at their setting on at the bodies, which raise
mer or T 1618–1650. up the skirt at that place to what breadth the wearer
Round beard, or Bush beard: “Some made round like a pleaseth and as the fashion is” (1688, R. Holme, Armory).
rubbing brush” (1587, Harrison’s England).
(M)
Spade beard: a beard in the shape of a pioneer’s spade Period: 19th century.
(that of an ace of spades on a playing card), broad A band buttoned across the inside of the top of breech-
above with curved sides to a point below. Thought to es or trousers which were made with falls. The bearer,
give a martial appearance and favoured by soldiers. “… placed behind the falls flap, was deeper at the sides
whether he will have his peake cut broade pendant like than in the centre where the two parts were buttoned
a spade, to be terrible like a warrior?” (1592, R. Greene, together; rising a couple of inches above the top of the
Quip for an Upstart Courtier). “His spade peake is as flap. A Bilston bearer meant that the bearer band of
sharpe as if he had been a Pioneer” (1592, T. Nashe, the breeches was extra-wide to give more abdominal
Piers Pennilesse). Beards “some like a spade, some support; a type used by labourers. A French bearer
like a fork, some square” (1621, J. Taylor, Superbiae described the band cut very narrow.
Flagellum). Bearing cloth
Period: 16th–18th century.
Marquisetto, also Marquisotte: cut close to the chin, The mantle or cloth used to cover an infant when
neatly trimmed 1570–ca. 1620. carried to baptism; often embroidered and of the fin-
Stiletto beard: “Some sharpe steletto fashion, dagger est silks. “For 5 yeard of dameske to mak a bearing
like” 1610–1640 (1621, J. Taylor, Superbiae Flagellum). cloth £3:6:6” (1623, Lord William Howard of Naworth,
Household Books).
Swallow’s tail beard: a version of the forked 1560–1600 Beatnik
beard but with the ends longer and more widely spread. (F & M)
Period: Mid-19th century to ca. 1930. Period: Late 1940s–1960s.
In the 1830s, long side whiskers and moustaches be- A movement found on the Left Bank in Paris and San
gan to be worn and developed into beards which were Francisco in America. In France it was an intellectual,
bushy and long, or trimmed to follow the contours of the left-wing challenging of convention and included phi-
face. “By the 1920”s (they) were confined to the elderly, losophers like Sartre and Simone de Beauvoir, writers
literary, artistic and eccentric” (1973, A. Mansfield & P. and film-makers, and its most memorable fashion state-
Cunnington, Handbook of English Costume in the 20th ments were made by the singer Juliette Gréco (b. 1927),
Century 1900–1950). whose sleek, dark hair, black polo neck sweater, black
slacks or chic black evening dresses focused attention
Period: Late 20th century onwards. on her face, with its exaggerated eye make-up. This
Beards are worn but are often considered an impedi- pared-down style was hugely influential, and black was
ment to a public career and tend to be associated with also the preferred colour of the clothing worn by the San
the young and experimental, alternative attitudes, or as Francisco-based beat generation, whose unconven-
in the earlier quote about the 1920s. tional behaviour led to the term beatnik (ca. 1955). The
Beard-brush men wore black berets, black slacks, sandals and dark
(M) glasses, and the women adopted dancers’ leotards
Period: ca. 1600–1650. worn with black skirts, black stockings, flat shoes and
A small brush for the beard; very popular and used in elaborate eye make-up to rival that of Gréco.
public. Beau
Beard-comb (M)
(M) Period: ca. 1680 to mid-19th century.
Period: ca. 1600–1650. A gentleman very particular as to his dress; not neces-
A small comb for the beard; uncommon. sarily as effeminate as a fop. Used satirically in the 20th
Bearer and 21st centuries to denote overly exquisite attention
(M) to all aspects of personal appearance.

Beaufort coat 18
Beaufort coat with a narrow brim.

(M) Belcher, Belcher handkerchief
Period: 1880. (M)
b A lounge jacket with four buttons, and closing high; Period: ca. 1800–1870.
seams raised or double-stitched; narrow, straight A blue neckerchief with large white spots, each with a
sleeves. Also known as a jumper coat. dark-blue “eye”; as worn by the pugilist Jim Belcher (fl.
Beaver, beaver hat 1800–1807).
(F & M) Belette, bilett
Period: 14th century onwards. (F & M)
A hat originally made of beaver skin but from the 16th Period: 1300 to mid-16th century.
century of felted beaver-fur wool. A jewel or ornament.
Period: 19th century. Bell
“…the bodies of beaver hats are made of a firm felt (F & M)
wrought up of fine wool, rabbits’ hair, etc.…over this is Period: Late 13th–15th century.
placed the nap prepared from the hair of the beaver” A travelling cloak with a circular cut; some hooded,
(1862, Mayhew, London Labour and the London Poor). some buttoned at the neck, and sometimes made with
Beaver coats were fashionable in the late 19th century side vents and back vent.
but were practical, rather than sophisticated, fur coats. Bell bottoms
Bébé bodice (F & M)
(F) Period: 1960s onwards.
Period: 1883. Sailors traditionally wore trousers which flared out from
A round-waisted bodice with a sash. knee to ankle but, in terms of fashion, this style ap-
Bébé bonnet peared in the 1960s with an exaggeratedly tight fit on
(F) the upper leg and a wide bottom flare.
Period: 1877. Bell hoop, cupola coat
A very small outdoor bonnet, the border turned up to (F)
show a cap; trimming of tulle, ribbons (narrow “bébé Period: 1710–1780.
ribbon” in the 1880s) and flowers. An under-petticoat distended with whalebone hoops to
Beck the shape of a bell.
(F) Bellied doublet
Period: Late 15th and early 16th centuries. See Long-bellied doublet.
A beak-shaped accessory to a mourning hood. Bellows pocket
Bedgown (M)
(F & M) Period: Late 19th century.
Period: 18th century. A patch pocket with side folds capable of expanding or
A loose-sleeved dressing-gown, worn only as négligée lying flat, like a bellows; a common feature of Norfolk
in the bedroom or for comfort. “Why must the wrapping jackets from 1890 on.
bed-gown hide. Your snowy bosom’s swelling pride?” Bell skirt
(ca. 1744, Edward Moore). (F)
Bed jacket Period: 1891.
(F) A gored skirt, the front breadth shaped with darts; the
Period: 19th century onwards. foot of the skirt stiffened with muslin lining or, for walk-
A short jacket worn in bed; of various fabrics and often, ing, lined throughout; the skirt sometimes buttoned up
in the early to mid-20th century, home-made and/or on each side instead of having a placket hole behind.
hand-knitted. Commonly tailor-made.
Beehive hair style Bell sleeve
(F) (F)
Period: Late 1950s and 1960s. Period: 1850 onwards.
A tall, dome-shaped hair style achieved by back-comb- A sleeve that is close-fitting to mid-forearm, then ex-
ing and hair spray. panding into a bell-shaped opening.
Beehive hat, hive bonnet Belly-chete
(F) (F, possibly M)
Period: ca. 1770–1790. Period: 16th century.
A hat with a tall, rounded crown, beehive-shaped, and Slang term for an apron.

19 Beret
Belly-piece often contrasting with the clothing with which they were
(M) worn.
Period: ca. 1620–1670. Bend
A triangular stiffening of pasteboard, or whalebone and (F & M) b
buckram, sewn into the lining of the doublet in front, on Period: ca. 1000–1600.
each side of the opening at waist-level, with the base of Primarily a band of fabric worn in association with dress.
the triangle placed vertically along the front border, thus It was used as a fillet or other circular ornament worn
forming a corset-like ridge down the belly. on the head, or as a hat-band. “My bende for an hat of
Below black sylk and silver” (1463, Bury Wills).
See Furbelow. Also a synonym for a stripe.
Belt Bendel
(M) (F & M)
Period: Early 15th century onwards. Period: 15th and 16th centuries.
Military belt of a knightly girdle. A small band, scarf or fillet of fabric. “She wyped it…
Also a shoulder belt or baldric. with a bendel of sylk” (1483, Caxton, Golden Legend).
Also a waist belt, namely a strip of leather or fabric to Bendigo
confine or support clothes or weapons. (M)
(F)
A rough, fur cap worn by workers.
Benjamin
A single-layer strip of fabric or leather, or a firmly lined and
(M)
sometimes wider strip, to accentuate the waist. In the
20th century belts became a major fashion accessory,
A loose overcoat.
Benjy
(M)
Slang term for a waistcoat.
Benoitan chains
(F)
Period: 1866.
Chains of metal or jet hanging at either side of the head,
over the chignon or across the bosom; so named from
Sardou’s play, La Famille Benoîton, of that year.
Bents
(F)
Period: Late 16th and early 17th centuries.
Strips of whalebone or rushes used to distend bum
rolls or farthingales. “Their bents of whalebone to
beare out their bummes” (1588, W. Averell, Combat
Contrar…).
Beret
(F)
Period: ca. 1820–1850.
A cap with a large, flat crown, similar to a halo; exten-
sively trimmed. Usually of velvet and worn with evening
dress.
(F & M)
A plain, circular style of enlarged cap, usually of wool
and worn informally; the Basque beret was imported
into the UK after 1918 by the founder of the firm Kangol,
whose tradename became synonymous with this type
of headwear in war and peace time. It became espe-
cially popular with young women after the film Bonnie

Beret hat 20
and Clyde (1967) and with young men emulating the Period: 17th century.
actor Samuel L. Jackson in the 1990s. A lock of hair. “A small lock (à la Shepherdess) turned up
Beret hat with a puff” (1690, J. Evelyn, Mundus Muliebris).
b (F) Bergère hat, milkmaid hat
Period: 1872. (F)
An outdoor hat of white chip, shaped like a small mob Period: 1730–1800; also 1860s.
cap, trimmed with roses and with pendant ribbons A large straw hat with a flexible brim and low crown.
behind. Berlin gloves
Beret sleeve (M)
(F) Period: From 1830 onwards.
Period: 1829. Washable gloves worn by servants and the less well-off.
An evening-dress shoulder sleeve, short, circular and “Made of a kind of strong cotton which should be very-
widely distended so as to resemble a beret head- thin and neat.”
dress. It was closed by a band round the arm, and the Bermuda hat
shape was sustained by a stiff lining of book muslin. (F)
Occasionally the beret was double, one above the Period: ca. 1700–1750.
other. A hat of straw for country wear. “Women’s Hatts made
Berger of fine Bermuda Platt” (1727, New England Weekly
(F) Journal).

21 Biggin, biggon
Bermuda shorts A term used from the 15th century for fabric cut on the
(F & M) cross, a method used for the early kind of hose in order
Period: 1930s onwards. to obtain a close fit. “Hozen knitte at ye knees and lyned
Knee-length shorts originally worn on the island of within with Lynnen cloth byesseas the hose is” (1434, b
Bermuda, which when worn by women as “short” John Hyll’s Traytese upon Worship in Armes).
shorts were banned. Later, men also started wearing Bias-cut women’s dresses were especially fashion-
them; they can be vibrantly coloured and/or patterned. able in the 1920s and 1930s and intermittently at later
Bernhardt mantle dates.
(F) Bib
Period: 1886. Period: 16th century onwards.
A short outdoor cape, the back shaped, the front loose; A small square of linen hung in front of a child’s neck
with a turned-down collar and sling sleeves. The name to protect the clothes from being soiled. Later versions
reflects the international fame of the French actress were shaped, made of cotton or thin towelling, and held
Sarah Bernhardt (1844–1923). by ties around the neck.
Bertha See Muckinder.
(F) Bib-apron
Period: 1839–1920s. (F & M)
A deep fall of lace or silk encircling the neck and shoul- Period: 17th century onwards.
ders, or merely the shoulders, in a low décolletage; a An apron with a bib extension above the waist.
Victorian revival of the mid-17th century fashion. Bib-cravat
Bertha-pelerine (M)
(F) Period: Late 17th century.
Period: 1840s. A broad bib like cravat, usually edged with lace; se-
A bertha carried down the centre front to the waist; cured at the neck by a cravat-string or knot of ribbon,
worn with evening dress. and usually coloured.
Bespoke Bibi bonnet
(M, later F) (F)
Period: 19th century onwards. Period: 1831–1836.
In tailoring terms this means a garment is created to Also known as a cottage bonnet. A bonnet of which
clothe an individual customer, who is measured by a the sides projected forward with an upward tilt.
tailor so that a pattern is cut to reflect his or her exact Bibi capote
measurements; the customer also has choice in cloth, (F)
colour, style and the suit, for instance, is tailored to his Period: 1830s.
or her wishes. It is a lengthy process, uses the finest Name applied to any capote with a projecting brim in
pattern-cutting and tailoring skills, and is expensive. front, sloping down to a small crown at the back of the
See Made-to-measure, Ready-made clothes. head, and shaped like a baby’s bonnet.
Beten
Bicorne
Period: Medieval.
(F & M)
Embroidered with fancy subjects.
A modern term to describe a hat worn in the late 18th
Bettina blouse
and early 19th centuries with a brim turned up at front
(F)
and back, with the front blocked into a slight peak and
Period: 1950s.
sometimes trimmed with a cockade or rosette.
The designer Hubert de Givenchy (b. 1927) introduced
Biggin, biggon
this style of blouse which was cut like a shirt but had full
Period: 16th and 17th centuries.
sleeves of ruffled broderie anglaise. It was named after
A term for a child’s cap shaped like a coif; used in
Bettina Graziani who modelled for Givenchy and was a
Scotland in 1329.
celebrated model before the age of supermodels.
Bewdley cap (M)
(M) Period: ca. 1550–1700.
Period: 1570–ca. 1825. A man’s night-cap worn in bed.
A Monmouth cap made at Bewdley, Worcestershire,
and used by country-folk. (F)
Bias, byesse Period: Early 19th century.
Period: Medieval onwards. A large form of mob cap but without ties under the chin.

Bigote 22
Bigote forehead cloth?” (1605, Peter Erondelle, The French

Period: 17th century. Garden).
A rare term for a moustache. Biretta
b Big shirt (M)
(F) Period: 16th century onwards.
Period: 1950s onwards. A square-cornered ecclesiastical cap worn by clergy in
Literally an oversized shirt worn by women, sometimes the Roman Catholic Church; it is black for priests, pur-
appropriating men’s shirts. The term was coined in the ple for bishops and red for cardinals. After World War II
1980s when it became a recognized fashion garment. it was briefly imitated by milliners for female customers.
Biker clothes Birkenstock sandals
(M, sometimes F) (F & M)
Period: 1950s onwards. Period: 1967 onwards.
Clothing specially designed for wear by cyclists and The name derives from a German firm of shoemak-
motorcyclists for increased velocity and/or protection. ers who can trace their history back to the late 18th
Lycra tops, shorts and leggings were worn by cyclists, century. In the early 20th century a contoured arch was
and leather, usually black, was worn by motorcyclists. developed, the first to be placed into footwear. This was
Elements of both styles were adopted by non-bikers. the origin of the Birkenstock sandal, known in Europe
Bikini before being produced in the USA and marketed world-
(F) wide after 1967. In addition to sandals, there are shoes
Period: 1946 onwards. with the same distinctive arch-supports.
A two-piece bathing costume supposedly named after Birlet, burlet, bourrelet
the Bikini atholl in the Pacific Ocean. Although such (M)
bathing costumes had been worn earlier in the century Period: 15th century.
(and by female Roman wrestlers much earlier), this ver- A circular, padded roll as worn with chaperons.
sion, designed by French engineer Louis Réard, was Birthday suit
more abbreviated and set a trend for decreasing usage (M)
of fabric and maximum exposure of flesh. Period: 18th century.
Bilboquets A court suit for wearing at a royal birthday celebration.
See Roulettes. See Court dress.
Billiment, billment, habillement, abillement Bishop sleeve
(F) (F)
Period: 16th century. Period: 19th century onwards.
The decorated border to a French hood. The upper A day sleeve in light fabrics, very full from the shoulder
billiment adorned the crown, the nether billiment the to the wrist, where it was gathered into a closed cuff.
front of the bonnet. “Upper and nether habilments of Worn from ca. 1810 off and on until the end of the
goldsmith’s work for the French hood” (1541, Letters century. In the 1850s the “full bishop” was very large; in
and Papers of Henry VIII). the 1890s the “small bishop” was preferred and popular
Also, a head ornament popular with brides. for blouses. In the 20th century bishop sleeves were
Billycock popular on blouses, coats and dresses.
(M) Bivouac mantle
A colloquial term for a low-crowned, flexible, felt hat Period: 1814.
with wide, curving brim. There are two explanations of A large, loose mantle descending nearly to the feet and
the name; that it derived from the “bully-cocked” hat of having a high collar; made of scarlet cloth wadded and
18th century; or that it was “First used by Billy Coke [Mr lined with ermine.
William Coke] at the great shooting parties at Holkham” Blacking
(Dr Cobham Brewer, 1894). Period: 16th century onwards.
See Bully-cocked. A composition containing lamp-black and oil, applied to
Bilston bearer the surface of shoes and boots. “Shoes that stink of
See Bearer. blacking” (1611, Middleton, The Roaring Girl).
Binding cloth Blacks
(F) (F & M)
Period: 17th century. Period: Medieval to late 18th century.
A rare synonym for forehead cloth. “When shall I Mourning apparel for both sexes. In the Middle Ages
have my binding cloth for my forehead? Shall I have no only the cloak had to be black, the rest might be

23 Boater
coloured. From the end of the 15th century all outer by airmen and soldiers in the 20th century.
garments were black.
(F)
See Mourning attire.
Black work
Period: ca. 1850 onwards. b
A loose separate bodice of different fabric from the skirt,
Period: ca. 1510–1630s.
always worn with a belt, and with or without a jacket
Embroidery in black silk, generally on linen; often worked
over it. An early form was the Garibaldi shirt of 1863.
in an all-over pattern in continuous scrolling. Very popu-
Usually for day wear, but in 1895 evening blouses were
lar for collars, wristbands, smocks and handkerchiefs.
introduced. In the 20th century blouses came in vari-
Blanchet, blanch, blanc
ous styles, loose or tight-fitting, long-sleeved or short-
sleeved, with or without collars.
Blanchet
Blouse-bodice
Blanch Period: 1877.
A day bodice in blouse form, falling over the hips and
worn with a belt.
Blanc
Blouse dress
Terms denoting white paint or powder used as a cos-
(M)
metic for the skin.
Period: 1870s.
Blazer
A loose, sac-like blouse worn by boys outside the trou-
(F & M)
sers and confined round the waist by a belt; a vertical
pleat was down each side of the front.
Originally a scarlet jacket worn by men as part of boat-
Blouson
ing or cricketing clothing; later an unlined, flannel jacket
(F & M)
in club or plain colours, worn for games and then as
leisure wear. From the 1930s similar styles were worn
A short, casual jacket with the looseness of structure
by women and gradually the garment became a classic
associated with early blouses but often with a draw-
style and lost its association with sportswear.
string inside the bottom hem to adjust the fit.
Bliaut, bliaunt, blehant, blehand
Bluchers
(F & M)
(M)
Period: 12th to early 14th century.
Period: ca. 1820–1850.
A term denoting either a loose, ankle-length super
Half boots, close-fitting and laced up in front over a
tunic, usually having wide sleeves, or a costly fabric.
tongue, having six eyelet holes on each side.
Blistered
Blue Billy
Period: Late 16th and early 17th century.
(M)
A form of decoration synonymous with slashing.
Period: ca. 1800–1820.
Bloomers
A blue neckcloth with white spots, as worn by the
(F)
pugilist William Mace.
Period: 1851.
Blue coat
Name given to young women who imitated the American
(M)
Mrs Amelia Bloomer in wearing a modified form of
Period: Late 16th century to ca. 1700.
trousers below a knee-length full skirt. “A young lady
A coat of blue worn by apprentices and serving men,
of a certain age – an ardent Bloomer” (1853, Surtees,
and therefore a colour avoided by gentlemen.
Mr Sponge’s Sporting Tour). The outfit, called Bloomer
Boa
costume or Bloomer dress, was also implied.
(F)
Period: 1890 onwards. Period: 19th century onwards.
Name given to the baggy knickerbockers worn by A long, round tippet, called by the French “Boa” (1829)
some women cyclists and also, to loose, knee-length but worn all through the 19th century; especially fash-
underpants. ionable in the 1890s. Made of swansdown, feathers or
Blouse fur.
(M) Intermittently fashionable in later periods such as the
Period: Early 19th century onwards. 1930s and 1960s.
A loose, smock-like garment, usually of cotton or linen, Boater
associated with the blue blouse of French workmen. (F & M)
Also a term denoting the upper part of battledress worn Period: 19th century onwards.

Boating shoes 24
A stiff, straw hat with moderately shallow, flat-topped the top, sloping down towards the central vertical bone
crown and straight, narrow brim with a hat-band of of the bodice;
Petersham ribbon. The Henley boater of 1894 was a
b blue or drab felt hat of similar shape.
Period: 1820s.
à la Sévigné – the bodice with pleated folds crossing the
Women and schoolchildren wore boaters without any
bosom nearly horizontally, divided by a central bone in
association with rowing.
the lining, down to the waist.
Boating shoes
See Deck shoes. Period: 20th century.
Bob, bob-wig Term describing the close-fitting upper section of a
(M) child’s or woman’s dress.
Period: 18th century. Bodies, pair of bodies
A wig without a queue. The long bob covered the (F & M)
back of the neck; the short bob ended above the neck. Period: 16th and 17th centuries.
Always an “undress” wig. An under-bodice made in two sections and joined at the
Bobby socks sides and stiffened with whalebone, wood or steel, and
(F & M) sometimes padded; corresponding to a pair of stays.
Short socks, often white, worn by American teenagers;
similar in style to ankle socks.
Bodice
(F)
The inner section of a garment above the waist, of linen,
with or without padding, and occasionally strengthened
with boning. Usually a term for a female garment, but
sometimes found describing a male item of clothing.
The upper part of a woman’s dress, often structured
and boned, of which there were many named varieties
such as:
Period: 1822.
En Blouse – the front gathered and pouched; the neck
half high and round;
Period: 1820s.
En Cœur – heart-shaped front descending to a slight
point and having a number of narrow pleats along the
upper edge of a low neck;
Period: 1820s.
à l’Edith – a variation of the Roxalane and Sévigné (see
below);
Period: 1820s.
à l’Enfant – the neck half-high and round, gathered by
a draw-string;
Period: 1820s.
en Gerbe – the front folds pleated fan-wise from the
shoulders;
Period: 1828.
à la Polonese – a cross-over front, the folds crossing
high up;
Period: 1829.
à la Roxalane – similar to the Sévigné, the pleats across

25 Bombast
Bodkin Boisson
(F) (F)
Period: 16th–19th century. Period: 1780s.
A long pin, plain or decorated, used for fastening A short cloak with a hood. “Small boissongs, craped b
women’s hair. with a small handkerchief and hood, made very narrow
Bodkin-beard round the shoulders” (1782, The Lady’s Magazine); for
(M) half-dress.
Period: 1520 to early 17th century. Bolero
A long, pointed beard decorating the centre of the chin (F)
only. Period: 1853 onwards.
Body A loose-fitting jacket with basques cut in points and
(F) fringed. Inspired by Spanish styles of dress as a tribute
Period: 15th–17th century. to the Empress Eugénie of France (1826–1920) who
A term denoting the bodice; the forebody was the front was Spanish. Revived in the 1890s and then made
portion of the bodice. very short without basques, the fronts curved away just
Body coat above waist-level. Some had narrow revers peaked up
(M) over the shoulders and came with or without sleeves. A
Period: 19th century onwards. popular style intermittently throughout the 20th century,
Tailoring term to distinguish the upper garment of a suit especially for young women, often worn unfastened and
from the outdoor overcoat or top coat. sometimes sleeveless.
Body piercing Bolero bodice
(F & M) (F)
Period: Late 20th century onwards. Period: 1896.
A perforation or hole is made in the flesh, usually the A day bodice trimmed to simulate the wearing of a bo-
brow, ear, nose, nipple or belly to take an item of lero; rounded in front.
jewellery, often a stud or ring. Ear-rings were more Bolero coat, bolero jacket
usual than other piercing in Western society until the (F)
1980s when there was more experimentation amongst Period: 1890s.
young people. Zara Phillips (b. 1981), granddaughter A short jacket in the style of a bolero, worn open over
of Queen Elizabeth II, had a stud in her tongue for a a blouse.
brief period. Bolero mantle
Body stocking (F)
(F) Period: 1899.
Period: Mid-1960s onwards. A short mantle with bolero-shaped fronts.
A complete body-covering in Lycra, often flesh-coloured Bolero toque
and similar to a dancer’s leotard but with leg coverings. (F)
Worn in place of all other underwear and often beneath Period: 1887.
transparent dresses. A small toque of velvet, dress fabric, astrakhan or fur,
Body warmer with back trimming rising over the crown.
(F & M) Bollinger
Period: 1980s onwards. (M)
Term for a sleeveless jerkin or waistcoat, often of Period: 1858–1860s.
quilted fabric with a soft interlining, which fastens from The hemispherical hat with bowl-shaped crown and
neck to waist, with a zip and/or buttons, and can be narrow, circular brim; there was a button or knob on the
worn as an extra layer of warmth over other garments. centre of the crown. Originally worn by cab-drivers, then
Boiler suit adopted by gentlemen for country wear.
(F & M) Bolster
Period: Early 20th century onwards. Period: 15th–17th century.
Originally a protective outer garment, usually of sturdy Term denoting a pad inserted into a garment to produce
cotton or denim, which combined overalls and shirt to the required shape.
provide a sleeved, buttoned layer over other clothing; Bombast
often worn by manual workers. Women wore boiler suits (F & M)
in factories during World War II and the British Prime Period: 16th and 17th centuries.
Minister Winston Churchill was photographed wearing Padding used to distend garments, especially trunk-
one. hose and sleeves; using horsehair, flock, wool, rags,
See Siren suit. flax, bran and cotton.

Bomber jacket 26
Bomber jacket term “boot sleeve” was applied to one with a boot cuff.
(F & M) “These boot-sleeves were certainly intended to be the
Period: 1940 onwards. receivers of stolen goods” (1733, H. Fielding, The Miser).
b A jacket similar to that worn by USAF flight crew; usu- Boot garters
ally of leather, zipped at the front and with close-fitting (M)
wrists and lower edge. Worn by young of both genders Period: 18th century.
and acquired from army surplus outlets, this became a Straps fixed to the back of a riding boot and then passed
type of jacket occasionally hybridized and/or reinvented round the leg above the knee, over the breeches, to
by designers later in the 20th century. keep the boot in position.
Bondage styles Boot hose
(F & M) (M, rarely F)
Period: Late 1970s onwards. Period: ca. 1450–18th century.
A style of dress associated with Punks, and later with Stockings worn inside boots to protect the more elegant
Goths, which used black leather and Lycra, chains, under-stockings or nether stocks from wear and dirt.
straps, studding and other physically uncomfort- Usually of coarse fabric, but in the late 16th and early
able features. The British fashion designer Vivienne 17th centuries some were very fine. “They have also
Westwood (b. 1941) produced such styles of clothing boot-hose to be wondered at; for they be of the fin-
early in her career. est cloth that may be got” (1583, Stubbes, Anatomie
See Body piercing. of Abuses).
Bongrace
(F)
They were called boot stockings.
Period: 16th and early 17th centuries.
Boot hose tops, tops
As a separate article, a flat, stiffened, oblong head-
(M)
covering which projected over the forehead in front and
fell down over the back of the head to the shoulders. It
A decorated upper border to boot hose; the tops might
could be worn alone or over a coif.
be of thread lace or gold or silver lace, ruffled linen, or
As part of the French hood, the pendant flap behind,
fringed with silk. “For a quarter of an ounce of gold lace
which was turned up over the crown and fixed so as
to laye on the toppes of those boot-hose” (1590, Petre
to project forward above the forehead. “(My face) was
Accounts, Essex Record Office).
spoiled for want of a bongrace when I was young”
Bootikin
(1612, Beaumont and Fletcher, The Captain).
(M)
Bonnet
(F & M)
A soft boot of oiled silk or wool worn by sufferers from
Period: Medieval onwards.
gout.
Often used as a synonym for cap, but there were subtle
differences. A bonnet usually was a soft, semi-struc- Period: 19th century.
tured form of head-covering with a crown and brim; a A child’s boot.
cap was unstructured, fitted the head closely, and had Boot jack
an optional brim or edge. (M)
(F) An implement of wood or iron to hold the boot while
Period: 19th century. the wearer withdraws his foot, an office previously per-
Usually a form of hat of which the brim at the back was formed by a servant. Used chiefly for removing any form
absent or greatly diminished; generally tied by ribbon- of high boot.
strings under the chin. Boots
(F & M)
Period: Early Anglo-Saxon onwards.
Bonnets were associated with the elderly or old-fash-
Footwear of leather or stout cloth extending up beyond
ioned, with the exception of straw bonnets worn in the
the ankles and made in many varieties of height and
summer, but gradually the term was overtaken by hat.
style; they could be pulled on or fastened with laces or
Boot cuff
buckles.
(M)
Period: 1727–ca. 1740. Period: 15th century.
A very deep, closed, turned-back cuff to a man’s coat. “Single boots” indicated unlined as opposed to lined
The cuff frequently reached the bend of the elbow. The boots.

27 Bourrelet, burlet
Boot sleeve Decorative cauls of network or linen covering thick

See Boot cuff. coils of plaited hair, generally artificially enlarged and
Boot stocking arranged on each side of the head above the temples.
See Boot hose. Usually worn with a veil coverchief. b
Bopeeper See Templers.
(M) Botews
A mask. Period: 15th and 16th centuries.
Borders Another name for buskins.
(F) Bottine
Another name for the billiments, upper and nether, of Period: 16th century.
the French hood. Also, the bands of decorative fabric A knee-high riding boot. “Ryding botines lyned with
or goldsmith’s work which could be applied to the front cloth” (1503, List of boots and shoes for the Queen of
edges and hems of gowns. “To my Ladie Scudamore a Scots).
pair of Borders of Golde of the beste, to mrs. Goringe Boudoir cap
a paire of Borders with pearle…” (1594, Will of Lady (F)
Dacre, Essex Record Office). Period: 19th century onwards.
Borel, burel A cap which was worn by women in the privacy of their
Period: 14th and 15th centuries. “boudoir”; not a simple night-cap but a lightweight,
A coarse woollen cloth and the plain garment made decorated cap which covered the hair before it was
from the cloth. dressed for daytime activities.
Bosom bottles Bouffant
(F) (F)
Period: ca. 1750 to early 19th century. Period: 19th century.
Small vessels of tin or glass holding water and worn by Term denoting a puffed-out part of a dress.
ladies to keep their bouquets fresh. “Bosom Bottles, Bouffante sleeve
pear-shaped, flat, 4 inches long, of ribbed glass for (F)
bouquets” (1770, Boston Evening Post). Period: 19th century.
Bosom flowers A term used for named varieties throughout the cen-
(F & occasionally M) tury. A puffed-out shoulder sleeve for evening wear,
Period: 18th century. distended to the elbow for day wear.
Artificial nosegays worn by women in full dress; also by Bouffant mécanique
macaronis (see Macaroni suit) in day dress. (F)
Bosom friends Period: 1828.
(F) A spring attached to the top of the corset and project-
Period: Late 18th and early 19th century. ing into the top of the sleeve to distend it.
Chest protectors, of wool, flannel or fur, which also Bouillon
served as bust improvers. “The fashionable belles (F)
have provided themselves with bosom friends for the Period: 19th century.
winter. Their province is to protect that delicate region A puffed-out, applied trimming.
from assault of every kind; and they may be had at all Bourbon lock
the furriers shops in town. A modern lady, with her feet (M, sometimes F)
in a fur-basket, and her bosom-friend, is as impregna- A love lock.
ble as the Rock of Gibraltar” (Dec. 26, 1789, Norfolk Bourgogne, Bourgoigne, Burgundy
Chronicle). (F)
“Some persons do not hollow out bosom friends but Period: Late 17th century.
knit them square or oblong” (1838, Workwoman’s A lady’s cap; “The first part of the Dress for the Head
Guide). next the Hair” (1690, Fop Dictionary).
Bosom knot Bourrelet, burlet
Synonymous with breast-knot. (F & M)
Bosses Period: 14th and 15th centuries.
(F) A French term for a padded roll at first found in female
Period: Late 13th to end of 14th century. head-dresses and then absorbed into male headwear

Bourse, burse 28
as a feature on chaperons and hoods. worn by coachmen, travellers and those riding outside
a coach.
(F)
b Period: 19th century. Period: 20th century.
A pad inserted into a dress. A fashionable style in the 1930s and 1940s, when the
Bourse, burse term described a loose-fitting coat with padded, square
Period: 1440–18th century. shoulders.
A large purse or bag. The form “bourse” was used until Boxer shorts
the mid-18th century when “burse” became more usual. (M)
Also, but rarely, an 18th-century term for the black silk Period: 1940s onwards.
bag of a bag-wig. Loose-fitting cotton shorts with an elasticated waist
Boutique worn as an undergarment; a front opening could be
Period: Mid-18th century onwards. buttoned or just overlap the fabric. A wide variety of
From the French term for shop or stall. In 20th- and designs, plain and printed, and other fabrics were used
21st-century usage, a small, specialist shop or section over subsequent decades. A slightly sturdier version
within a larger store, often selling fashionable clothing. was worn as swimwear. They were based on the
“It was agreed that if we could find the right premises shorts worn by professional boxers which did not im-
for a boutique…we would open a shop. It was to be pede movement.
a bouillabaisse of clothes and accessories, sweaters, Boxes
scarves, shifts, hats, jewellery and peculiar odds and (M)
ends” (1966, M. Quant, Quant by Quant, p. 35). Period: 17th century.
Boutonnière A form of galoshes; “…walk the streets with a dainty
Period: 19th century onwards. pair of Boxes neatly buckl’d on” (1676, Sir G. Etherege,
A bud or small spray of flowers worn in a buttonhole (the The Man of Mode).
literal translation of the French term). Box pleat
Bowdy, bow-dye Period: Late 19th century onwards.
Period: 17th century. Two parallel folds of fabric turned in on themselves and
Scarlet; from the dye-house at Bow established in pressed flat.
1643, but later applied to goods dyed elsewhere with Braces, gallowses
a similar hue. (M)
Bowler Period: ca. 1787 onwards.
(M) The term “gallowses” survived among country-folk to
Period: 1860 onwards. the mid-19th century, while the American term was
A hard felt hat with domed crown and narrow brim rolled suspenders.
up at the sides. The name derived from a hatter, William Braces at first consisted of a pair of straps, often of mo-
Bowler (ca. 1850–1860), but the shape was much older, rocco leather, passing over the shoulders and attached
being worn in the 1820s. Usually black, but brown and to a single button on each side in front and behind, to
fawn were worn with Norfolk jackets in the 1880s. support the breeches or trousers.
In the 20th century associated with civilian life after a From 1825 a double-tongued pattern, to attach to two
period in military service and, post-1960, increasingly buttons on each side in front, began to be used. Fancy
perceived as a symbol of traditional values. designs in embroidered braces became fashionable. By
Bow tie 1850 the two straps were united at the point where they
(M) crossed under the shoulder blades and India-rubber
Period: 19th century onwards. braces were introduced. By 1860 “the plain elastic web
A necktie worn with a bow in front, having a great many with double sliding ends” had become the conventional
named varieties, some ready made-up. mode.
Box bottoms In the 20th century brightly coloured and patterned
(M) braces were introduced, usually of an elastic construc-
Period: 19th century. tion, and occasionally worn by women.
The close-fitting extensions of breeches fastened below Brael
the knees and there stiffened with lining. (M)
Box coat Period: 14th century.
(M) A girdle or belt to hold the breeches in place. There were
Period: Late 18th to late 19th century. many different spellings, including braie-gridle, breech
A heavy, caped overcoat, the capes often multiple, girdle, bregirdle and braygirdle.

29 Breech, breeches
Braie-girdle, bregirdle, braygirdle Phelps Jacob) in America in 1914. By the 1930s cup
Alternative spellings for breech girdle. sizes had been invented and the usage “bra” became
Braier popular.
(M) See Wonderbra. b
Period: Medieval. Bra-top
The French equivalent to braie-girdle, used for pulling (F)
in the waist of the braies and tied in front. Period: Late 20th century onwards.
Braies, brèches A top which was supportive like a bra but worn alone
(M) as an outer layer.
Period: Medieval–15th century. Also a style of dress in which the top was intentionally
A primitive form of male drawers which, having been designed to look like a bra.
in Saxon times an outer garment, became concealed Bratt, bratte
from the mid-12th century by the Norman tunic and so (F & M)
converted into an undergarment. The legs were wide, Period: 10th century onwards.
loose and short, and the garment was pulled in by the A makeshift outer garment such as a cloak; often a rag.
braie-girdle, a running string which emerged at inter- Also, an apron or pinafore for a child or a woman.
vals from the deep hem at the waist. By the mid-13th Brayette
century the legs were tied at the knees with strings; by (M)
the 15th century braies had shrunk to mere loin cloths Period: Late 14th century.
and in 1500 they resembled shorts. A narrow braie-girdle buckled in front.
Brandenbourg, Brandenburgs Breast-hook
Period: 18th century onwards. See Stay hook.
Trimming of transverse cording and tassel in the military Breast-kerchief
style used on clothing of both genders. Especially fash- (F, sometimes M)
ionable for female dress from ca. 1870–1910. Period: Late 15th to mid-16th century.
Brandenburg A kerchief wrapped about the shoulders and folded
(M) across the breast for warmth. Worn under the doublet
Period: 1674–ca. 1700. or gown.
A long, loose overcoat for winter wear, generally Breast-knot, bosom knot
trimmed with cord and fastened with frogs, i.e. with (F)
loops and frog-buttons – olive-shaped olivettes. Period: 18th and early 19th century.
Bra slip A ribbon bow or bunch of ribbons worn at the breast of
(F) a woman’s gown.
Period: 1960s onwards. Breast pocket
A petticoat or slip with a brassière attached, thereby (M, later F)
reducing the number of layers and offering a smoother Period: 1770 onwards.
line beneath clothing. An inside pocket in the lining of the right breast of a
Brassard man’s coat. Also, a horizontal slit pocket outside the left
(F) breast of a man’s coat; fashionable, off and on, from
Period: 19th century. ca. 1830.
A ribbon bow attached to the outer side of the elbow of In the 20th century descriptive of a square pocket on
an evening-dress sleeve. the front of a shirt worn by both men and women.
Brassière, bra Breasts
(F) (M)
Period: 15th century. Period: 18th century.
The French term for a short jacket, similar to a bolero, Tailor’s term, commonly used in bills, for waistcoat but-
usually of black silk or velvet and worn as an undergar- tons; usually combined with “coats”, for coat buttons.
ment, but partly visible late in the century. Breech, breeches
(M)
Period: Early Medieval.
Term used to describe a bust support; this was a natural
The term “breech” corresponded to braies.
evolution from the late 19th-century bust bodice. Early
versions were of lightweight fabrics, though later ver- Period: End of 14th to early 16th century.
sions were boned and/or used elasticated fabrics. The The upper part of the long hose which then combined
first brassière was patented by Caresse Crosby (Mary stockings and breeches in the form of tights.

Breech belt 30
See Cloak-bag breeches, Knee breeches, Galligaskins,

Slops, Petticoat breeches, Spanish hose, Venetians.
The front had a vertical opening down the midline closed
b by buttons, a method which lasted as long as the front
was concealed by a long waistcoat descending over the
thighs. As the waistcoat shortened, ca. 1760, expos-
ing the front of the breeches, the vertical opening was
replaced by falls which remained in fashion for evening-
dress breeches to ca. 1840, and for riding breeches
until the end of the 19th century. The fly-front opening
was used for evening-dress breeches after ca. 1840.
The introduction of braces ca. 1790 led to a change in
construction of breeches; previously cut very full in the
seat they hung on the hip-bones, with the waistband
tightened by strings at the back of the waist. When held
up by braces the general fit was closer, but the waist-
band was no longer drawn in as tightly.
Breeches were retained for certain types of formal wear,
ski-ing outfits in the 1930s, and for golf and other coun-
try pursuits. Women wore them for outdoor or service
activities during war time and occasionally as fashion-
able clothing.
Breech belt
See Breech.
Breech farthingale
(F)
Period: 1580–1620s.
An unusual term for the roll farthingale which extended
the gown’s skirt at the back and sides.
Breech girdle
(M)
A girdle threaded through the wide hem at the top of
the breech to secure it about the waist or, more usually,
just below.
See Braier.
Bretelle
(F)
The breech was usually of a different colour and fabric A strap-shaped trimming on a bodice; usually sections
from the rest of the hose. “A payre of hosen, black, with of ornamental fabric across each shoulder beginning
purple breche embroidered and underlayd with cloth and ending at the waist at back and front.
of silver” (1521, Inventory of Henry, Earl of Stafford, Breton hat
Camden Society). The waist belt of the breech, when (F)
this was the upper portion of the joined long hose (in Period: Late 19th century onwards.
the form of tights), was then known as the breech belt. A style of straw or felt hat with a close-fitting, round
crown and a deep brim which was rolled up all the way
Period: End of 16th century onwards.
round.
An outer covering for the legs ending just above or more
Bridal veil
usually just below the knees; the terms “breeches” and
See Wedding veil.
“hose” were interchangeable until ca.1660 when hose
Bride-lace
began to signify stockings. In the 17th century breeches
might be closed or open at the knee. A large number of
A length of blue ribbon binding sprigs of rosemary
named varieties were known.

31 Brooks Brothers
used as wedding favours. In the 16th century such officer’s greatcoat but was also, due to ex-army surplus,
sprigs were tied to the arm, but later worn in the hat. worn outside of the services.
The bride of Jack of Newbury (mid-16th century) “was Broad beard
led to church between two boys with bride laces and (M) b
rosemary tied about their sleeves”. “With nosegay and Period: 16th and early 17th centuries.
bride laces in their hats” (1603, Heywood, A Woman Identical to a cathedral beard.
killed with Kindness). Brodekin, brodkin, brotiken
Brides (M)
(F) Period: 15th to late 17th century.
Period: 1830s and 1840s. A boot reaching to the middle of the calf or just below
A term for the broad ribbon-strings attached inside the the knee. The name is chiefly Scottish, though used in
brim of the open bonnet and occasionally the broad- English accounts; the English form was buskin.
brimmed hat of the period, and allowed either to float Brodequin
free or tied loosely under the chin. A rosette of ribbon (F)
was often used to cover the point of attachment. Period: 1830s.
Bridge coat Boots of velvet or satin, trimmed with a fringe round the
(F) top edge.
Period: 20th century. Brog, brogue
A loose, open jacket of brocade, lace, velvet or similar, (M)
worn over an afternoon or evening dress. Period: Late 16th–19th century.
Bridles Long breeches or trousers worn by the Irish.
(F) Brogues
Period: 18th century. (M & F)
The strings for tying a mob cap under the chin. Period: 16th–19th century.
See Kissing-strings. Rough shoes of undressed leather with the hair side out,
Briefs tied on with thongs. Worn by the poor in the wilder parts
(F & M) of Ireland and the Scottish Highlands.
A pair of very short, close-fitting knickers or trunks; Period: Late 19th century onwards.
sometimes called “scanties” by women; particularly A sturdy leather shoe worn for country pursuits; adapt-
useful at a time when clothing was sleekly fitted. ed from a traditional Scottish design for a walking boot
Brigadier wig with punched-leather decoration. A variant of the early
(M) 1900s had a fringed tongue covering the laces and was
Period: 1750–1800. worn with Scottish dress.
This was identical with the major wig, a military style Brooch
with a double queue. “Brigadier” was the name used (F & M)
in France, but seldom in England. “Hence we hear of Period: Medieval onwards.
the Brigadier or the Major for the Army” (1782, James One of the earliest forms of fastening, which developed
Stewart, Plocacosmos). into a decorative piece of jewellery. A face of metal be-
Brilliantine hind which a pin was placed; the pin passed through a
(M, occasionally F) cloak, cap or mantle and was held within a secure twist
Period: Late 19th century onwards. or channel of metal; acquired the name “brooch” from
A type of hair oil which held the hair in place and en- the medieval English “broche”. Brooches were made
sured a glossy, smooth finish. in all shapes and sizes and of all materials, from pre-
Bristol diamond, Bristol stone cious metal and gemstone stomacher brooches in the
Period: ca. 1590 to end of 18th century. late 17th and 18th centuries, to bakelite novelties in the
Rock crystals found at Clifton, near Bristol, and used as 20th century. Increasingly a female ornament from the
imitation diamonds in jewellery. 18th century and sometimes found within a parure of
See Paste. matching pieces of jewellery.
British warm Brooks Brothers
(M) Period: 1818 onwards.
Period: ca. 1900–1950s. Originally a New York-based clothing company which
The British Service warm was a short, double-breasted sold ready-made clothing to male customers; it became
overcoat of comfortable fit made from Melton cloth. a subsidiary of the British company Marks & Spencer
By the end of World War I it had replaced the standard in 1988.

Brown George 32
Brooks Brothers had often looked to the UK for ideas, A cap similar to a Montero. “When I must be covered
such as button-down collars on shirts, Madras fabric for I infinitely prefer the Buckingamo or Montero, lately re-
shirts, Harris tweed and Shetland sweaters. It also ex- formed” (1661, J. Evelyn, Tyrannus, or the Mode).
b tended its range to include casual wear, e.g. Bermuda Buckle
shorts and clothing for women. Its comfortable classic (M, later F)
styles of clothing were worn by Ivy League and prep- Period: Medieval onwards.
pie customers in America. A clasp consisting of a rectangular or curved rim with
Brown George one or more movable tongues secured to the chape
(M) at one side or in the middle and long enough to rest on
Period: Late 18th century. the opposite side. Used to fasten belts, straps, etc. or
Colloquial term for a brown wig said to resemble a loaf used as ornaments. Buckles for securing breeches or
of coarse brown bread. shoes were often highly decorative and made from base
Brummell bodice to precious metals and stones of every type.
(M) See Artois buckle.
Period: 1810–1820. In the 20th century and later belt buckles were made
A whalebone corset worn by dandies of the Regency from many materials including bakelite, plastic, etc.
period; named after George “Beau” Brummell
(1778–1840).
A secondary meaning is taken from the French boucle;
Brunswick gown, Brunswick sack, German gown
a curl of hair associated with men’s wigs of the 18th
(F)
century.
Period: 1760–1780.
Buckled wig
A sack-backed gown of variable length with a buttoned
(M)
false-bodice front and tight sleeves to the wrists.
Brutus head, Brutus wig
A wig having tightly rolled curls generally arranged hori-
(M)
zontally above or about the ears.
Period: 1790–1820.
Buckskin
A cropped head of hair or a brown, unpowdered wig,
(M)
both dishevelled in appearance; inspired by the French
Revolution. The wig became associated with the Prince
A term meaning gloves of buckskin.
Regent, later George IV, but the hairstyle was also popu-
lar with young women; “I wonder if the pretty Misses go Period: ca. 1790–ca. 1820.
in self coloured drawers…and brutus Heads with you as Occasionally, breeches of buckskin.
they do here” (1798, H. L. Piozzi, Letters). Budget
Bubble cut Period: 17th century.
(F) A wallet. “A budget or pocket to hang by their sides to
Period: Late 1950s onwards. put their nails in” (1677, Moxon, Mechanick Exercises).
Hair cut short and teased into tight curls; this effect was Buff coat, buff jerkin, leather jerkin
later achieved by a bubble permanent wave in the early (M)
1980s, when some men adopted this style alongside Period: 16th and 17th centuries.
women. A military garment adopted by civilians; a jacket made
Bubble dress of ox-hide (originally buffalo hide) and very strong. It was
(F) worn over the doublet and followed the fashion shape
Period: 1957. of the day; sometimes sleeveless having wings only.
The French designer Pierre Cardin (b. 1922) introduced In the 17th century it might have sleeves of fabrics other
short dresses and skirts with stiffened linings to create than leather, and longer skirts.
a bubble shape. Buffins, pair of buffins
Buck clothes (M)
Period: 16th and 17th centuries. Period: 16th century.
Clothes taken in buck baskets to be washed, the do- A North Country term for a pair of wide breeches such
mestic laundry being a bi-annual event. “One woman to as slops, or possibly round hose. Buffin was a coarse
wash their buck clothes” (1625, Statutes of Uppingham cloth used for a variety of garments.
Hospital). Buffon, buffont
Buckingamo (F)
(M) Period: ca. 1750–1790.
Period: Mid-17th century. A large, diaphanous neckerchief of gauze or fine linen

33 Burrail collar
swathed round the neck and shoulders and puffed out Period: 1900 onwards.
over the bosom. “A large buffont of white gauze carried Two trademarks were registered in 1902 and 1909,
up near the chin” (1787, Ipswich Journal). gabardine and The Burberry respectively, the latter re-
Bugles ferring to the coats it manufactured. The military coats b
Period: 16th century onwards. of the 1914–18 war included the distinctive trench
Tubular glass beads, generally black but also white or coat, a classic style much copied and worn in civilian
blue, very popular in the 16th century for decorating life.
women’s dresses, cloaks, hats and hair. Less popular in In the latter part of the 20th century the distinctive,
the 17th and 18th centuries, but much used from 1870 checked lining was used for accessories including bags,
on in a wider range of colours. hats and scarves, and the company enjoyed a revival
Bulgare pleat with new fashion lines in the late 1990s.
(F) Burdash, berdash
Period: 1875. (M)
A form of pleating used on skirts, being a double box Period: Late 17th and early 18th centuries.
pleat, narrow at the waist and expanding downwards, A fringed sash worn round the waist over the coat; the
the folds being kept in place by strips of elastic sewn on term was also linked to a type of cravat.
the under-side. Burka, burkha, burqa
Bull head, bull-tour (F)
Period: ca. 1670–1690. A long, loose outer garment worn in public places by
A female coiffure with a forehead fringe of thick curls. Muslim women to shield them from the gaze of men and
“Some term this curled forehead a bull-head from the strangers. It is a traditional garment in certain countries
French Taure, a bull. It was the fashion of women to in the Middle East but has appeared in Western coun-
wear bull-heads or bull-like foreheads, anno 1674 and tries relatively recently. It can incorporate veiled holes for
about that time” (R. Holme, Armory). the eyes and was, infamously, forced upon all women in
Bullion-hose Afghanistan by the Taliban during their regime.
(M) See Chador, Hijab, Jilbab, Niqab, Veil.
Period: 16th century. Burlet
Trunk hose with full pleats in the upper section of the (M)
garment. Also called “Boulogne hose”. Period: 15th century.
See French hose. A circular padded roll worn as a head-dress or as part
Bully-cocked of the chaperon.
(M) See Bourrelet.
Period: 18th century. Burnet
A hat cocked in the style favoured by the bullies of the (F & M)
period; generally a broad-brimmed hat. (The Oxford Period: 17th century.
Smart) “easily distinguished by…a broad bully-cocked “A hood or attire for the head” (1616, John Bullokar, An
hat” (1721, Amherst, Terrae Filius). English Expositor).
Bum-barrel Burn-grace
(F) Synonym of bongrace.
Period: ca. 1550 to early 17th century. Burnouse, burnous
A padded roll for distending the skirt at the hips. (F)
Bum roll, bum Period: 1830s–1860s.
(F) An evening wrap of cashmere, usually knee-length,
Period: ca. 1550 to early 17th century. fastened at the neck; sometimes with a small hood, or
Similar to bum-barrel but the more usual term. imitation of one, attached. The Algerian burnouse of
Burberry 1858 was of wool with broad satin stripes. Both styles
(F & M) owed their name and shape to the hooded cloak worn
Period: 1856–1900. by Arabs and Moors and much recorded in words and
A firm founded in England by Thomas Burberry (1835– illustrations from the 17th century onwards.
1926), with a specific association with a proofed, cotton Burrail collar
fabric called gabardine which was used for rainproof (M)
clothing. A London-based business was started in 1891 Period: 1832.
and the various garments produced were aimed at A collar of a greatcoat made “to stand up or fall down
country and leisure pursuits. at pleasure” (Gentleman’s Magazine of Fashion).

Burse 34
Burse sometimes horn, attached to the front of a bodice or

See Bourse. the stays to render it inflexible. In the 18th century the
Bush, bush beard, bush-wig busk was sometimes carved with emblems and worn
b (M) pushed down into a busk sheath in front of the bodice.
Period: Late 16th century and 17th century. By the 19th and early 20th centuries stay busks were
Jocular synonyms for a thick mop of hair or full beard. often of steel.
Busk Buskins
(F, sometimes M) (F & M)
Period: 16th to early 20th century. Period: 14th to end of 17th century.
“Buc, a buske, plated (pleated) bodie or other quilted High boots sometimes reaching to the knees. In the
thing worne to make or keepe the bodie straight” (1611, earlier period often made of silk in various designs; in
Cotgrave). Occasionally, in the 18th and 19th centuries, the 16th century those worn at court might be of silk
it meant to dress, deck with clothing. or cloth. Leather buskins were mainly riding boots.
However, the usual meaning of the word was the Women’s buskins, worn for travelling, were of velvet,
stiffened front of a bodice; the busk being a flat length satin or Spanish leather.
of bone, whalebone, wood or, in the 17th century,
The term was also applied to quasi-historical boots
used for theatrical performance (they were associated
with tragedians especially), fancy dress and masquer-
ade costume.
Busk point
(F)
Period: Late 16th to early 18th century.
A tie for securing the busk.
Bust bodice
(F)
Period: 1889–ca. 1930.
A support for the breasts, based upon the camisole,
usually of white coutil, laced front and back with bones
on each side of lace holes. Worn above the corset. It
was the prototype of the modern brassière.
Bustier
(F)
Period: Late 1970s onwards.
An item of underwear which combined a brassière
and a camisole; not dissimilar to a 19th-century,
boned bust bodice, it became a fashionable item of
outer wear for young women and was often strapless.
The American singer Madonna wore them as stage
costumes.
Bust improver
(F)
Bosom pads of wool and cotton. Various structures
were introduced, such as a patent of 1860 – “an im-
proved inflated undulating artificial bust to improve the
female figure”. In 1896 flexible, celluloid bust improvers
were advertised. In the 20th century soft, foam-rubber
pads became available.
Bustle
(F)
The term “bustle” was not used until ca. 1830; this is
now a usual description for a device for thrusting out

35 Buttoner
the skirt at the back of the waist. Innumerable forms century, which had consisted of a wire frame support-
and materials have been adopted through the centuries, ing a gauze veil spreading out above the head on each
from foxes’ tails (1343) to kitchen dusters (1834, Mrs side, like a pair of diaphanous wings, with a V-shaped
Carlyle), from down cushions to wire cages. Until the dip over the forehead. It was fixed to a small ornamen- b
19th century, padded rolls were the usual form. tal cap, cone-shaped, worn on the back of the head.
See Bum roll, Bearers, Rump-furbelow, Cork rump. “These were called by some “Great Butterflies” from
19th-century versions included: having two large wings on each side resembling those
of that insect” (1591, Paradin).
Period: 1806–1820.
Butterick
A small pad or narrow roll, sometimes known as a
Nelson.
The American tailor Ebenezer Butterick (1826–1903)
Period: 1815–1819. created the first graded or sized clothing patterns for
An outside bustle called a frisk helped to produce the the domestic sewing market in response to his wife’s
Grecian bend; this was more a French than an English request. After some experiments he settled upon paper
fashion. for the patterns and quickly developed styles for adults
and children. The popularity of such patterns was im-
Period: 1830–1850.
mense and the Butterick brand was publicized through
A bulky, wool-stuffed pad, spreading from the back
magazines and response to user correspondence.
round the sides of the waist.
Throughout the 20th century the firm continued to de-
Period: 1865–1876. velop, acquiring other labels, such as Vogue patterns,
Bustles of steel half-hoops known as crinolettes. and using the latest technology to refine its products
and meet new and changing demands.
Period: 1882–1889.
See Sewing machine.
Bustles were fashionable again and at their maximum in
Button
1885; the shape projected backwards like a shelf and
(F & M)
varied in structure. At this time the bustle was known
as a dress improver or tournure, before finally disap-
These were fastenings or dress ornaments in the form
pearing in 1889.
of a knob or disc sewn or affixed to a garment to fasten
Period: 20th century onwards. it by passing through a buttonhole.
Small pads or larger extensions were used by fashion See Basket button, Death’s head button, Dorset thread
designers for emphasis, but rear display was usually lim- button, High-tops, Leek button, Olive button, Snail but-
ited to extra pleating of fabric, a large bow, or a modest ton, Stalk button.
structure beneath the skirt. Button boots
Butcher’s boy cap (M)
(F & M) Period: 1837–1860s.
Period: 1960 onwards. (F)
A wide cap with a deep brim and peak, named after the Period: 1830s to early 20th century.
tradesmen’s caps of earlier periods that they resembled, Short boots fastened up the outer side with buttons,
but fashionable in various fabrics such as wool tartan, usually black japanned; the mother-of-pearl buttons
cotton corduroy, etc. intermittently from this period. used in the 1830s were ornamental. Light jack boots.
Butterfly bow sleeve See Jack boot.
(F) Buttoned cap
Period: 1895. (M)
An evening-dress sleeve with pleats on the outer side Period: 16th century.
forming wings. A cap with a round or square, close, beret-shaped
Butterfly cap, fly cap crown, and a button on the top for securing the side
(F) flaps when present.
Period: ca. 1750–1770. Buttoned handkerchief
A small lace cap wired into the form of a butterfly and (F & M)
worn perched above the forehead. Lappets, jewels and Period: 1590–1700.
flower trimming were sometimes added for court wear. A pocket handkerchief trimmed at the corners with
Butterfly head-dress buttons acting as tassels.
(F) Buttoner
Period: ca. 1450–1500. (F & M)
A 16th-century term for the head-dress of the previous Period: 14th century.

Button hook 36
A close row of buttons down the front of the houppe- oval hooks called lacing studs.
lande, serving as an ornament. Button stand
Button hook Period: 19th century.
Period: 19th century. Tailor’s term for a separate piece of cloth carrying the
A metal hook on a handle; used to place the buttons of buttons and buttonholes of a coat, usually double-
c tight gloves or boots into their respective buttonholes. breasted, or a waistcoat and seamed on to the margin
Button-hooks of the forepart. A device supposedly invented by King
(M) George IV around 1820.
Period: 1865 onwards. Byron tie
These were metal eyelet hooks replacing punched eye- (M)
let holes up the fronts of boots. The boot-laces were Period: 1840s and 1850s.
caught in the hooks and criss-crossed from side to side, A small, narrow necktie, such as “a bit of mousselaine
thus fastening the boot. In 1897 they became brass, de laine a few inches long or a bit of broad shoe-string”.
C
Caban Caddie
(M) (M)
Period: 14th and 15th centuries. Period: 1890s.
A loose cloak with arm-holes. A hip-pocket, i.e. a cross-pocket at the back of the hip
of trousers.
Period: 1840s. Cadogan
A loose wrapper with a turned-down collar and (F & M)
wide enough to be worn without using the sleeves. Period: Late 18th century.
Sometimes in the form of a paletot-sac. Also known Rare term for catogan or club wig.
as a templar cloak. Caftan, kaftan
Cabbage-ruff (F & M)
(M) Originally described as a traditional style of full-length,
Period: Early 17th century. long-sleeved tunic, held at the waist by a sash or belt
A large ruff with informal convolutions not in the organ- and worn in Turkey and other Middle Eastern countries.
pipe style. “Hiss cabbage Ruffe of the outragious sise,
(F)
Starched in colour to beholders eyes” (ca. 1620, S.
Period: 1844.
Rowlands, A Roaring Boyes Description).
An outdoor garment “between a Paletot and a Mantle”.
Cabbage shoe-string
(M) (F, occasionally M)
Period: ca. 1610–1680. Period: 1950s onwards.
A large, cabbage-shaped rosette or shoe-rose. The French designer Christian Dior (1905–1957) pro-
Cable hatband duced a caftan without a sash in the mid-1950s. Other
See Hat-band. designers followed suit and the style with a slit or narrow
Cable knit/stitch V neckline, usually in cotton or silk with simple embroi-
Period: Late 19th century onwards. dery at the edges became a popular informal evening
Any embroidery stitch or knitted design which resem- style.
bles the twisted strands of a metal or rope cable. Cage
Cabriole, capriole head-dress (F)
(F) Period: 1856 to late 1860s.
Period: 1755–1757. Short name for the artificial crinoline composed of
A head-dress in the shape of “some kind of carriage”. a coarse petticoat distended with graduated hoops of
“Those heads which are not able to bear a coach- whalebone, wire or watch-spring.
and-six…make use of a post-chaise” (1756, The Cage-Américaine
Connoisseur). (F)

37 Cambridge paletot
Period: 1862–1869. calico and sewn on by piercing the calico; some had two
A cage petticoat of which only the lower half was cov- metal eyelets in the centre. Both types appeared about
ered with fabric, the upper half being in skeleton form to the same date. Used for underclothing until gradually
reduce the weight. replaced by plastic buttons in the 20th century.
Cage Empire Calotte, callot
(F) (M) c
Period: 1861–1869. Period: 17th century.
A cage for wearing under a ball-dress; the cage slightly An under-cap. “An ordinary callotte or cap which we
trained and composed of 30 steel hoops increasing in wear under our hats” (1670, Lassels, Voyage to Italy).
width downwards. Also a plain skull-cap.
Cage petticoat, cage crinoline, artificial crinoline In later centuries used to describe the skull cap worn by
(F) Roman Catholic clergy.
Period: 1856–1868. Calves
A structure composed of hoops, at first of whalebone See False calves.
but after 1857 of wire or watch-spring, joined together Calypso chemise
at intervals by vertical bands of tape or braid. The hoops (F)
increased in size from the waistband down, forming a Period: 1790s.
dome-shaped petticoat resembling a cage, to be worn A round gown of coloured muslin worn with a loose
under a wide skirt to distend it to the required size. The robe over it.
cage was tied round the waist in front and below the Camail
ties a short gap in the hoops enabled the cage to be put (F)
on. The number of hoops, their size and shape varied. Period: 1842.
At first dome-shaped, becoming by 1860 pyramidal; A waist-length or three-quarter-length cloak with arm-
by 1866 the front was flattened with the main projec- holes and a small, falling collar. Rounded or pointed be-
tion behind; by 1868 the cage shrank and became the low and lined with silk in summer or wadded cashmere,
crinolette. satin or velvet in winter.
Cagoule Camargo
(F & M) (F)
Period: ca. 1950 onwards. Period: 1879.
A lightweight, waterproof, hooded jacket, not dissimilar A day-jacket, the basques of which were rounded off
to an anorak. Originally worn by climbers, it became a and arranged into paniers on the hips; worn over a
popular garment for many outdoor activities. waistcoat. Named after Marie Camargo (1710–1770), a
Cake hat celebrated French dancer.
(M) Camargo hat
Period: 1890s. (F)
A soft, felt hat with a low, round crown slightly de- Period: 1836.
pressed circularly; similar to the Alpine hat. “A blue cake An evening-dress hat, small, with the brim raised in
hat” (1895, The Babe, B.A.). front.
Calash, calèche Camargo puff
(F) (F)
Period: 1770–1790; revived 1820–1839. Period: 1868.
A large, folding, hooped hood, built up on arches of Formed by looping up high the back of the overskirt of
whalebone or cane covered with soft silk; named after a panier dress.
the hood of the lightweight French carriage called a Cambridge coat
calèche. Worn out of doors to protect the fashionable, (M)
high head-dresses and hairstyles. Its original French Period: 1870 to early 20th century.
name was a Thérèse. A lounge coat, single- or double-breasted, usually a
Calcarapedes three-seamer with central back vent. Made with three
(M) buttons, but at first “cut sharply off from the 1st or 2nd
Period: 1860s. button producing an opening at the waist”.
“Self-adjusting galoshes” of rubber (1861, Our Social From 1876 made closer and longer with four patch
Bees). pockets having buttoned flaps. By 1880 it was identical
Calico button with the single-breasted reefer.
Period: 1840s onwards. Cambridge paletot
A flat button consisting of a metal ring covered with (M)

Cameleons 38
Period: 1855. Camp shirt

A large and full knee-length overcoat with wide sleeves (F & M)
having immense turned-back cuffs; wide cape-collar Period: 1950s onwards.
and broad lapels descending nearly to the hem. An American informal shirt, loosely cut with a soft collar,
Cameleons buttoned front and elbow-length sleeves, which can be
c (F) worn outside shorts and trousers and comes in a range
Period: 1859. of colours and patterns.
Women’s boots and shoes having the uppers perforated See Hawaiian shirt.
with ornamental holes revealing coloured stockings. Cane
Cami-knickers (M, occasionally F)
(F) Period: Early 16th century onwards.
Period: Late 19th century onwards. The stem of a plant similar to bamboo and used as a
A combined undergarment uniting a camisole with walking-stick, the finer kinds usually carried under the
a pair of drawers which buttoned at the crotch, but arm. The fashionable periods for canes (as distinct from
shorter and more streamlined than the two worn sepa- sticks) were the 17th and 18th centuries. Canes were
rately. Originally made from light cotton fabrics, they of very variable length; in the second half of the 18th
later were made of silks and synthetics and came in century they were often very long and carried by women
many colours. Also known as “knicks” and “step-ins”. as well as by men. Named types included Malacca or
The 1920s’ teddy, fashionable again in the 1980s, was “Clouded” cane and Rattan, a species of palm from the
a variant of this style. East Indies. “…a little black rattoon painted and gilt”
Camise, cames, kemes, kemse (1660, Diary of Samuel Pepys).
See Chemise. Canezou
Camisia (F)
(F & M) Period: 1820s–1850s.
Period: Medieval. In the 1820s this was a white, sleeveless spencer. In
A shirt or smock. the 1830s it became a short, pointed cape covering the
Camisole front and back but not the arms. By 1850s the canezou
(F) had become an elaborate fichu of muslin, lace and rib-
Period: 1820s–ca. 1920. bons covering the front and back of the upper body.
A short-sleeved or sleeveless under-bodice of white Canezou-pelerine
long-cloth, worn over the stays to protect the tight- (F)
fitting dress. Sometimes called a waistcoat and, by Period: 1830s.
1890, a petticoat bodice. A canezou with long pelerine extensions down the
Gradually replaced by cami-knickers or brassière, front.
panties and petticoat. Canions
Campaign coat (M)
(M) Period: ca. 1570–1620.
Period: 17th century. Thigh-fitting extensions from trunk-hose to the knees
A long military coat worn by civilians from ca. 1667. or just below, and often of a different colour and fabric
“Campaign-coat, originally only such as soldiers wore, from the trunk-hose. Stockings were drawn up over
but afterwards a mode in Cities” (1690, B.E., Dictionary them.
of the Canting Crew). Cannons, canons, port canons
(M)
Period: 18th century. Period: ca. 1660–1700.
A term used for any old, tattered coat worn by beggars Wide decorative frills to the tops of stockings worn with
and gipsies to arouse compassion. petticoat breeches or breeches not confined at the
Campaigne wig, travelling wig knee.
(M) These borders were turned down over the garters and
Period: ca. 1675–1760. fell in a broad flounce below the knee. “He walks in
A bushy wig with short side locks with knotted ends his Portcannons like one that stalks in long grass” (ca.
and a very short queue behind. The side locks were 1680, Samuel Butler, Genuine Remains).
sometimes tied back for travelling. It was a popular wig Cannon sleeves, trunk sleeves
for the elderly and still worn, though old-fashioned, after (F)
1760. Period: 1575–1620.

39 Capri pants
Gown sleeves, moderately wide above and sloping A turned-down collar, whether large or small. Also, a
to be closed at the wrist. They were made rigid with short shoulder-cloak. However, the former meaning (of
padding, and sometimes distended with reed, wire or turned-down collar) remained as a tailor’s term in the
whalebone sewn into a lining of fustian or holland, thus 19th century.
producing their cannon shape. Cape coat
Cantab hat (M) c
Period: 1806. An overcoat with a cape collar.
A day hat of straw, with a rectangular crown, flat on the Capeline
top, and a narrow rolled brim. (F)
Cap Period: 1750–1800.
(M) A woman’s hat adorned with feathers.
Period: Medieval period onwards.
A small head-covering, usually of soft fabric and often Period: 1863.
fitting more closely than a hat. In the 16th century the A light hood with attached cape, usually of cashmere or
cap began to imply social inferiority, as in the servant, barege; for country wear.
apprentice or schoolboy. Cape-paletot
See Statute cap. (M)
A sleeved cloak with a deep cape; known as the
When elite men began to wear a cap in the country or
Inverness.
for outdoor sports, they made it a rule never to wear it
Cape sleeve
“in Town”. The cap with a stiff visor was an improvement
(F)
of the 1880s; the hook-down cap, in which the front of
the crown hooked on to the top of the visor, appeared
An excessively flared short sleeve.
in the 1890s and was especially favoured for tennis and
Cap-hood
golf.
See Capouch.
Period: 20th century onwards. Capot, capote
Caps for many activities, such as golf, riding, sailing and (M)
skiing, appeared alongside the simple, soft cap worn by Period: 18th century.
many workmen. Later, foreign styles such as baseball A loose coat. “Wrapped in their thick capots or loose
caps were adopted by all classes and age groups. coats” (1775, R. Chandler, Travels in Asia Minor).
Capote
(F)
(F)
Period: ca. 1500 to late 19th century.
Period: Mainly 1830s.
The domestic cap was worn indoors and came in many
A bonnet with a soft crown shaped to the head and
named varieties, such as the caul, lettice cap, cornet,
having a rigid brim round the face.
rail, fontange, round-eared cap, pultney cap, mob
Capote anglaise
cap, butterfly cap, Marie Stuart cap, babet bonnet,
(F)
Charlotte Corday cap, etc.
Period: 1830s.
The wearing of caps began to decline in the 1850s, and
See Bibi bonnet or English cottage bonnet.
in 1857 “young married ladies need not wear caps until
Capouch, capuche
they have acquired the endearing name of “Mother”. By
(F & M)
1880 “young women no longer wear caps”, and by the
1890s they were worn only by the elderly and by female
A hood attached to a cloak. “His Hood or Capuch
domestic servants.
(which was part of the Cloak) and served to cover the
Capa pluvialis, chape a pluie
Head” (1658, J. Cleveland, Rustick Rampant).
(F)
Caprice
Period: Medieval.
(F)
A large cloak, generally hooded, for protection from the
Period: 1846.
rain.
A loose, sleeveless evening jacket sloped away behind
Cape
to a rounded point below the waist.
Capri pants
Known as a cope.
(F)
Period: 15th to late 18th century. Period: 1950s onwards.

Cap sleeve 40
Close-fitting trousers reaching to just above the ankle, The bodice of a day dress made to resemble a jacket.
not dissimilar to leggings, but usually of a sturdier Caracul
fabric. An American style popularized by the film star See Karakul
Audrey Hepburn (1929–1993) in various films, such as Caravan
Roman Holiday (1953) and Funny Face (1957). (F)
c Cap sleeve Period: 1765.
(F) A small and early form of the calash. “It consists of
Period: Late 19th century onwards. whalebone formed in large rounds, which at a touch
A small sleeve literally as a cap extending from the arm- throws down over the face a blind of white sarcenet”
hole at the top of the bodice of a dress or shirt. (1764, Universal Magazine).
Capuche Carcan, carcanet
(F) (M)
A muslin sun-bonnet lined with silk. A heavy collar-like necklace, usually of gold and
Capuchin, capuchon gemstones.
(F) Car coat
Period: 16th to late 18th century. (F & M)
A soft hood worn out of doors. In the 18th century it was Period: 1940s onwards.
known as a riding hood and was worn in the country A loose-fitting, thigh-length coat worn over other travel-
and when travelling by coach. It had a coloured lining ling clothes and easily removed. Much less bulky than
and a deep cape. the motoring coats of the early years of the century.
Capuchin collar See Motoring dress.
(F) Cardigan
Period: Late 18th and early 19th centuries. (M)
A roll collar following a V-neckline of the high-waisted Period: 1850s to early 20th century.
dress. Originally associated with the Earl of Cardigan
Capuchon (1797–1868) and his officers in the Crimean War, this
(F) was a short, close-fitting, knitted jacket of Berlin wool
or English worsted; no collar or a velvet one; by 1896
Period: 1837.
some versions had a short roll collar.
A waist-length evening mantelet with a hooped hood
and long sleeves; worn out of doors.
(F & M)
See Capuchin, Carmeillette.
Period: Late 19th century onwards.
Period: 1877. A knitted woollen jacket without a collar, either but-
A bonnet composed entirely of flowers mounted on a toned to the neck or with a V-neck. Worn informally and
slight foundation, covering only a small part of the head. available in ready-made versions or with patterns for
Caracalla wig home knitters; it could be matched with a short-sleeved
(M) jumper.
Period: Late 18th and early 19th centuries. See Twin set.
A black wig. Cardigan suit
Caraco (F)
Period: ca. 1750 to early 19th century. Attributed to the French fashion designer Coco Chanel
A thigh-length, waisted jacket, either fitting at the waist (1883–1971), the use of soft, jersey fabric for a loose,
or with a sack-back. A variant of this, called a short- cardigan-style jacket with a matching skirt revolution-
gown, had a cross-over front and was the usual jacket ized comfortable but chic women’s day clothes. Variants
for working women. It emerged as an informal style for might include a blouse or jumper, but the combination
fashionable French women in the late 1760s and in continues to be produced, often in mix-and-match col-
England it was close-fitting, three-quarter-length, closed ours and patterns.
jacket with the back occasionally longer than the front Cardinal
and made of printed cotton or linen. In the 1840s a style (F)
of jacket bodice, sometimes called a caraco corsage, Period: 18th and 19th centuries.
appeared, usually worn with a matching skirt. In the 18th century the term referred to a three-quarter-
Caraco corsage length hooded cloak, usually of scarlet cloth. By the
(F) 1840s the term described a shorter cloak, ending about
Period: 1848–1870. waist-level and without hood or collar.

41 Cased body
Cardinal pelerine dress was suitable for paying calls; “Carriage or visiting
(F) dress…” (1869, 17 July, Harpers Bazaar).
Period: 1840s. Carrick
A deep lace bertha divided at the centre front and worn (F)
with evening dress. Period: 1877.
Cardows A long dust-cloak with triple capes; a type of overcoat. c
(M) See Ulster.
Period: Late 16th and early 17th centuries. Carthage cymar
The tasselled cords of a ceremonial robe. (F)
Careless Period: 1809.
(M) A fancy scarf of silk or net with gold embossed border;
Period: 1830s. worn with evening dress, attached to one shoulder and
A loose overcoat with a large, full cape and spreading hanging down the back to about knee-level.
collar; without a seam at the waist. Cartoose collar
Cargo pants (M)
(M, sometimes F) Period: 17th century.
Period: 1950s onwards. A standing collar with small pickadils about its upper
An American style of informal, lightweight trousers, often edge on which the ruff was supported. A term possibly
of cotton, with one or more large pockets on the outside related to the architectural one, cartouse, meaning a
of each leg. A variant allows a section of the lower leg to bearer or support.
be unzipped to provide shorts. Cart-wheel hat
Carmeillette (F)
Period: 1830s. A hat with a wide, circular brim similar to a cart-wheel.
See Capuchon. Casaque
Caroline corsage (F)
(F) Period: 1855–1860s.
Period: 1830s. A close-fitting jacket buttoned up to the neck with a
An evening corsage having a narrow fall of lace and deep basque forming an overskirt.
drapery forming a V in the shape of a pelerine. Casaque bodice
Caroline hat (F)
(M) Period: 1873.
Period: 1680s to mid-18th century. A close-fitting bodice with a deep basque in front.
A hat made of Carolina beaver; the fur imported from Casaquin bodice
Carolina and, owing to the climate, inferior to the (F)
Canadian fur known as “French Beaver”. Caroline hats Period: 1878.
were therefore usually worn by servants and gener- A tight-fitting day bodice, shaped like a man’s tail coat
ally black. “Two Caroline hats for the servants” (1742, and buttoned down the front; some with a waistcoat,
Purefoy Letters). “actual or simulated”. Worn with a “short skirt”, un-
Caroline sleeve trained and two inches off the ground. Usually tailor-
(F) made.
Period: 1830s. Casaweck
A day-dress sleeve, very full to the elbow; thence close- (F)
fitting to the wrist. Period: 1836 to ca. 1850.
Carpet slippers A short, quilted outdoor mantle with sleeves and a
(M) close-fitting collar of velvet, satin or silk. A trimming of
Period: 1840 onwards. fur, velvet or lace bordered the garment.
Bedroom slippers, the uppers made either of German Cascade waistband
wool woven like carpets, or worked by hand in the (F)
cross-stitch designs of Berlin work. Period: 1860s.
Carriage dress A waistband fringed with jet pendants arranged in
(F) vandykes.
Period: 19th century. Cased body
A dress, or dress and cape or cloak, depending on the (M)
season or climate, worn when riding in a carriage; the Period: ca. 1550–1600.

Cased sleeve 42
A sleeveless jerkin worn over the doublet, fitting it Casual wear, casuals
closely. (F & M)
(F)
Informal clothing, usually as an alternative to clothing for
Period: 1810–20.
work or for formal events. A term that first appeared in
c A bodice with a series of transverse pleats or gauging
America and was then adopted elsewhere as a descrip-
across the front.
tion for clothing that is also, but later, called leisure
Cased sleeve
wear.
(F)
Catagan
Period: 1810–1820.
(F)
A long sleeve divided into “compartments” by bands of
Period: 1870–1875.
insertion.
A chignon of ringlets or plaits of hair hanging at the
Casquette
back of the head, tied above with a wide ribbon and
(F)
forming a resemblance to the male catogan of the 18th
Period: 1863–1864.
century.
A straw hat shaped like a Glengarry, the brim low in
Catagan head-dress
front and behind; trimmed with black velvet and an
(F)
ostrich feather.
Period: 1889.
Cassock
The hair plaited behind and turned up with a wide ribbon
(F & M)
bow; a style suitable for older schoolgirls.
Catagan net
Originally a term for a long, loose gown worn by both
(F)
sexes. Later it became the long, loose overcoat but-
Period: 1870s.
toned down the front, sometimes with cape collars;
A hair-net frequently used to contain the plaited
often worn by soldiers. Described at the time as “a
catagan.
horseman’s coat”; in a shortened version it was worn
Cater-cap
by farmers and countrymen. Also a term for a closed or
(M)
open-fronted child’s coat.
Period: 17th century onwards. The four-cornered, square cap worn by academics at
An additional meaning described the floor-length, high- universities.
collared, front-buttoned garment worn by Anglican Cathedral beard
clergy, similar to a Catholic soutane. (M)
Cassock mantle Period: 16th and early 17th centuries.
(F) A broad, long beard.
Period: 1880s. Catherine wheel farthingale
A cloak with short sleeves and reaching to below the (F)
knees; gathered on the shoulders and down the centre Period: 1580 to ca. 1620.
of the back. In 1880 it was recorded that, “Nothing A farthingale producing a tub-shaped hang of the skirt.
could be more peculiar or unbecoming”. “A short Dutch waist with a round Catherine wheel fard-
Cassock vest ingale” (1607, Dekker and Webster, Northward Hoe).
(M) See wheel farthingale.
Period: 1850s. Catogan, club wig
A new form of clerical waistcoat, at first fastened on (M)
the right shoulder; later, nearer the midline. Worn by Period: 1760–1800.
Tractarian High Church clergy and so thought to sa- A wig with a broad, flat queue turned up on itself and
vour of “Popery”; hence its nickname, the “Mark of the tied round the middle with black ribbon.
Beast” or “M. B. waistcoat”. Worn with a white dog Cat suit
collar fastened behind. (F)
Castor Period: 1960s onwards.
(F & M) An amalgam of leotard and leggings; an all-in-one
Period: 17th–19th century. garment of close-fitting cut and flexible fabric with vari-
A beaver hat, but towards the end of the century the ous permutations. “Miss Odell wears a “cat-suit” which
castor was often made of other materials. “The Castor… is sleeveless, low-cut, tight around the shanks and
is made of Coney wooll mixt with Polony wooll” (1688, everywhere else” (1960, The Guardian, 16 November).
R. Holme, Armory). Caudebec hat
See Demi-castor. (M)

43 Chapeau bras
Period: Late 17th and 18th centuries. A cosmetic used by both sexes to whiten the face.
A felt hat imitating a beaver; said to have originated Originally made of white lead.
from Caudebec in Normandy. Known in England Chador
as a cawdebink or cordyback hat hat. “For a black (F)
Cawdebink hat” (1680, W. Cunningham, Diary). Period: Late 20th century onwards.
Caul An enveloping outdoor robe similar to the burka worn c
(F) by some Muslim women and seen increasingly in
Period: 14th–17th centuries. Western countries in the last 30 years, though worn as
A trellis-work coif or skull-cap of silk thread or gold- traditional dress well before this. The chador leaves the
smith’s mesh, sometimes lined with silk. More often face uncovered.
worn by unmarried girls; wives usually wore veils. The See Jilbab, hijab, niqab, veil.
medieval caul was generally called a fret. Chaffers
(F)
The soft, pliable crown of a bonnet or cap.
The embroidered lapels of the English gable-shaped
(M) hood.
Period: Late 17th and 18th centuries. Chain buckle
The network foundation on which the wig was built. (M)
“To the foretop of his Wig…Down to the very net-work, Period: Mid-18th century.
named the caul” (1786, Peter Pindar). A variety of curled wig; buckle meaning curl.
Cauliflower wig Chain-hole
(M) (M)
Period: 1750–1800. Period: 1879 to mid-20th century.
A closely curled bob-wig, commonly worn by An additional hole, for the watch-chain, resembling a
coachmen. buttonhole, placed vertically between two buttonholes
Cavalier sleeve of the waistcoat. First mentioned in 1879 but common
(F) from 1888, and general in lounge suits from 1895.
Period: 1830s. Chambard mantle
A day sleeve, full down to the elbow, thence half-tight (F)
to the wrist; closed along the outer side by a series of Period: 1850s.
ribbon bows. A three-quarter-length sleeved mantle with hood or col-
Caxon lar and deep, hollow folds at the back.
(M, rarely F) Chammer, chimer, chimere, chymer, shamew
A tie-wig, usually white or pale-coloured but occasion- Period: Late 14th to early 19th century.
ally black. Worn with “undress”, chiefly by the profes- A rich, sleeved gown worn open in front. “A chammer of
sional classes. black satin with three borders of black velvet and furred
“Some wives there are… / Invade man’s province, blus- with sables” (1517, Wardrobe Inventory of Henry VIII).
ter and look big; / Nor wear the breeches only but the Other meanings and applications are associated with
wig; / The red-hair’d lass, to hide her golden nob / Tucks clerical dress, such as a loose gown with lawn sleeves
up her tresses in a nut-brown mob, / And full-blown attached for bishops.
dames, thro’ time a little flaxen, / Conceal that outrage Chancellor
by a coal-black caxen” (1798, Thomas Morton, Secrets (M)
worth Knowing). Period: 18th century.
Ceint, seint A variety of wig, possibly the full-bottom form.
(F & M) Chape
Period: 14th and 15th centuries. Period: Medieval onwards.
A girdle. The section of metal used on a buckle or on the scab-
Ceinture, cincture bard of a sword. “A Chape . . . holdeth the Tongue of
(F) the Buckle in its proper place” (1688, Randle Holme,
Period: Late 16th century until 1900. Academy of Armory).
The French term for a girdle, belt or sash in its original Chapeau bras
and anglicized version; an intentionally antiquated form (M)
used in literature in the 19th century. Period: ca. 1760–1840.
Ceruse A dress hat made to be carried under the arm. In the
Period: 16th to end of 18th century. 18th century it was a flat tricorn; in the 19th century it

Chaperon 44
was a flat, crescent-shaped hat, usually carried under Chaperone

the arm but occasionally worn with the peaks pointing (F)
fore and aft. By the 1830s it was generally called an Period: 17th century.
opera hat. A small, soft hood for informal wear.
Chaplet
c (F)
(F & M)
Period: 1814.
Period: Anglo-Saxon–16th century.
A satin calash, small enough when folded flat to be
Originally a term applied to a garland of flowers for the
carried in a handbag.
head; it was worn by both sexes on festive occasions
Chaperon
such as May Day, Whitsun and weddings. By the 15th
(M)
century the chaplet of flowers was worn by the bride
only.
The Anglo-French term for a hood with gole or cape
and pendant liripipe. Period: 14th to early 16th century.
A circlet set with gems, also called a “coronal of gold-
smithry”; worn by both sexes on festive occasions, and
The chaperon, derived from the hood, was a head-
in the 16th century by brides.
dress consisting of a circular roll or burlet, a liripipe or
tippet, sometimes left suspended, sometimes twisted Period: Late 14th and 15th centuries.
round the head, and surmounted by the cockscomb- A wreath of twisted silk or satin, or an ornamental pad-
like, flopping crown. ded roll, not confined to festive occasions and worn

45 Chemise, camise
by women and occasionally men. “White and blod An Anglo-French term for medieval hose, but as soon
(red) taffata and red tartryn for chaplets for the Earl of as Anglo-French gave way to English as the language
Derby’s daughters” (1397, Duchy of Lancaster Records; of knighthood and nobility, in the 15th century the word
white and red were the livery colours of the House of “chausses” was abandoned in favour of hose, which
Plantagenet). had been in use since the 11th century. Later uses of
the term were found in the context of armour. c
Chav
A term used to describe a short rosary or set of beads.
(F & M)
“A chaplet hanging down on her neck” (1653, H. Cogan,
Period: From mid-1990s onwards.
Pinto’s Traveles,ed. 1663).
A youth style, originally found in southern England, and
Charlotte Corday bonnet
perceived as cheap and nasty despite the wearing of
(F)
“designer” labels; “…council-estate chic – man-made
Period: 1870–1890.
fabrics, fake labels and lots of eight-carat gold…” (2004,
An outdoor head-dress with an upstanding crown of
The Sunday Times, 15 August).
soft material, drawn to a narrow, frilled brim, the join
Cheats
covered by broad ribbon band with pendant strings be-
(M)
hind. In 1889 there was a version with a flattened crown.
Charlotte Corday cap
Waistcoats with rich front panels but with cheap fabric
(F)
at the back.
Period: 1870s.
An indoor day cap with a small puffed muslin crown
gathered under a ribbon band with a lace frill below.
A term sometimes applied to a shirt-front with collar at-
Small lace lappets behind and long dangling ribbons.
tached, worn as a dickey.
Chatelaine
Check
(F)
See Cut-in.
Period: 1840s to early 20th century.
Checkered-apron men
An ornamental chain attached at the waist, usually with
a hook, from which hung various articles of domestic
See Apron.
use, such as scissors, penknife, tape-measure, thimble-
Cheeks and ears
case and button hook. In the 1840s it was usually made
See Coif.
of cut steel; in the 1870s of oxidized silver, steel or
Cheek wrappers
electroplate.
(F)
Chatelaine bag
Period: ca. 1750–1800.
(F)
The side flaps of the dormeuse or French night-cap.
Period: ca. 1870–1890.
Chelsea boots
A small bag suspended from a belt in the manner of a
(M)
chatelaine. Often of leather with metallic decoration.
Chausons
Also known as elastic-sided boots, these ankle-length
The equivalent of the English braies.
boots were designed to accompany the tapered trou-
Chausseambles, chauuxsimlez, chasembles, ca-
sers then fashionable. “Be up-to-date and completely
shambles
“with it” in these elegantly styled black leather Chelsea
(M)
boots with smart chisel toe shape, elastic side gussets,
Period: Medieval.
rubber top-piece heels” (1963, Freeman’s Mail Order
Taken from a French term, these were hose with leather
catalogue).
or whalebone soles stitched under the feet to obviate
Chemise, camise
the need for boots or shoes which, by ca. 1350–1450
(F, occasionally M)
were in general use by the nobility.
Period: Medieval to 15th century.
Period: ca. 1450 to early 17th century. Called kemes or kemse in medieval English, this gar-
They were garments proper to the Robes of the ment was worn next to the body. It was usually of linen
Order of the Bath. “Cloth stockings soled with white and worn by both sexes in the early medieval period.
leather called Cashambles but no shoes” (1610, British From the 13th to early 14th centuries the chemise and
Museum, Harl. MS 5176). smock were often recorded together as distinct gar-
Chausses ments. “Hire chemise smal and hwit…and hire smoc
(M) hwit” (ca.1200. Trinity College Homilies, 163).
Period: Medieval. At that date the chemise was sometimes coloured and

Chemise dress, chemise gown, chemise robe 46
worn over the smock. Subsequently, the chemise was A traditional Chinese one-piece dress with a high man-
known as a smock when worn by a woman and a shirt darin collar fastened asymmetrically across the chest,
when worn by a man. From the early 14th century, the slim-fitting with slits at both sides of the skirt; usually
term chemise disappeared until imported from France made of a brocaded silk. It became popular as a style of
in the late 18th century as a polite name for a smock cocktail dress amongst non-Chinese women in the mid-
c or shift. 1950s and today can be bought in a number of variants
in sleeve and skirt length and even with an open back.
Chesterfield
The chemise was made of linen, homespun or cotton; it
(M, occasionally F)
was voluminous and knee-length, oblong in shape, with
short sleeves and untrimmed. Until ca. 1850 the square
An overcoat, named after the 6th Earl of Chesterfield
neck often had a front flap which fell over the top of
(1805–1866), a leader of fashion in the 1830s and
the corset. In 1876 pleated gussets were introduced to
1840s. A slightly waisted overcoat, single- or double-
allow for the shape of the breasts. Subsequently it be-
breasted, having a short back vent and centre back
came elaborately trimmed with frills, tucks and lace. In
seam but no seam at the waist, or side vents. A velvet
the 1890s it was gradually replaced by combinations.
collar was usual, as were side-flapped pockets and
Period: 20th century onwards. an outside left-breast pocket. By 1859 a small ticket-
Often a shorthand term for a chemise dress rather pocket was added above the pocket on right side.
than an undergarment. Fastened by four or five covered buttons to waist-level,
Chemise dress, chemise gown, chemise robe occasionally under a fly.
(F) In the 1850s this form of overcoat was known in France
Period: 1780 to ca. 1810. as a twine and corresponded to the pardessus. Often
A lightweight, unstructured dress not dissimilar to the known in tailors’ parlance as a Chester.
undergarment; always made of thin muslin, cambric, or By the early 20th century this had become a classic
coloured silk and made with the fashionable waist-line style of overcoat for both men and women.
of the time. Chevesaille
In the late 18th century the top was drawn in round Period: Medieval.
a low neck and always worn with a sash; it had long, Taken from the Old French term chevecaille, this rare
tight sleeves. The English chemise gown, known as term described the border round the neck of a garment.
the “Perdita Chemise”, was closed down the front from It was used by Chaucer in Romaunt of the Rose, ca.
bosom to hem with buttons or a series of ribbon bows; 1400.
a sash was essential. Cheveux-de-frise
In the early 19th century the neckline might be drawn in Period: 18th century.
high with a falling frill or cut low. Buttons down the front A vandyked frill or edging.
were usual, and a small train was optional. Sleeves were Chevrons
short and melon-shaped; no sash was worn. (F)
Period: 1826 to late 19th century.
“A new form of trimming above the hem of a skirt”, ap-
The chemise dress of 1918 was a style which combined
plied in a zigzag pattern.
a bodice and tunic, and could be pulled over the head
Chicken-skin gloves
and worn with an underskirt; it needed no fastenings.
(F)
Subsequently the term was used for a light, often
sleeveless, unfitted dress.
“Some of chicken-skin at night
Chemisette
To keep her Hands plump, soft, and white” (1690, J.
(F)
Evelyn, Mundus Muliebris).
Though retaining the name, the gloves were frequently
In the first half of the century, a high-necked and sleeve-
made of other leathers; “The name induced some to
less, white muslin or cambric fill-in to the bodice of a
think they were made from the skins of chickens; but on
day gown, cut low in front. By the 1860s, a long-sleeved
the contrary they are made of a thin strong leather which
blouse.
is dressed with almonds and spermaceti” (1778, From a
Period: 20th century. shop bill of Warren the Perfumer).
Lace or fabric insert into the décolletage of a low-cut See Limerick gloves.
dress. Chignon
Cheongsam (F)
(F) Period: ca. 1750 onwards.
Period: 1950 onwards. Term denoting a mass of hair arranged at the back of

47 Chukka boot
the head. The “chignon flottant” of the 1790s was made Period: ca. 480–323 BCE.
up of loops of hair or ringlets arranged to hang down The ancient Greek garment formed from one piece of
from the back of the head over the neck. cloth wound round the body and held by a pin at the
See Banging chignon. shoulder, or two pieces of cloth fastened along their top
The chignon reached its maximum size in the late 1860s edges at the shoulders and down the arms. Both types
and 1870s, when it was composed mainly of artificial could be held by a girdle below the breasts or round c
hair and formal rows of curls (marteaux) pinned down. the waist.
“False hair is worn in incredible quantities and chignons The depiction of this garment has inspired later design-
are made of these marteaux all ready to be fastened on ers and makers; the chemise dress and Fortuny’s
with a comb” (1866). Delphos dress owe much to this style.
“Chignons often weigh five or more ounces” (1868). Chitterlings
In the 20th century chignons were considered old- (M)
fashioned when hair was bobbed or permed but a Period: 16th–19th century.
classic chignon, using natural or artificial hair, returned Popular term for ruffs and the frills down the front of a
to fashion, worn high on the crown of the head, in the shirt and their manner of ornamental pleating.
late 1960s. Chlamys
Chimney-pot hat (M)
(M) Period: ca. 480–323 BCE.
Period: 1830s to end of the 19th century. A rectangular cloak or mantle of wool cloth. Originally
A high-crowned hat with narrow brim, replacing the worn by soldiers, first as a loin cloth and then as an
high-crowned beaver hat previously fashionable. asymmetrical cloak, and then absorbed into general use
“The surface covering being of silk faced with a felting of and possibly worn over the chiton.
rabbit hair which has received a smooth satin-like sur- Choker
face” (1862, Mayhew, London Labour and the London (M)
Poor). Period: 19th century.
Synonyms: Pot hat, Top hat, Topper, Silk hat, Plug A large white handkerchief worn high around the neck
hat. by waiters and clergymen; similar to a cravat.
Chin cloak, chin clout, chin cloth, chinner
Period: 1535–1660s. (F)
Synonyms for muffler. Period: Late 19th century onwards.
Chinese slipper A band or ribbon or a jewelled band worn high and
(F) close around the throat, usually for evening wear.
Period: 1786. Choli
See Kampskatcha slipper. (F)
Chinese spencer Period: 20th century onwards.
(F) A close-fitting bodice of cotton or silk, usually worn
Period: 1808. under a sari by Indian women. Some reveal the mid-
A very short jacket or spencer with two long points in riff, and variants are made from a variety of non-Indian
front. fabrics and worn by western women for exercise and
Chinos leisure activities.
(M) Chopine, chopin, chapiney
An American term taken from the word “chino” which Period: 16th and 17th centuries.
described a cotton, twilled fabric with a surface sheen An over-shoe consisting of a toe-cap fixed to a high
and applied to informal trousers made from this fabric, sole of cork or wood, variously decorated. Rare in
worn in summer by American servicemen. Originally England except in the theatre; but “there are many of
khaki-colour, chinos are now produced in various col- these chapineys of a great height, even half a yard high”
ours, paler and darker in hue. (1611, T. Coryate, Crudities).
Chin stays Choux
(F) (F)
Period: Late 1820s to ca. 1840. Period: Late 17th century.
Frills of tulle or lace added to the insertion of bonnet A lady’s chignon. “The great round boss or bundle (of
strings, forming a frill round the chin when tied. hair) resembling a cabbage” (1690, J. Evelyn, Mundus
See Mentonnières. Muliebris).
Chiton Chukka boot
(F & M) (M)

Ciclaton, cinglaton, syglaton 48
Period: 1930s onwards. Period: 1830s.

A boot of suede or reversed calf-leather, originally worn A round dress-hat, the crown moderately low and made
by polo players. It reached to the ankle and was tied to- to fold flat for carrying under the arm.
gether through two or three eyelet holes. A similar style Clarence
was known as a “desert boot” but the latter is sturdier, (M)
c higher, and was originally worn by American troops. Period: 19th century.
Ciclaton, cinglaton, syglaton A style of boot, made with a triangular gusset of soft,
See Cyclas. folded leather and eyelet holes for lacing across it; a
Cigarette pants forerunner of the elastic-sided boot.
(F) Clarissa Harlowe bonnet
Period: 1950s onwards. (F)
Trousers cut to taper and fit closely towards the ankle; a Period: 1879.
longer version of Capri pants. A large bonnet of Leghorn straw, the brim brought
Cinema (influence of) forward on the forehead; lined with velvet. Named after
(F & M) the eponymous heroine of Samuel Richardson’s novel
Period: 20th century onwards. published in 1747.
Seeing the clothing worn by others, how it looked on Clarissa Harlowe corsage
different shapes and sizes of person, and how it looked (F)
in movement, offered crucial information to audiences. Period: 1847.
Performers in films quickly overtook stage performers An evening-dress style, with neckline off the shoulders
in significance, and magazines from the pre-World War and folds caught in at the waist with a band of ribbon;
I period onwards offered details about the clothing and short sleeves with two or three lace falls.
beauty secrets of the new stars. From the 1920s the Classical dress
fashions, hair styles, make-up and mannerisms The detailed discussion of the terminology of classical
of performers were imitated, and garments with names dress is outside the remit of this dictionary. However,
like “Studio Styles” could be found in department stores references to the clothing of the Greco-Roman world,
and home dressmaking pattern books; mail-order cata- more especially the period when Greek culture was at its
logues were equally influential in offering the styles of the zenith (ca. 480–323 BCE) which then influenced Roman
stars. British tailoring, American leisure wear, teenage culture up to ca. 300 CE, is found in later ecclesiastical,
fashions, biker and hippie clothes all found international literary, pictorial and theatrical contexts, and also enters
audiences through the cinema. the visual vocabulary of fashion and fashion designers.
Circassian bodice Basic terms useful to dress historians are therefore in-
(F) cluded in the appropriate place.
Period: 1829. See buskins, chiton, chlamys, cothurnus, himation,
A bodice with cross-over folds descending from the palla, pallium, peplos, stola, toga, tunica.
shoulders and crossing at the waist. Classic style
Circassian wrapper (F & M)
Period: 1813. Items of clothing that are timelessly elegant; they never
A loose day wrap cut like a night-chemise; made of look old-fashioned and, although subtly reworked from
muslin and lace, with the sleeves of muslin and lace in time to time, retain discerning purchasers. Such gar-
alternating strips. ments include trench coats, cashmere jumpers, tweed
Circlet, serclett jackets and brogue shoes.
Period: 15th and 16th centuries. Cloak
A term denoting a decorative, circular head roll or chap- (M & F)
let of goldsmith’s work. “For a serclett to marry maidens Period: Anglo-Saxon onwards.
in” (1540, Church-wardens’ Accts., St. Margaret’s, A loose outer garment of varying length, falling from the
Westminster). neck over the shoulders. There are many named styles,
Circular skirt which are found under their respective headings.
(F) Cloak bag, portmanteau
Period: 1895. (M)
A tailor-made, gored skirt with sewn-down pleats over Period: 16th century onwards.
the hips and back; the hem 18 feet round. A receptacle in which a valuable cloak could be packed
Circumfolding hat for travelling, usually on horseback.
(M) From the 18th century the term meant a receptacle for

49 Clothes rationing
clothing, often of leather and hinged to open into two

sections.
Cloak-bag breeches
(M)
Period: Early 17th century.
Breeches that were full and oval in shape, drawn in c
above the knee; encircled with decorative points, either
metal-tipped laces or ribbons, or closed below the knee
with a ribbon rosette or bow on the outer side.
Cloche, clocher
Period: Late 13th–15th century.
A travelling cloak.
See Bell.
Cloche hat
(F)
A bell-shaped, close-fitting hat pulled well down over
the forehead and eyes; fashionable in the 1920s and
occasionally later.
Clock
A gore or triangular insertion into a garment to widen it
at that point, as with collars, stockings, etc.
“Of a band (collar) the clocks (are) the laying in of the
cloth to make it round” (1688, R. Holme, Armory).
In the 16th century the cape portions of some of the
hoods worn by women were with or without clocks. Period: 18th and 19th centuries.
Also, since the seams forming the triangular insertion Term for a coat worn buttoned up; “…dress’d in a
began to be embroidered, the term clock was trans- drab colour’d close Great Coat” (1757, Dec., Norwich
ferred to this form of embroidery and the clocks of Mercury).
stockings came to mean embroidery at the ankles, Clot, clout-shoen
whether gored or not. (M)
Clogs Period: 15th century.
(F & M) A heavy shoe shod with thin iron plates; worn by
Period: Medieval onwards. labourers.
Wooden-soled over-shoes to raise the wearer above the Clothes, clothing
dirt. Until the 17th century the term was synonymous (F & M)
with pattens. The shape followed the fashion of foot- Period: Medieval onwards.
wear of the day. “Clogges or Pattens to keepe them out Providing the naked body with cloth or articles of ap-
of the durt” (1625, Purchas, Pilgrimage). parel or dress made from simple or complex fabrics,
which are constructed to cover, disguise or enhance the
human form.
The term was applied to ladies’ leather-soled over-shoes
Clothes rationing
with merely instep-straps, and generally matching the
(F & M)
shoe. (On arrival of the guests) “the Gentlemen were to
Period: 1941–1950.
put their hats and sticks in one corner and the Ladies
In World War I there were shortages of fabrics and cloth-
their clogs in another” (1780, The Mirror, no. 93).
ing and the ill-received attempt to introduce a National
All-wooden shoes worn by country-folk were also
Standard Dress in 1918, but it was only in World War II
known as clogs.
that the British government introduced clothes rationing
Period: 20th century onwards. alongside other rationing of crucial resources. Everyone
Term applied to any form of footwear which replicated had a ration book which contained the annual allocation
the practical shape of a clog in a combination of materi- of coupons. Adult males had 66 coupons, not many
als, including synthetics such as plastic. when a suit used 26 and a pullover 5, so there was a
Close coat thriving black market and encouragement to “make do
(M) and mend”, a recycling exercise not dissimilar to that

Cloud 50
of World War I. In America and elsewhere there were Period: 18th century.
regulations about use of fabrics and the method of mak- Distinguished from the frock by having no turned-down
ing clothing simpler and more practical. collar; towards the end of the century the formal coat
See Utility Scheme. had a stand collar. By that date the day coat and the
Cloud frock merged into the frock coat and the dress coat
c (F) for day or evening wear, and began to replace the
Period: 1870s. former coat.
A long scarf worn as an outdoor head-covering, with
evening dress. “…in a swans-down cloak with a white
A shorthand term for a variety of coats worn in the day-
cloud” (1888, R. Kipling, Plain Tales from the Hills).
time and as overcoats.
Clout
(F & M) (F)
Period: Medieval onwards. Period: 16th to end of 18th century.
Various meanings, including old clothing, patches and The name “coat”, shortened from “petticoat”, was the
the fabric used for them; also baby’s nappies. term commonly used either for the under-petticoat or
Club for the skirt of the gown.
(M)
A term for a variety of styles of outer garment, such as
A heavy stick; fashionable instead of a cane in the 1730s
jacket, overcoat, etc.
and ca. 1800–1810, but also carried as an aggressive
Coat-bodice
or protective weapon by criminals.
(F)
Period: 18th century. Period: 1880s.
An alternative name for the catogan wig. “In an undress, A day bodice made with long basques and pleated at
unless you have a club as thick as both your double the back like a man’s frock coat with two hip buttons;
fists, you are not fit to be seen” (1769, G. Colman, Man cut high in the neck, having outside pockets and fas-
and Wife). tened all down the front. Sometimes made in a double-
Clutch bag breasted version. Usually tailor-made.
(F) Coat dress, coat frock
A new name for a pochette, namely a small handbag Period: ca. 1914 onwards.
which can be held in the hand or under the arm, invari- A semi-formal garment resembling a dress but with
ably without handles and made from a wide variety of certain stylistic features similar to a single- or double-
natural or manmade materials. breasted coat, especially in the weight of fabric; a useful
Cly spring or autumn garment. “The coat-dress has an as-
Period: 16th century onwards. sured future. It can be worn over a waistcoat, petticoat
Slang for a pocket. or princess slip” (1915, Vogue).
Coat Coat-hanger
(F & M) (M)
The everyday loose tunic; the main garment worn by The early name for the loop attached within the neck
both sexes, though a kirtle was more usual for women. of a coat by which it could be hung up; the device was
used from 1830. Chain coat-hangers were introduced
(M)
from ca. 1850.
Also a term for a wooden or metal structure, sometimes
The term was largely replaced by gipon or doublet.
padded, which fits into a garment, with a curved top to
See cote, cote-hardie.
hang on a wardrobe rail.
Coatlet
A short-sleeved or sleeveless jacket or jerkin worn over
(F)
the doublet.
Period: 1899.
Period: Mid-17th century. A short coat of velvet or fur with a fan-shaped spreading
The term was beginning to acquire its modern meaning, collar and large revers. Some were of cloth, frogged and
that of a sleeved body garment, varying in style accord- braided.
ing to the fashion of the period and worn as a body coat Coats
or as an upper garment. Period: 18th century.

51 Coif
A tailor’s term for coat-buttons. At cocktail parties in the 20th century, usually held in
See Breasts. the early evening, a new form of clothing was worn,
Coat shirt smarter than a day dress but not as formal as a dinner
(M) or evening dress. Cocktail pyjamas and cocktail suits
Period: 1890s. were similarly devised for this purpose.
A shirt opening all down the front and closed by but- Cod c
tons, a device to avoid having to put the shirt on over Period: Medieval–16th century.
the head; an American novelty, becoming later the tunic A bag.
shirt.
Coat-sleeve
A cant term for a purse.
(F)
Codovec
(M)
Cut like the sleeve of a man’s coat, straight and tubular,
with a slight curve about the elbow and slight narrow-
A fancy tradename for a castor.
ing towards the wrist. Used for women’s bodices and
Codpiece
jackets. In the early 1870s a mousquetaire cuff was
(M)
often added.
Cock, cocked hat
The front flap forming a pouch at the fork of the long
(M)
hose. “A kodpese like a pokett” (ca. 1460, Townley
Mysteries).
The turn-up of the brim of a hat; various named forms,
such as the Denmark cock, the Monmouth cock and Period: 16th century.
the Dettingen cock. When worn with trunk-hose, the codpiece was padded
Later the term was used to denote the angle at which and very prominent and tied to the hose with points.
the hat was worn, and also the term was adjusted to
“cocked hat”.
When the projecting pouch was discarded the term was
Cockered cap
often applied to the front fastening of the breeches, and,
(M)
in the 18th century, occasionally to the front fall of the
breeches.
A cap with a turned-up brim.
Cod-placket
Cockers, cokers, cocurs
(M)
(M)
Term denoting the front opening of the breeches.
A knee-high boot of rough make, worn by labourers,
Codrington
shepherds and country-folk.
(M)
Period: 1840s.
A wrapper or loose overcoat, double- or single-breast-
A type of sea-boot. “Fishermen’s great boots with
ed, somewhat resembling a Chesterfield. Named after
which they wade into the sea, are called cokers” (1695,
the British Admiral, the victor of Navarino in 1827.
Kennet, Par. Antiq. Gloss.).
Coggers
On dry land the term was generally applied to leggings
(M)
buckled or buttoned at the side and strapped under the
foot.
Gaiters of stiff leather or cloth, buttoned up the side
See Oker.
with a strap under the instep.
Cockle
See Cockers.
(F)
Coif
(M)
A curl or ringlet. “Instant she sped
Period: End of 12th to mid-15th century.
To curl the Cockles of her new-bought head” (1608,
A close-fitting plain linen cap, resembling a baby’s bon-
Sylvester, Du Bartas).
net, covering the ears and tied under the chin.
Cocktail dress
Period: ca. 1920 onwards. Worn by the learned professions or the aged, as under-
Cocktails or mixed drinks were an American invention caps or alone, for warmth; sometimes made of black
which was exported to Europe in the mid-19th century. cloth.

Coiffure 52
(F) The 20th century saw an explosion of museum collect-

Period: 16th–19th centuries. ing of every type of clothing, from high fashion to folk
In the 16th century the coif was worn as an under-cap and regional dress. Permanent displays and temporary
and later, in the 16th and in the early 17th centuries, exhibitions informed visitors about the continuum of
it was often embroidered in coloured silks, the sides dress, past and present, and were increasingly used as
c made to curve forwards over the ears (popularly known inspiration by fashion designers.
as “cheeks and ears”) and often worn with a forehead Private collectors included C. W. and P. E. Cunnington,
cloth. In the 18th century the term was sometimes ap- whose collection of clothing and associated material,
plied to indoor caps, particularly the round-eared cap. including fashion plates and photographs, was acquired
Coiffure by Manchester in 1947 and formed the nucleus of what
(F, occasionally M) is now the Gallery of Costume. This is just one of many
Period: 17th century onwards. internationally significant collections found in cities and
From the French coiffer, to dress the head and arrange towns around the world.
the hair. A term mainly used to describe the hair-styling See Vintage.
or type of head-dress worn by women. Colleen Bawn cloak
Coin de feu (F)
(F) Period: 1861.
Period: 1848. A cloak of white grenadine with a large cape caught up
A short coat with wide sleeves and closed at the neck. in the middle of the back with two rosettes. Named after
Made of velvet, cashmere or silk, and generally worn Dion Boucicault’s eponymous melodrama.
indoors over a “home dress”. Collegians, Oxonians
Cointise, quaintise (M)
Term denoting the curious or extravagant in fashion. Short boots with “a wedge cut out from each side of
Also used in connection with 14th-century armour and the top so as to enable the boot to be pulled on easily”.
the favours or devices associated with it. Colley-westonward
Collar (M)
Period: ca. 1300 onwards. Period: 16th century.
A piece of fabric attached to the neck opening of a gar- A term denoting “worn awry”, and applied to the man-
ment or added separately, to form a covering for the dilion, a form of jacket fashionably worn sideways with
neck. In the second half of 16th and throughout the one sleeve hanging down in front and the other behind.
17th century the more usual term was band. Colour
The significance of the collar restricting the free move- A particular hue or tint distinguishing the natural colour
ments of the neck and thus symbolizing class distinc- of a fibre or a dye, natural or synthetic, which creates
tions persisted through several centuries. a new shade on the fibre or on the woven textile by a
See Prussian collar, Masher collar, Stand-fall collar, process of weaving or printing.
Rosebery collar, Eton collar, Dux collar, Piccadilly collar, Names describing colours before 1800 will be found in
Polo collar. the Obsolete Colour Names glossary.
Collar of Esses, SS collar Coloured shirt
Period: ca. 1360–16th century. (M)
The livery collar of the House of Lancaster instituted Period: 1840s onwards.
by John of Gaunt, Duke of Lancaster, ca. 1360 and in Developed from the aquatic shirt, pink being a com-
the 15th and 16th centuries worn by adherents of the mon colour. In 1860 French printed cambrics in various
Tudor dynasty. coloured patterns were made into shirts for informal
Collections wear. By 1894 coloured shirts had become
Period: 16th century onwards. “perfectly good form even with frock coats”, provided
The assembling of groups of artefacts by elite collec- that the collar was white. “Solid colours are barred; neat
tors created cabinets of curiosities and these presaged stripes in pink and blue are favourites.”
the later public collections, often known as galleries or In the post-1960 period a wide variety of colours and
museums. Specific collections of clothing and/or textiles patterns, e.g. check, Paisley and spot, were used for
were formed by royal dynasties in Denmark, Russia and shirts with matching collars.
Sweden in the 17th century, and artists assembled See Arrow shirts.
garments which were painting props, while theatres Comb
also acquired garments from elite patrons to eke out (F)
wardrobe stock for performers. Period: 19th century onwards.

53 Copotain, copintank, copatain, coppintanke, copytank, coptank
Alongside the practical purpose of a comb to disentan- Compass cloak

gle hair, there emerged decorative combs, often several (M)
inches high and made of tortoiseshell or of metal, with Period: 16th and 17th centuries.
the straight or curving upper edge pierced or inlaid with One style of the French cloak, being circular in cut. The
gems, paste, pearls or similar. Especially popular during “Half Compass Cloak” was semicircular.
decades when hairstyles were vertical, such as the late Confidants c
1820s and the early 1900s. “The new real tortoiseshell (F)
combs, set with “Whitlock” diamonds (replicas), are a Period: Late 17th century.
pleasing addition to the coiffure, and these may be had “Smaller curles next the eares” (1690, J. Evelyn, Mundus
from a guinea each” (1904, The Lady’s Realm). In the Muliebris).
20th century inexpensive plastic combs, often in pairs, Constables
were worn to hold the hair away from the face. (M)
See Diadem comb. Period: 1830–1840.
Combinations “Very small canes without handles, the top covered
(M) with gold plate” (1830, Gentleman’s Magazine of
Period: Mid-19th century to ca. 1950. Fashion).
Although children had worn one-piece undergarments Conversation bonnet
in the late 18th century, the adult version of vest and (F)
drawers constructed from one piece of woollen fabric Period: 1806.
was patented in 1862; it became commonly worn from A poke bonnet with one side of the brim projecting
the 1880s. beyond the cheek, the other side being turned back
from the cheek.
(F) Conversation hat
Combinations for women, chemise and drawers in one, (F)
were introduced in 1877. Sometimes they were made Period: 1803.
with high necks and long sleeves, for day wear, and Similar to the conversation bonnet but with brim com-
made from linen, merino, calico, nainsook and washing plete at the back.
silks. By 1885 they were made of natural wool, intro- Coolie hat
duced by Jaeger & Co., and in the 1890s became more (F)
elegant, with lace trimming, and the neck was some- Period: 20th century onwards.
times drawn in with coloured “baby-ribbon”. “Ladies A broad, conical shaped hat, often of straw and used
natural or white merino combinations” (1914, Gamages as a sun hat. The term was appropriated from the head-
General Catalogue). wear worn by some East Asian labourers.
Comforter Cope
(M) (F & M)
Period: 1840s onwards. Period: Medieval onwards.
A woollen scarf for wrapping round the neck in cold Originally, and throughout the medieval period, a volumi-
weather. nous semicircular cloak with a hood and open down the
See Muffler, Scarf. front. Worn by both sexes as a protection against cold
Comforts and rain. Distinguished from the mantle which had no
(F) hood. “A route of ladies…in kirtles and in copes riche.…
Period: 1800. The cloth when fresh and new may make either a cope
Double-soled sandals. or a mantle, but in order of time it is first a cope – when
Commode it becomes old it is beheaded, and being beheaded it
(F) becomes a mantle” (1393, Gower, Confessio Amantis).
Period: Late 17th and early 18th centuries. Also, the cope is a monastic and ecclesiastical garment,
Initially the wire frame which held up the head-dress of still in use.
the 1690s, but by the beginning of the 18th century the Copotain, copintank, copatain, coppintanke, copy-
actual head-dress.”The Commode is a frame of Wire tank, coptank
cover’d with silk, on which the whole Head Attire is (F & M)
adjusted” (1690, J. Evelyn, Fop-Dictionary). Period: 16th and 17th centuries.
The 18th century commode was composed of a linen First mentioned in 1508 but very fashionable from 1560
cap, lace-edged, with layers of pleats raised above the to 1620. A hat with a high, conical crown and moderate
head and supported by the wire frame. Two lappets, brim often rolled up at the sides. Revived between ca.
often of lace, were either pendant or pinned up. 1640–1665 as the sugarloaf hat.

Copped hat, copped cap 54
Copped hat, copped cap Cork

(M) (M)
Similar to a copotain. “Sometyme men were coppid Apparently identical with the early galosh and patten,
cappis like a sugar lofe” (1519, Horman, Vulgaria). except that the sole was made of cork and not aspen.
c Copped shoe Cork rump, rump
(M) (F)
Period: ca. 1450–1500. Period: Late 18th century.
A piked shoe. A bustle in the form of a large, crescent-shaped pad
Coral currant button stuffed with cork.
(M) Cork shoe, corked shoe, cork-heeled shoe
Period: 1850s. (F & M)
A coral button shaped like a red currant and used on Period: 16th and early 17th centuries.
waistcoats. Shoes with wedge-shaped cork heels. Also worn for
Corazza swimming.
(M) Cork soles
Period: 1845 to early 20th century. (F & M)
A shirt made to button down the back, cut to the shape Period: 16th and 17th centuries.
of the body, with narrow sleeves; of cambric or cotton. Shoes with cork soles and heels.
Cordyback hat
See Caudebec hat. Period: 19th century.
Co-respondent shoes Thin soles of cork for inserting into men’s boots; pat-
(M) ented in 1854. Also thin soles of cork lined with wool for
Period: ca. 1918 onwards. inserting into women’s boots in cold weather and worn
Term used to describe shoes using two different from 1862.
coloured leathers, usually black and white or tan and Cork wig
white. (M)

55 Corset, corse
Period: 1760s. In the late 17th century the term was applied to a lace
Cork was one of the many materials used for making or lawn day cap with lappets falling about the ears and
wigs. “John Light, peruke maker, has brought to great sometimes a pendant flap behind.
perfection the best method of making Cork Wigs, either
Period: ca. 1800–1850.
smooth or in curls; and also Cork-Bag-wigs in the neat-
A cornette was a bonnet-shaped cap with rounded or c
est manner” (1763, The Salisbury Journal).
slightly pointed back, which tied under the chin.
Corned shoe
Cornet skirt, French skirt
(M)
(F)
Period: 1510–1540.
Period: 1892.
The fashionable, broad-toed shoe. “So many garded
A day skirt made with a seam at each side and slightly
hose, such cornede shoes…” (1529, Skelton).
trained; the front piece slightly gored to measure 40
Cornet, cornette
inches at hem diminishing to 20 inches, and shaped
(F)
with darts at the waist; the back cut on the cross in one
piece, 20 inches at the hem diminishing to 10 inches
The cornet was similar to the bongrace and generally
at the waist, the train being a segment of a circle. No
made of dark-coloured velvet when worn with a French
foundation skirt was worn under it.
hood; otherwise of lawn. “Cornet, a fashion of shadow
Coronet, cronet
or Boongrace” (1611, Cotgrave).
(F & M)
The open crown of nobility, also called a coronal.
Corsage
(F)
The upper or bodice portion of a woman’s dress; from
the French term denoting the upper or bodice section of
a dress, primarily in the 19th century.
Also a small arrangement of flowers and leaves usually
pinned to the front of a bodice or to one shoulder; an
American term originally.
Corsage en fourreau
(F)
A style in which the bodice was cut in one section with
the skirt by means of a central panel at the back. Used
occasionally in the first half of the century, but more
usual after ca. 1750.
Corse
See Baldric.
Corselet
(F)
A deep form of Swiss belt. In the early 1900s a corselet
skirt extended several inches above the waist.
Corset, corse
(F & M)
A close-fitting sleeveless bodice, often very decorative.
(F)
Period: Late 18th century to mid-20th century.
A change of usage encompassing corset and stays and
applied to an undergarment with whalebone or steel ribs
encircling the chest and compressing the natural waist.
The French word “corset” was beginning to be used as
a refinement for “stays” at the close of the 18th century,

Corset cover 56
but both terms were in common use. “Neat stays and face and hair; often used specifically to describe po-
corsets” (1800, advertisement, Ipswich Journal). tions and powders for the face and bosom in the
Amongst the many styles were the following, in date earlier period. By the 20th century cosmetics included
order: a wide range of preparations, e.g. foundation, powder,
eye shadow, rouge, lipstick in many colours, suited to
c Period: 1800–1810.
different skins and made by many different companies
The long corset: this supported the breasts, covered the
throughout the world.
hips and was laced up the back.
See Ceruse, Pomatum.
Period: 1820s. Cossacks
The demi-corset: eight to ten inches long with light (M)
whalebones, worn by day for domestic duties. Period: 1814–ca. 1850.
Trousers pleated into a waistband and tied round the an-
Period: 1820s.
kles with a ribbon drawstring. Inspired by the Cossacks
The short corset: metal-bound eyelet holes were intro-
accompanying Tsar Alexander I of Russia at the Peace
duced to the back-lacing. “Stays are bound with iron
celebrations of 1814. At first very baggy, but becom-
in the holes through which the laces are drawn, so as
ing less so in 1820, when the drawstrings were usually
to bear the tremendous tugging which is intended to
omitted; double straps under the instep were added in
reduce so important a part of the human frame to a third
1830 and from ca. 1840 a single strap, when the gar-
of its natural proportion” (1828).
ment began to be called simply “pleated trousers”.
Period: 1867. Costume
The glove-fitting corset: front fastened, held by a spring (F)
latch; front fastening for all corsets of a better quality Period: ca. 1800 onwards.
became usual after ca. 1851. Clothing suitable for a specific event or time of year;
usually applied to fashionable dress.
Period: 1899.
The skeleton corset: a belt corset with a few crossed Period: 1860s–1890s.
straps. In the course of the 19th century, despite the A dressmaker’s term denoting a day dress of one cloth
attempts of reformers to abolish tight corsetry, it was designed for outdoor activities; by 1868 also applied to
not unusual, as in Harpers Bazaar for 1870, to see il- afternoon dresses with long trains.
lustrations of corsets for children as young as one to
two years alongside formidable adult versions. Training Period: 1890s onwards.
corsets pre-figured training bras by over a century. A term used to describe a jacket and skirt, rather than
a suit.
Corsetry of the rigid variety gradually disappeared, (F & M)
though boning was found in brassières and Period: 19th century onwards.
swimwear; elasticated corsets were called girdles. A term used to indicate the appearance, i.e. clothing,
See Corset cover, Stays, Swanbill corset. hairstyle and other decorations, which distinguished a
Corset cover particular class, nation or historic period. Thus “cos-
(F) tume collections” and “costume history”.
Period: 19th and early 20th centuries. Also used to denote the theatrical clothing worn by
The corset was sandwiched between two washable performers in order to represent a character in a ballet,
layers – the chemise or shift worn next to the body, and opera or play, and in the 20th century on film or TV.
the corset cover which was worn over the corset and Costume jewellery
under a blouse, bodice or dress. Usually shaped to fit (F, occasionally M)
smoothly over the corset, there were many variants, Period: 20th century onwards.
from high-necked to off-the-shoulder; they also came in The term was first used in the New Yorker magazine in
sets with matching petticoats. 1933. There had been much earlier experiments with
Corsican necktie glass, non-precious metals, such as pinchbeck and
(M) Berlin ironwork, and paste, but it was only when de-
Period: 1830s. signers saw how well innovative jewellery could be used
See Napoleon necktie. that it became important. So it is jewellery designed
Cosmetics and made to complement a specific fashion but using
(F, occasionally M) non-precious materials, such as beads, perspex, wood,
Period: 17th century onwards. etc. and it often marks a partnership between fashion
A preparation which beautifies or enhances the body, designer and jewellery designer.

57 Coutenance, countenance
Costume rasterre Period: 1800–1820.

(F) A day bodice made with a gap in front and fastened by
Period: 1870s. lacing across from one edge to the other over a habit
A walking dress of which the skirt just brushed the shirt.
ground. Couched
Costumière Period: Medieval. c
(F) Trimmed or embroidered.
Period: Late 19th and early 20th centuries. Coudières
A dressmaker given a quasi-French connection; a See Tippet, Cote-hardie.
marketing term to attract customers who wanted the Counter-fillet
latest French designs. (F)
Cote, cotte Period: Late 14th and early 15th centuries.
(F & M) The fillet securing the veil.
Period: 14th and 15th centuries. Courrèges boots
A French term used in English for a garment worn over (F)
the chemise and below the robe. Women’s cotes were Period: 1960s.
laced at the centre front of the bodice and had short A simplified style of flat boot with open sections just
sleeves to which more elaborate false sleeves could be below the top edge; often white and made from plain
attached. The male cote lost its importance towards the or patent leather. Designed and manufactured to
end of the 14th century but was revived as a tighter complement the clothing of the French designer André
inner robe ca. 1480. Courrèges (b. 1923).
See Coat. Court dress
Cote-hardie, cote-hardy (F & M)
(M) All cultures within which a hierarchical system obtained
The cote-hardie was probably a close-fitting, knee- and usually required certain styles of clothing to be worn
length overgarment buttoned down the front to a low in the presence of the ruler. This both upheld the status
waist with elbow-length sleeves with a tongue-shaped quo and provided custom for those clothing the ruling
extension behind. After ca. 1350 the garment short- elite and their immediate circle, and encouraged indus-
ened and the elbow flap lengthened into a long, narrow, tries such as lace making, silk weaving, etc. Regulations
hanging band known as a “tippet”. Tippets and skirts about what was to be worn, according to the status
were often dagged. A belt was worn at hip-level. of the wearer, were usually written down and provided
guidance for those attending court occasions and for
(F) those who made the garments. The provision of this
A garment with the modesty of the robe allied to the specialist clothing was usually divided between court
tight bodice of the cote; however it lacked the cote’s dressmakers, whose clientele might include royal and
visible front lacing, but did have matching long sleeves. elite women, and tailors and robemakers who made
Cothurnus formal and state robes and the suits and uniforms for
(M) elite men.
Period: Greco-Roman. Courtepy
A thick-soled boot, usually reaching to mid-calf; the (F & M)
height of the sole could be up to 12 inches. It was worn Period: 14th and 15th centuries.
by tragedians in late-period Hellenistic and Roman An upper garment akin to a coat or cloak; of a thick or
drama. It was supposedly invented by Sophocles (ca. rough fabric. The male garment was often described as
496–406 BCE) but this seems unlikely. short.
See Buskins. Court shoe
Cottage bonnet (F)
Period: 1808–1870s. A plain, low fronted shoe with a medium to high heel,
A close-fitting straw bonnet, the brim projecting beyond occasionally with some decoration at the front; a clas-
the cheeks. Modified through these decades and in the sic style of footwear.
1870s the brim was rolled upwards and there was a Also, and earlier, a shoe worn at court as part of the
lining of pleated satin. required dress or uniform.
Cottage front Coutenance, countenance
(F) (F & M)

Couture 58
Couturier, couturière
(M & F)
The French terms for the man or (couturière) woman
whose output is described as “haute couture”; in
c English- language countries the term “fashion designer”
is often preferred.
Coverchief
(F)
Period: Medieval–16th century.
The Norman term for the Saxon head rail or veil. A
draped head-covering, made of various fabrics and col-
ours and varying in size, worn by all classes but largely
discarded by the higher ranks from the 15th century
or worn with other head-dresses. In the 13th century
coverchiefs worn by royalty or nobles were of silk or
cloth of gold.
Covert coat, cover coat
(M)
A short, fly-fronted overcoat with strapped seams,
made with a whole back, no centre back vent, but short
vents in the side seams. Popular “with horsey young
gentlemen” and at first designed for riding, but soon
adopted for general wear. In 1897 made with Raglan
sleeves and known as a “Raglan Covert”.
Period: Late 20th century.
In the late 20th century worn by young men character-
ized as “young fogies”, i.e. traditionalists in dress and
social attributes but unusually young for such tastes.
Cowboy styles
(M, sometimes F)
Items of working clothing worn by American cowboys,
such as bandanas, hats, shirts, jeans and boots.
These were bought and worn by non-cowboys or in-
fluenced fashion designers, who produced versions of
some of these items. The boots with their Cuban heels,
pointed toes and decorative leather have become a
design classic.
Cowl
(M, later F)
Period: Late 16th and early 17th centuries. Originally descriptive of the collar or hood of a monk or
A small muff. “A snuff kin or muffe” (1611, Cotgrave). friar’s habit, designed to cover the head and shoulders;
Couture differing according to the particular religious order.
(F) Later applied to a style of enlarged, softly draped collar
Period: 20th century onwards. on dresses, jumpers, etc.
A French term meaning sewing or needlework which Coxcomb, cockscomb
was applied to the design and making of fashionable (M)
women’s clothing. “Haute couture” is descriptive of Period: Late 16th and early 17th centuries.
the work of the most celebrated and skilful fashion A professional fool’s hood with its apex in the shape of
designers. a cock’s comb.

59 Crinoline hat
Cracowes, crakows, crawcaws French hood” (1611, Cotgrave). The word “crepine”
(F & M) was revived at the beginning of the 16th century; spelt
Period: 1360, 1390–1410, 1450–1480. in 1532 “crispyne”, apparently a crimped fabric.
Long piked shoes, later called poulaines. Crêve-coeur
Cran (F)
(M) Period: End of 17th century. c
Period: 1830s onwards. Curled locks at the nape of the neck.
The V-shaped gap between the turned-over collar and Crewel cap
the lapel of a coat. (M)
Crants, craunce, graundice Period: 17th century.
(F) “The crewel cap is knit like hose
Period: Medieval to late 18th century; occasionally 19th For them whose zeale takes cold i”th” nose;
century. Whose purity doth judge it meete
A chaplet or garland of flowers or of goldsmith’s work To clothe alike both head and feete” (ca. 1620, The
and gems. “The Funeral Crants” was a symbolic garland Ballad of the Cap).
carried at the funeral of a virgin (Hamlet, V, i). These were Crew neck
sometimes made of paper flowers and a framework of (F & M)
linen or iron to which the flowers, real or sham, were Period: 20th century onwards.
attached. Subsequently the Crants were hung over the The high, round, close-fitting neckline of a garment, usu-
deceased’s seat in church or chancel, together with her ally associated with jumpers or sweaters. Originally an
collar, girdle and one white glove. American term.
Cravat Cricket shoes
(M) See Spiked shoes.
Period: 1660 to late 18th century. Crinolette
A neckcloth of lawn, muslin or silk, folded round the (F)
neck, the ends tied in a knot or bow in front, first men- Period: 1868–ca. 1873.
tioned in 1643. A small form of cage crinoline hooped behind only;
“of steel half hoops with horsehair or crinoline flounces
forming a bustle”.
The cravat was often starched and supported on a
Crinolette petticoat
“stiffener”. From ca. 1840 the large form covering the
(F)
shirt-front above the waistcoat was called a scarf, the
Period: 1870 revived 1883.
smaller a necktie. From the later 19th century onwards
A petticoat plain in front, with half-circle steel hoops
it was worn infrequently and coloured and patterned silk
round the upper part behind and flounces below.
versions were associated with informality.
Crinoline
(F) (F)
Period: From 1830s onwards. Period: 1829 onwards.
Worn with sporting clothing such as riding habits. Originally a term for a textile which by 1840 was made of
Cravate cocodes horsehair warp and wool weft and used for making stiff
(F) under-petticoats to expand the skirt. The textile quickly
Period: 1863. became synonymous with the actual petticoat. In 1856
A large bow cravat worn with a habit shirt and stand the artificial crinoline or cage petticoat appeared
collar. with whalebone hoops added, replaced in 1857 by
Cravat strings watch-spring hoops.
(M) Henceforth the name crinoline was applied to this
Period: 1665–1680s. cage petticoat. The number of hoops varied and also
A length of coloured ribbon passed round the two ends the shape; in 1857–9 it was domed, then pyramidal.
of the cravat and tied in a bow under the chin. Later it By 1862 the size began to diminish; in 1866 the front
was often a made-up stiffened bow with several loops, became flat and the back projected, merging by 1868
fixed on behind the cravat which was loosely tied, the into the crinolette. Named varieties included cage-
ends falling over the centre of the bow. Américaine, cage empire, ondina, panier and
Crepine, crepyn, crippen, crespine sansflectum.
Period: 16th and 17th centuries. Crinoline hat
A crimped or pleated frill. “Crespine, the crepine of a (F)

Crisp 60
Period: 20th century. Crop

A broad-brimmed hat made from crin, a mixture of (M)
horsehair and vegetable fibre, or also from the fibres of Period: 17th century onwards.
a palm, the crin végétal. Term denoting short, as in crop-doublet (1640) and
Crisp “crop-scratch wig” (1806). “The Bedford Crop”, a style
c (F) of short hair favoured by the Duke of Bedford and his
Period: 16th century. political friends in the 1790s, was a protest against the
A veil. tax on hair powder.
(F)
A curl of hair.
Crispin
A short, boyish style of haircut favoured by women.
(M)
Crop-doublet
Period: 1839.
(M)
A cloak for evening dress; with very large floating
Period: 1610.
sleeves, lined with silk, wadded and quilted.
A short-waisted doublet.
(F) Croquet boots
Period: 1842. (F)
A short mantle, occasionally sleeved, fitting close round Period: 1865.
the neck, with a small pelerine. Cut on the cross, made Boots of morocco leather often with fancy toe-caps and
of cashmere, satin or velvet, and often wadded. side springs and described as “rising to a point in front
Crispin cloche and back with tassels, and laced with coloured ribbons”.
(F) Crosscloth, forehead cloth
Period: 1842. (F)
A bell-shaped crispin, knee-length. Period: 16th and 17th centuries.
Crochet A triangular piece of fabric worn with a coif or caul, its
Period: 14th century. straight border over the forehead, with the point behind;
A hook; by the 15th century used for fastening a shoe. tied on under the chin or at the back of the head. Often
embroidered to match the coif with which it was worn.
Attached at the waist of a woman’s dress for suspend- (F & M)
ing a pomander. The crochet was often an article of Period: 16th–18th century.
jewellery. Plain crosscloths worn in illness or in bed to prevent
Crochet work wrinkles. “Many weare such cross-clothes or forehead
Period: 19th century onwards. cloathes as our women use when they are sicke” (1617,
A type of knitting using a hooked needle and cotton Fynes Moryson).
thread or wool. See frontlet.
Crocs Cross-dressing
(F & M) (M)
Moulded plastic clogs worn for sailing and other leisure Although the adoption of female clothing by men can be
and work activities. traced back much further, especially in the performing
See Deck shoes. arts, this pattern of behaviour is identified and com-
Cromwell collar mented upon more openly from this period onwards.
(F) Cross-gartering
Period: 1880s. (M)
A deep turn-over collar, the front nearly meeting edge to Period: ca. 1550 to early 17th century.
edge. Worn with morning dress. A manner of wearing a sash garter placed below the
Cromwell shoes knee in front, the ends crossed behind the knee and
(F) brought forward to be tied in a bow above the knee,
Period: 1868. either centrally or on the outer side. Common with
Leather shoes with a large buckle and tongue covering stockings worn over canions.
the instep. “The favourite for croquet parties.” Revived in Cross pocket
1888 as a day shoe with high-cut front and a large bow. Period: 18th and 19th centuries.
Also worn in the early 20th century. A pocket with a horizontal opening.

61 Cumberland hat, hat à la William Tell
Cruches Buttons set in Gold and Enamell’d” (1686, London

(F) Gazette).
Period: Late 17th century. The term “Links” is mentioned in Aris’ Birmingham
Small forehead curls. Gazette,1788. Cuff strings, however, remained in
Cuban heels general use until the 19th century when a small mother-
(F & M) of-pearl button at the base of the cuff served to close c
Period: ca. 1904 onwards. it. Cuff links, often jewelled, inserted close to the edge
A sturdy, stacked, leather heel, reasonably straight and of the cuff, so as to be visible, became fashionable ca.
medium high. Male use is often associated with boots 1840. By the 20th century many variants of cuff link
or shoes that add height. were made, from the jewelled to the knotted silk or
Cue thread ones.
Period: 18th century. Cuffie, cuff
An English variant of the French term queue; the pen- (F & M)
dant tail of a wig. It first appeared as a civilian fashion Period: 14th century.
ca. 1720. A term for a cap or coif.
Cue-peruke Cuff string, sleeve string
A wig with a cue. Period: 17th–19th century.
Cuff, cuffe The tie for the shirt sleeve at the wrist. “A pr. of cuffs
(F & M) strings” (1688, James Masters’ Expense Book),
Period: 15th century onwards. Cuirasse bodice
A variant of the medieval English term “coffe”, this is the (F)
turned-back part, actual or sham, of the sleeve of a gar- Period: 1874.
ment so as to give an extra cover to the wrist, either for A very long, tight day bodice, boned, descending over
warmth or ornament. Originally it could be turned down the hips; often made of a different fabric from the dress,
over the hand, for warmth. A fur cuff was frequently the sleeves matching the trimming. “It moulds the figure
added to women’s gowns in the 15th century. to perfection.”
Men’s cuffs have more usually been a feature of display, Cuirasse tunic
such as the detachable lace cuff in the form of a reversed (F)
funnel-shape, commonly worn with a falling-band from Period: 1874.
the mid-16th to mid-17th centuries, or a ruff. “Holland to A plain, tight tunic worn with a cuirasse bodice.
make yor Lordship Cuffes…1 laced ruff and 2 payer of Cuker
Cuffes” (1632, Viscount Scudamore Accounts at Holme (F)
Lacy). Replaced later by the ruffled end of the shirt or Period: 15th century.
chemise sleeve. Part of the horned head-dress.
The cuff of the man’s coat sleeve became a striking ‘She is hornyd like a kowe…for syn
feature in the 18th century until ca. 1770, the cuff be- The cukar hynges so side now, Furrid with a cat skyn”
ing either open behind, up to ca. 1750, or closed and (c. 1460, The Towneley Mysteries, Surtees Soc.).
known as a closed cuff. Culottes
See Boot cuff, à la marinière cuff. (F)
The closed cuff of the 1750s was wide and winged, Period: Early 20th century onwards.
falling away from the sleeve on the outer side; it gradu- Term taken from the French meaning breeches and
ally diminished, becoming small and close by ca. 1770. applied to divided skirts worn by women; usually full
In the 19th century the male French cuff and female enough to suggest a skirt rather than knee breeches.
Amadis sleeve were popular styles. Cumberland corset
In the 20th century the rolled back or turned back (M)
cuff, either held by a button or informally positioned, Period: 1815–1820s.
became a feature of summer clothing for both men Corset worn by the fashionable dandies. “Ordered a pair
and women. of Cumberland corsets with whalebone back” (1818,
Cuff-button, sleeve button, cuff link Diary of a Dandy).
Period: Late 17th century onwards. Cumberland hat, hat à la William Tell
Two discs, usually of metal, connected by a link, used to (M)
close the vent in the wristband of a shirt; replacing the Period: 1830s.
earlier cuff strings. “A Cuff Button with a Diamond…” A tall hat with an 8-inch crown tapering upwards and a
(1684, London Gazette). “Four Turkey Stone Sleeve narrow brim turned up at the sides.

Cummerbund 62
Cummerbund Cushionet, quissionet

(F & M) (F)
Period: 17th to late 19th century. Period: 1560–1630s.
A type of sash or girdle worn around the waist; from A form of bustle worn with a farthingale to give it
the Anglo-Indian term. an upward tilt at the back. “A varingale and quissio-
c net of fustian in Apres” (1566, Will of Wm. Claxton of
Burnehall).
A wide sash of coloured silk or drill wound twice round
Cushion head-dress
the body by men in lieu of a waistcoat, and fastened on
A 19th-century term for the circular padded roll worn by
one side sometimes by ornamental buttons, or tucked
women in the first half of 15th century.
in. Worn at first as a black waistband with evening dress;
See Chaplet.
later, as coloured sash by day in the summer. In the 20th
Cutaway coat
century a feature of evening dress in black or colours.
(M)
Cupee
Period: 1876.
(F)
“Formerly called the Newmarket.”
See Newmarket coat.
“A pinner that hangs close to the head” (1690, Evelyn,
Cut-fingered gloves
Mundus Muliebris).
(F & M)
Cupola coat
Period: End of 16th century.
(F)
The fingers of the glove were slashed to reveal the un-
Period: 1710–1780.
derlying rings:
Contemporary name for a bell hoop or petticoat. A
“But he must cut his glove to show his pride
domed, hooped petticoat distended with whalebone or
That his trim jewel might be better spy’d” (1597, Hall’s
cane hoops to the fashionable size. “The cupola-coat
Satire, IV).
allows all the freedom of motion…the compass of the
coat serves to keep the men at a decent distance and
Period: ca. 1700–1750.
appropriates to every lady a spacious verge sacred to
The tips of the fingers were cut open, a fashion confined
herself” (1747, Whitehall Evening Post).
to women. “Half a dozen of cut-fingered gloves” (1719,
Curricle cloak
Earl of Thanet Accounts, Kent Record Office). “2 pair of
(F)
fine white thread gloves that are open-fingered” (1740,
Period: 1801–1806.
Purefoy Accounts).
A half- or three-quarter-length cloak shaped in at the
Cut-fingered pumps
waist, the front borders curving away from midline;
(M)
edged with lace or fur.
Curricle coat
Pumps slashed over the toes. “Tis as good to goe in
(F)
cut-finger’d pumps as corke shoes, if one wear Cornish
Period: 1808.
diamonds on his toes” (1591, T. Nashe, Introduction to
A long coat with lapels, fastened at the bosom only,
Sidney’s Astrophel and Stella).
then sloping away towards the back. Very long sleeves.
Cut-in, check
Sometimes called a “gig coat” in the 1820s.
(M)
(M) Period: 19th and early 20th centuries.
Period: 1840s. The more or less horizontal cut-back of the cloth of a
New name for the box coat or driving coat, with one dress coat at the level of the waist.
or more capes. Cut-out dress
Curricle dress (F)
Period: 1794–1803. A term for a dress on which a cut-out section forms part
A round dress worn with an over-tunic or half robe, of the design, e.g. a circle on the midriff to reveal the
usually of net. The tunic short-sleeved, open in front, flesh beneath.
and thigh-length; the low neck sometimes filled in with Cut steel buttons
a habit shirt. (M)
Curricle pelisse Period: ca. 1770 onwards.
(F) Buttons of steel, the face chased and polished.
Period: 1820s. Cut-wig
A pelisse with three capes. (M)

63 Davy Crockett cap, Davy Crockett hat
Period: 18th century. in comic books of the 1930s, Superman for instance,
A small plain wig without a queue. and later, in the 1960s, space travel as depicted in a film
Cut-work, dagging like Barbarella (1967) or the Star Trek series of a year
Period: ca. 1340–1440. earlier. However, the term “cyber” when used for cloth-
The ornamental cutting in fantastic shapes, such as ing is now associated with futuristic concepts, virtual
flames, leaves, etc., of the edges of fashionable gar- reality and a technological alternative world and is much
ments; introduced, according to the Chronicle of St influenced by computer games and films.
Albans, ca. 1346. Cyclas, ciclaton, cinglaton d
(F & M)
Decoration made by cutting out portions of the fabric A rich gown worn on ceremonial occasions, e.g. at the
and crossing the spaces with geometrical designs in coronation of Henry III and his Queen.
needlework. “White woorkes, alias cutwoorkes made See Glossary of Fabrics and Materials.
beyond the seas.” Cycling pants, cycling shorts
Found in Italy ca. 1579, but by 1620 also in England. (F & M)
Cyber fashion Period: 1980s onwards.
(F & M) Figure-hugging legwear, made of Lycra or spandex;
Period: 1960s onwards. designed to assist speed for professional cyclists, but
The origins of this can be traced back to the superheroes also worn by amateurs.
D
Dag, dagges, dagging, jags, jagging breast, paint and perfume are taken away, sinks into
(F & M) nothing” (The Hermit in London,ed. 1822).
Period: 14th to late 15th centuries. By 1829 “Dandy has been voted vulgar and Beau is
Dagging was introduced ca. 1346; it was also called now all the word” (Disraeli, The Young Duke).
cut-work. The term applied to the slashing of any Count D’Orsay was described as “The last of the
border of a garment into tongues, scallops, leaves or Dandies” whose logical heirs were the heavy swell of
vandykes, called “dagges”, as a form of decoration. the 1860s, and the masher of the 1880s and 1890s.
Dalk Danish trousers, open bottom trousers
Period: ca. 1000 to late 15th century. (M)
Usually a pin, but also a brooch clasp or buckle. Period: 1870s.
Dalmatic For boys; the legs reaching just below the knees and the
(M) bottoms open; worn with a jacket.
Period: ca. 300 CE onwards. Dannock
A long, T-shaped, tunic-like garment with wide sleeves (M)
and a slit at either side of the skirt. Possibly derived Period: 19th century.
from the classical tunic, it was worn as an ecclesiastical “Dannocks, Darnocks, hedgers’ gloves” (Forby,
vestment and by rulers on solemn occasions such as Vocabulary of East Anglia, ca. 1825).
coronations. Dart
Dandizette A narrow, dart-shaped piece cut out and the edges
Period: 1816–1820. sewn together to improve the fit of a garment. Fish was
The female dandy conspicuous for her Grecian bend; the corresponding term applied to male garments until
the name did not survive more than a few years. the mid-19th century.
Dandy Davy Crockett cap, Davy Crockett hat
(M) (M, occasionally F)
Period: ca. 1816 onwards. Period: ca. 1955.
A name for an exquisitely fashionable man, as repre- The great success of the TV and film versions of sev-
sented by Lord Petersham. “The made up male doll eral Davy Crockett stories based on the life of the 19th
who, when wig, dyed whiskers, stiff cravat, padded century American fur-trapper and scout led to huge

Day dress 64
demands for fur hats like those worn by the hero. The Deer stalker
original was raccoon, circled the head, and had a tail (M)
pendant at the back, but fashionable copies were made Period: 1860s onwards.
of any fur, real or synthetic, that looked like the original. A tweed cap with ear-flaps worn tied together over
Day dress the crown; for country wear. It became internationally
(F) known as a result of the illustrations by Sidney Paget
Period: Late 19th century onwards. (1860–1908) for the Sherlock Holmes stories.
d Term which describes any and every sort of dress or Delphos dress, Delphos gown
suit worn in the daytime rather than the evening. Early (F)
in the 20th century there were still many variants meet- Period: ca. 1907–ca. 1950.
ing the need to change two or three times, after World A style of dress created by the Spanish artist and de-
War II one type of daytime outfit, often literally a dress or signer Mariano Fortuny (1871–1949). It paid homage
frock, might suffice. to the simplicity of classical dress, using a method of
D-B pleating thin silk, which was patented in Paris in 1909,
Period: 18th century onwards. and weighting and holding the dress together with thin
Tailor’s term for double-breasted, the front of a coat or cords and glass beads. The silk was coloured with natu-
jacket which has sufficient fabric to overlap and allow ral dyes. These dresses were worn by artists, musicians
two vertical sets of buttons. and performers as a form of artistic or aesthetic dress
Death’s head button and enjoyed a revival when they became desirable ac-
(M) quisitions for collectors in the 1970s and later.
Period: 18th century. Demi-castor
A domed button covered with a thread of metal twist or (F & M)
mohair, forming a pattern of four quarters. Period: 17th and early 18th centuries.
Deck shoes A beaver hat made partly of coney (rabbit fur) and
(M, occasionally F) therefore considered inferior to the castor.
Period: Late 19th century onwards. Demiceint, demysent, dymyson girdle, demi-girdle,
A shoe which does not slip on the deck of a boat or demison
ship. In the UK deck shoes were similar to plimsolls (F)
– flat, rubber-soled canvas shoes – and could be Period: ca. 1450–ca. 1550.
bought for 12s 6d in 1879. However, the 20th-century A girdle with front ornamentation only. “A half girdle or
versions are those developed in North America – light- one whose forepart is of gold or silver and hinder of silk”
weight, quick-drying shoes with slip-resistant soles (1611, Cotgrave).
and leather uppers, often two tones in colour, lacing Demi-coronal
through two holes on each side, and with a decorative (F & M)
lace encircling the upper around the sides and back. Period: 16th and early 17th centuries.
In 2002 the brightly coloured plastic shoes known as A tiara, i.e. half a coronet; a half-sized coronal.
Crocs were invented, in America, to be a comfortable Demi-gigot sleeve
shoe for sailing and other activities and were hugely (F)
successful. Period: 1825–1830; also 1891.
Décolletage A sleeve full at the shoulder, narrowing to the elbow,
(F) thence tight to the wrist.
Period: 1890s onwards. Demi-gown
The low neckline of a woman’s dress; the exposure of (M)
neck and shoulders, at first for evening wear but later for Period: Late 15th and 16th centuries.
beach wear and similar during the 20th century. A short gown, especially popular from 1500–1560; often
Deconstructionists worn on horseback. “My short rydinge gown of worsett”
(F) (1548, Wills and Inventories of Northern Counties).
Period: 1990s onwards. Demi-habillement, half-robe, half-gown
Term applied to a group of European designers who (F)
experimented with drab fabrics, exposed zips, and Period: 1794–ca. 1800.
seemingly unfinished seams and so forth, thereby chal- A low-necked, thigh-length tunic with short sleeves,
lenging ideas about the role of design and fashion in the worn over a round gown and pulled in at the waist by
construction of clothing. They were much influenced by a narrow ribbon belt.
the innovative Japanese designers who emerged in the Demi-riding coat
1980s. See Just-au-corps.

65 Diadem comb
Demi-sleeve, demi-maunch Period: Late 19th century.

(M) A term meaning an undress style for wearing on infor-
Period: 16th century. mal occasions.
A wide sleeve ending at the elbow. Designer labels, designer logos
Demi-surtout Period: Mid-19th century onwards.
(M) An identifying mark of a maker or designer; within cloth-
Period: 1818. ing this was often a small, unseen label with the name
A light, fitting overcoat with a low collar. of the firm and possibly an abbreviated address and/ d
Demob suit or city.
(M) See Label.
Period: 1945–1947. In the late 20th century the discreet label was also
Although British soldiers were issued with a civilian suit accompanied by the outer signifying “logo” – printed
when they left the army after World War I, it was only initials, interlocked initials, patterns exclusive to a partic-
after World War II that the term “demob suit” was widely ular maker or designer which, supposedly, guaranteed
used. The suits were conservative in cut, using various authenticity.
standard designs and cloths, and some non-Utility Detachable sleeves
features were offered, such as flaps on side pockets, an (M)
outside breast pocket and cuff buttons. Period: 15th and 16th centuries.
Demysent Doublet sleeves which might be tied to the arm-hole by
See Demiceint. points (ties) and were removable at will.
Denmark cock (F)
(M) Separate sleeves were made for partlets.
Period: ca. 1750–1800. Dettingen cock
A tricorne hat with its brim “cocked”, i.e. turned up (M)
high at the back and lower in front. Period: 18th century.
Department store A tricorne hat with high equal cocks, front and back.
Period: 1840 onwards. Dhoti
An enlarged shop within which various sections or de- (M)
partments specialized in distinct and different types of Period: 20th century.
goods. Department stores concerned with appearance A loin cloth worn by Hindus, associated in western
would contain all aspects of clothing and toiletries for minds with the late Mahatma Ghandi (1869–1948).
men, women and children, carefully demarcated. A long, cotton cloth wound around the body, passed
See Liberty & Co. between the thighs and tucked under the waistband at
Derby the back of the waist. Known in the west since the early
(M) 17th century.
Period: 1860s onwards. Diadem
An American name for the bowler hat. (F & M)
Period: 1890s. A crown or a headband, plain or jewelled, worn as a
A necktie usually called a four-in-hand; the tie was mark of sovereignty.
straight-sided with a slightly narrower centre and one Also a wreath of flowers and/or leaves worn as a mark
end longer than the other; tied in a knot presenting a of distinction.
free edge above and below. Diadem bonnet
Derby shoe (F)
(M) Period: 1869.
Period: Late 19th century onwards. A bonnet of lace and velvet forming an upright diadem
A variant of the Oxford shoe. above the forehead; tied on by a ribbon passing under
Déshabillé, dishabille the chignon and ruched strings loosely knotted under
Period: 1713–19th century. the chin.
Dressed in a negligent or careless manner or a style of Diadem comb
dress indicative of such casual attitudes. “We have a (F)
kind of sketch of dress, if I may so call it, among us, Period: 1830s.
which as the invention was foreign, is call’d a Dishabille. A wide, curved comb with a high, ornamental gallery in
Everything is thrown on with a loose careless air” (Sept. the shape of a diadem; worn as a head decoration with
1713, The Guardian). evening dress.

Diadem fanchon bonnet 66
Diadem fanchon bonnet Directoire bonnet

(F) (F)
Period: 1869. Period: 1878–1880.
A shallow border, 1 inch wide, covered with tulle or A square, moderately high-crowned bonnet, the brim
ruching, trimmed with an aigrette of feathers or flow- fitting over the ears, spreading out above the forehead.
ers; short, ruched lappets fastened in front under a satin Directoire coat
bow beneath the chin. (F)
d Diana Vernon bonnet Period: 1888.
(F) The bodice of a day dress in the form of a double or
Period: 1879. single-breasted coat cut across horizontally above the
A large bonnet with low crown and wide brim.) waist-line in front, falling vertically at the sides and from
Diana Vernon hat a gathering at the back of the waist, to the ankles. Tight
(F) sleeves with cuffs. Worn with a wide, folded sash round
Period: 1859. the waist. If double-breasted worn with a habit shirt; if
A straw hat with shallow crown, the brim wide in front single-breasted, worn open with a shirt blouse.
and curved up on one side; with rosettes and broad Directoire hat
ribbon strings placed under the brim. For country or (F)
seaside wear. Period: 1888.
Dickey, dicky Similar to the directoire bonnet but larger.
(F) Directoire jacket
Period: Late 18th and early 19th centuries. (F)
A woman’s under-petticoat. Period: 1888.
A similar bodice of a day dress but without the skirt por-
(M) tion of the directoire coat.
Period: 19th century. Directoire skirt
A shirt-front with attached collar, of starched linen, (F)
worn over a flannel shirt. Known at the end of the 18th Period: 1895.
century as a “Tommy”. “Never worn by a gentleman” A day skirt made with seven gores, the four at the back
(1840) but only by “a Two-shirts-and-a-dicky sort of being fluted. It was lined and stiffened with horsehair
man” (Surtees). and measured thirteen to eighteen feet round the
The term was also used for a shirt collar in America and, hem.
regionally, as a covering to protect clothing in every form Directoire styles
from a leather apron to a child’s bib. (F)
Diffusion line Period: Late 1880s–ca. 1910.
Period: 20th century onwards. The revival of directoire styles was inspired by Sardou’s
A term for a less expensive line produced by a well- drama La Tosca, as played by the French actress Sarah
known designer or brand. Bernhardt in 1887. The narrow, sleek lines and higher
Dildo waistline recalled the fashions worn in France in the
(M) last years of the 18th century, though the corsetry and
Period: Late 17th and 18th centuries. silhouette was unmistakeably of the later time.
A sausage-shaped curl of a wig. Directoire swallow-tail coat
Dinner jacket, dress lounge (F)
(M) Period: 1888.
Period: ca. 1888 onwards. The back of a directoire coat, cut into tails with a deep
Introduced as “dress lounge” in 1888, the term “dinner central vent between; an afternoon dress style.
jacket” was used from 1898 on. A jacket for informal Dirndl
evening wear; at first with a continuous roll collar and (F)
lapels turning low to waist-level; faced to the edge with Period: 20th century onwards.
silk or satin. One or two buttons, but always worn open. The fitted bodice and full gathered skirt, usually deco-
From 1898 one button only. The back cut whole, sleeves rated with colourful folk embroidery and applied braids
finished with cuffs. It was made in various fabrics, such associated with Alpine peasant styles. A variant of this
as cheviot, corkscrew or velvet. style became identified with ideals of German woman-
In the 20th century known colloquially as a DJ or “pen- hood during the Third Reich.
guin suit”. Dishabille
See Tuxedo. See Déshabillé.

67 Donkey jacket
Dittos A straw hat with small, low crown and very wide brim;
(M) slight trimming of flowers or ribbon. Worn at a forward
Period: Mid-18th century. tilt and tied on by ribbon under the chignon.
Term denoting a suit of one cloth throughout. Dolly Varden polonaise
Divided skirt (F)
(F) Period: 1871.
Period: 1882. A polonaise dress based on the polonaise gown of ca.
Introduced by Lady Harberton, President of The Rational 1780 but made of chintz or cretonne. Worn with a bright d
Dress Society; this was a short, kilted skirt cut so that silk petticoat – plain, flowered or quilted. In winter the
when the wearer was standing still the division of the Dolly Varden might be of flannel or cashmere printed
two legs was concealed. Worn for bicycling. with a chintz pattern. A fashion popular amongst the
See Culottes. middle classes.
Divorce corset Dolman
(F) (F)
Period: 1816. Period: 1870s and 1880s.
A padded metal triangle, the point of which projected up A mantle with a sleeve cut all in one, with the side piece
between the breasts to thrust them apart. and hanging loose; sometimes made in the form of a
Doctor Martens, ‘Doc’ Martens, DMs sling. In the bustle period the front had hanging mantlet
(M, later F) ends and the back a full basque tied to form a puff over
Period: 1960 onwards. the bustle. A cape was sometimes added.
Originally a substantial walking boot with a cushioned Dolmanette
sole, worn by workers who needed comfortable, protec- (F)
tive footwear. It was the result of collaboration between Period: 1890s.
Dr Klaus Maertens of Munich, who invented the cush- A crocheted dolman tied at the neck with a large ribbon
ioned sole, and R. Griggs & Co. Ltd of Northampton. bow; also “if liked, sew a ribbon at the back to tie round
The original boot was made of smooth, oxblood-red the waist”.
leather with eight sets of lace-holes, a black sole and Dolman sleeve
yellow welt stitching. Once they were discovered by (F)
skinheads and punks in the 1960s and 1970s they Period: 1930s onwards.
evolved into an alternative fashion, with the range and A sleeve cut all-in-one with the bodice almost to the
colours enlarged. waist, giving a deep arm-hole but narrowing into the
Doctor Scholl’s wrist; also called a batwing sleeve.
See Scholl’s. Domino
Dog collar (F)
(M) Period: 17th century.
Period: 1860s. “A veil used by some women that mourn” (1611,
A plain, shallow stand collar encircling the neck and Cotgrave).
overlapping in front. A successor to the all-rounder.
Later, the name was given to the clerical collar buttoning (F & M)
behind. Period: 18th century.
Dolly Varden bonnet A lightweight, full-length cloak, often black, worn with
(F) a mask at masquerades in preference to choosing to
Period: 1881 to early 20th century. wear an historical or other distinctive costume.
A wide-brimmed bonnet with wide ribbons crossing it Donarière
to be tied under the chin. The name was taken from (F)
the heroine of Charles Dickens’s novel, Barnaby Rudge, Period: 1869.
published in 1849 but set in the late 18th century. A round hood with attached pelerine and sleeves; of
Dolly Varden cap quilted satin.
(F) Doncaster riding coat
Period: 1888. (M)
“A little bit of gathered lace with puckered crown and a Period: 1850s.
few short ribbons”; worn with a teagown. A loose form of Newmarket coat.
Dolly Varden hat Donkey jacket
(F) (M)
Period: 1871–ca. 1875. Period: 20th century onwards.

Donna Maria sleeve 68
An indoor, undress, white day cap with a puffed-up

crown and edged on each side with curving flaps
trimmed with lace and called wings; popularly known
as cheek wrappers. These wings curved back from
the temples, leaving the forehead and front hair ex-
posed. The crown was decorated with ribbon. In the
1770s the dormeuse was sometimes tied under the
d chin by lappets attached to the cap.
Dorothy bag
(F)
A drawstring bag made from fabric or soft leather and
drawn closed with a ribbon or thin chain just below the
top edge, leaving a short frill above.
D’Orsay coat
(M)
Period: 1838.
An overcoat in the form of a pilot coat but made to fit
in at the waist by having a long fish or dart taken out
below the arm-hole; plain sleeves with three or four but-
tons of horn or gambroon and a shallow collar. Slashed
or flapped pockets in the skirts, but no pleats, folds or
hip buttons; the skirts cut to hang over the knees.
Dorset thread button
Period: 18th century to ca. 1830.
A button made on a brass wire ring covered with white
cotton threads radiating from the centre and kept flat.
Used on underclothes from ca. 1700.
Double
A term often denoting lined, e.g. “double gloves” meant
lined gloves.
Double bouffant sleeve
(F)
Period: 1832–1836.
A short, puffed, evening-dress sleeve, the puffing di-
vided into two by a transverse band.
Period: 1855.
A sturdy, sometimes waterproof coat buttoned to the Revived for day wear, the sleeve to the wrist and the
neck and worn by workmen. Appropriated by intellectu- puffs being unequal; the division made just above the
als and students from the 1950s onwards. wrist, with a lace ruffle added.
Donna Maria sleeve Double-breasted
(F) (M, later F)
Period: 1830s. Period: 18th century onwards.
A day sleeve, immensely full from shoulder to wrist, but Describes a garment, usually a coat or waistcoat,
caught in by a loop along the inner side of the forearm which has an overlapping front panel allowing for two
from elbow to wrist. vertical rows of fastening with buttons or frogs.
Dorelet, dorlet Double ruff
(F) (F & M)
Period: Medieval. Period: 1600–1650.
A hair-net embroidered with jewels. A ruff with a double row of flattened convolutions.
Dormeuse, dormouse, French night-cap Double sleeve
(F) (F)
Period: ca. 1750–1800. Period: 1854; revived 1891.

69 Drawers
A loose over-sleeve reaching half-way down the upper Narrow, close-fitting trousers with straight legs and
arm over a long, tight sleeve to the wrist; both made of no crease; often made of denim. Worn by men in the
the same fabric as the dress. For day wear, chiefly in 1950s and women in the 1960s.
summer. Draped clothing
Doublet, gipon, pourpoint (F)
Period: 14th century to ca. 1670. The use of graceful folds of drapery to create a fashion-
The term “doublet”, though used in France in the 14th able style of clothing. A particularly notable feature of the d
century, was not general in England for civilian wear until work of the French designer Madame Grès (1903–1993)
the 15th century. It was a padded jacket worn next to was her skilful use of drapery. She worked as Alix Barton
the shirt; close-fitting and waisted but not usually belted from 1934 and as Grès from 1942. She created sinu-
unless worn without an over-garment. Doublet skirts ous, draped dresses in jersey, silk and wool and was
varied from non-existent or very narrow to covering also noted for her carefully pleated evening dresses.
the hips, according to changing fashions. In the 17th She retired in 1986 but many designers since have tried
century the skirts consisted of a series of tabs of varying to emulate her draped clothing.
depth. Drawers
In the late 15th and early 16th centuries the front was (M)
widely open, requiring a stomacher or partlet fill-in. Period: 16th century onwards.
The 14th-century dancing doublet was often heavily The term “drawers” was loosely applied, in the 17th
embroidered. and 18th centuries to any garment – such as breeches
– which could be drawn on, but essentially the term
(F)
describes an undergarment and, until the 19th century,
Period: 1650–1670.
usually of linen. There were various styles:
Female doublets following the male style were some-
Short drawers were knee-length drawers or trunks cut
times worn by women on horseback.
full and square, tied in front with ribbon and pulled in
“Doublets like to men they weare
behind by tapes over a short vent. They were worn to
As if they meant to flout us,
the end of the 19th century.
Thrust round with poynts and ribbons fayre…” (Will
Long drawers reached the ankle; some had feet or stir-
Bagnall’s Ballet, Musarum Delicoe).
rup-bands passing under the instep. In the 19th century
Douillette, donnilette
both types were known as trousers or long pants. Early
(F)
in the 19th century the waistband had holes through
Period: 1818–1830s.
which the tongues of the braces passed, but from ca.
At first a quilted pelisse for winter wear; in the 1830s it
1845 loops of tape were substituted for these holes.
was winter dress in the form of a redingote, made up
The vent at the back was filled in with a puff which could
of a caped pelerine of merino, cashmere or stamped
be reduced by tightening the lacing across it. From the
satin; with wide sleeves. To be worn over a cambric or
late 18th century drawers were made of cotton flannel
silk walking-dress.
or wool stockinette.
“She was wrapped up in a…figured satin douillette or
wadded pelisse” (1825, Harriette Wilson, Paris Lions (F)
and London Tigers). Period: 19th century onwards.
Downy calves Occasionally mentioned in earlier centuries but generally
(M) thought of as an immoral and European habit; Samuel
Period: 18th century. Pepys was worried when he thought his wife, who was
False calves woven into the appropriate part of the French, might be wearing drawers in 1663. The 19th-
stockings to produce manly-looking calves; patented century ones were similar in cut to the male garment,
in 1788. but each leg was separate or merely attached to the
See False calves. waistband. In 1806 “muslin drawers” were spoken of
Dragon’s blood cane and in 1807 “patent elastic woollen drawers of stocki-
(M) nette” for riding. In 1813 drawers with attached feet for
Period: Early 18th century. cold weather were available. Silk drawers were worn
A fashionable cane made from the frond stems of the by some elite women, but the usual fabrics through the
dragon palm, a rattan palm from Malaysia. first half of the 19th century were long-cloth, cotton or
Drainpipe trousers merino, and the garment was very full, reaching below
(M, then F) the knee. In the 1840s broderie anglaise trimming might
Period: 1950s onwards. be added.

Drawn-work 70
Drawers of scarlet flannel were fashionable under or breeches. Breeches and pantaloons ceased to be
crinolines and often exposed to view. Sometimes they part of evening dress after ca. 1850.
were replaced by knickerbockers of that fabric, or in the By ca. 1850 the term “dress clothes” gradually became
1890s of grey flannel. From 1870 on the garment be- applied only to evening costume; the day-dress coat,
came elaborately trimmed with lace, embroidery, tucks known for a few years as half dress, soon became
and frills, the legs much widened. relegated to the livery of the indoor upper servant.
See Combinations. By 1860 “The Walking Dress Coat is much adopted in
d Drawn-work France, there called the “Habit frac”, synonymous with
Period: 16th and 17th centuries. our “half dress”, a style not in general wear in England”
A form of decoration produced in a fabric by drawing (The Gentleman’s Herald of Fashion).
out some of the threads of the weft and warp to form Dress coat
a pattern, with the addition of needlework to hold the (M)
pattern. Period: 19th to mid-20th centuries.
Dress A formal tail coat with a cutaway front, usually worn
(F & M) only in the evening.
Period: 16th century onwards. Dress frock coat
Visible clothing, costume or wearing apparel that can (M)
indicate a particular style or fashion and reflect prevailing Period: 1870–1890.
customs about physical appearance. A double-breasted frock coat opening low, with long,
Also, and increasingly from the 19th century, a female narrow lapels faced with silk to the edge; often made
garment made in one piece, rather than consisting of a with a narrow velvet collar. Worn with two pairs of its
separate bodice and skirt. buttons fastened. The opening exposed more of the
Dress clip shirt-front than did the ordinary frock coat.
(F) Gradually replaced in the 1880s replaced by the morn-
Period: 1925 onwards. ing frock.
One, but more usually two, clips fastened by a clip Dress holder
mechanism rather than a pin to the collar of a dress or (F)
coat; often of diamanté, but other stones and finishes Period: 1870s.
were used. An elaborate form of dress clip with two pendant
Dress clip, page chains and clips.
(F) Dress improver
Period: 1840s. (F)
A metal hook, in a decorative form, attached at the Period: 1849; 1883–1889.
waist; from this was suspended a chain with a clip at A term used as a polite name for a bustle.
the end; used for clipping the hitched-up skirt when Dressing-gown
walking. (M)
Dress clothes Period: 1770s onwards.
(M) The term was rare in the 18th century but described
Period: 19th century onwards. a loose-sleeved gown reaching the ground, often of
A term applied in the first half of the century to the cloth- elaborately patterned silk. In the 1850s and 1860s it
ing for formal social functions in the day as well as in had a broad rolling collar and was tied round the waist
the evening. For both, the essential feature was a tail with a sash or girdle. Generally worn with a tasselled
coat with foreparts cut in, the day-dress coat closely skull-cap. Until ca. 1850 worn informally indoors, as for
resembling that of the evening except that the former breakfast; subsequently it became a bedroom garment
was often cut so that the foreparts could be buttoned and a garment in which to visit the bathroom.
together (never possible in the latter) and made sin- In the 20th century often a warm, practical garment until
gle- or double-breasted. The evening-dress coat was the introduction of central heating, when lighter fabrics
always single-breasted. The waistcoat opening was and towelling became usual in various colours, patterns
always deeper in the latter than in the former. and lengths.
While day-dress clothes might present a mixture of
colours and fabrics, e.g. a brown cloth coat, blue silk (F)
waistcoat and lavender moleskin trousers in 1829; Period: Late 18th century onwards.
evening-dress clothes were subdued by ca. 1840, with In the first half of the 19th century it was usually of
the coat black or dark blue, the waistcoat tending to white cotton or cambric or wool, and very voluminous.
become white or black, with black trousers, pantaloons After 1857 coloured and patterned dressing-gowns of

71 Duck-bills
a closer shape were worn; it was always a bedroom and hats. The coat has a distinctive cape which was
garment. In the 20th century many styles, lengths and developed to suit the climatic conditions in Australia,
weights of fabric were worn. for those riding and working on the land in stormy and
See Négligée, Peignoir. wet weather. As Australians travelled, the usefulness of
Dress lounge these garments was recognized in many other coun-
(M) tries, and alongside the original garments many others
Period: 1888–ca. 1920. have been developed for wear in towns and for leisure
A jacket for informal evening wear; at first only in the pursuits. d
absence of ladies. The early name for a dinner jacket. Drop waist
Dressmaker (F)
Period: Early 19th century onwards. The natural waistline is challenged periodically by
In essence, a woman who follows as a profession or fashion designs and the drop waist, which is below the
business the making of dresses for her own sex; the natural line, was a feature of 1920s clothing and was
term co-existed briefly with that of mantua maker, the occasionally revived at later dates.
previous description of this type of activity. An advertise- Dry cleaning
ment “To Milliners and Dress-makers” appeared in the Period: 19th century onwards.
Morning Herald in February 1803, and a century later The process of cleaning clothing and other forms of
“the assistance of a sewing-maid or a working dress- textile without using water. Although various methods
maker” was taken for granted in The Lady’s Realm of were used in previous centuries, it was only in the mid-
1904. to-late 19th century that highly flammable solutions
Dress protector, dress shield of paraffin and similar solvents became commercially
(F) available. The use of dangerous solvents (flammable
Period: 1840s onwards. or carcinogenic) gradually disappeared during the first
A crescent-shaped piece of absorbent or waterproof half of the 20th century, and the introduction of small
fabric sewn into the arm-holes of a dress to prevent dry-cleaning machines into laundrettes offered inexpen-
staining from sweat. At first made of chamois leather; sive dry cleaning. All textile items, including clothing,
in 1881 Canfield’s “Arm-pit shields of India rubber” were carry symbols which indicate whether dry cleaning is
patented and by 1902 stockinette dress shields were necessary.
available. See Laundry.
Dress reform Du Barry corsage
Period: Mid-19th century to ca. 1940. (F)
There were a number of efforts in Europe and North Period: 1850.
America to make dress more comfortable, hygienic An evening-dress style “en chemisette”, with ruch-
and practical. Women were especially engaged in trying from the shoulders curving down to form an
ing to find garments more suitable for an active way of under-stomacher.
life, and dress reform is often associated with suffrage Du Barry sleeve
movements. Mrs Amelia Bloomer, Dr Gustav Jaeger (F)
and his woollen underclothing, Lady Harberton and Period: 1835.
her divided skirts for cycling, all espoused the idea of A large day sleeve with two bouffants, the dressmak-
reform alongside experiments with artistic dress, but ing term for puffed-out fabric or silhouette, one to just
the last real group was the Men’s Dress Reform Party above the elbow, the second to just above the wrist.
(1929–1940) in the UK. Duchess, dutchess
See Aesthetic dress, Bloomers, Knickerbockers. (F)
Dress Wellington Period: Late 17th century.
(M) A ribbon bow, worn high, with the Fontange cap.
Period: 1830–1850. Duchesse pleat
An evening-dress boot made to resemble an evening (F)
slipper and stocking, reaching to below the knee; Period: 1875.
made in one and worn within the dress trousers or A pleating at the back of a skirt, consisting of four box
pantaloons. pleats on each side of the midline or placket opening.
‘Driza-Bone’ Duck-bills
(F & M) (M, occasionally F)
An Australian firm which produces oilskin coats, jackets Term used by authors, such as J. R. Planché, to

Duck-hunter 72
describe the broad-toed footwear worn in the period Period: Early 20th century onwards.
between ca. 1490 and 1540. A lightweight, loose coat worn to protect the clothing
Duck-hunter beneath. A popular style in the early days of motoring
(M) and retained later for other forms of travel.
Period: 1840s. Dust gown
“A striped linen jacket of that species sometimes (F)
denominated a “duck-hunter” (1841, Heads of the Period: 18th century.
d People). Worn by waiters. Term used for a safeguard; “A kind of Dust Gown or
Ducks upper garment worn by women, commonly called a
(M) Safeguard” (1706, Phillips, ed. Kersey).
Period: 19th century. Dutch cloak
Trousers of the heavy canvas or linen called duck. (M)
Dudes Period: Late 16th and early 17th centuries.
Period: 16th century. A short cloak with wide sleeves generally lavishly
Slang term for clothes. guarded, i.e. trimmed with bands.
Duffle bag Dutch coat
Period: ca. 1914 onwards. (M)
Originally an American term for a military-issue, cylindri- Period: Late 14th and 15th centuries.
cal-shaped canvas bag pulled together with a cord at A short jacket, later called a jerkin.
the top and carried across the back or over the shoul- From the 14th to early 16th centuries “Dutch” meant
der. Later the style was adapted for use by students. German; in the 16th century, however, the word “Dutch”
Fashionable versions in leather and other fabrics have was generally replaced by “Almain”.
enjoyed popularity. Dutchess
Dunce’s cap See Knot.
(M) Dutch waist
Period: 19th and early 20th centuries. (F)
A cone-shaped cap worn by a dunce at school, often Period: ca. 1580–1620.
marked at the centre front with a D. The square-cut waist of a woman’s bodice, worn with a
The name is derived originally from Duns Scotus, a wheel farthingale, the usual deep point being unsuit-
Scottish academic and theologian (d. 1308). able. “A short Dutch waist with a round Catherine wheel
Dungarees Fardingale” (1607, Dekker and Webster, Northward
(M) Hoe).
Period: 19th century onwards. Duvillier wig
Working overalls with a bib and adjustable straps, of (M)
tough cotton fabric; from “dungaree”, a cheap Indian Period: ca. 1700.
calico; often worn by sailors or workmen. A very long and high dress-wig named after a famous
French wig maker of the period; also known as a “Long
(F)
Duvillier”, and a “Falbala” or “Furbelow” wig.
Period: Mid-20th century onwards.
“A long Duvillier full of powder…”; “Huge Falbala peri-
Worn for work, but also informally, and made from
wigs” (1709, R. Steele, The Tatler).
a variety of fabrics including corduroy, cotton and
Dux collar
denim.
(M)
Dust coat, duster, dust cloak
Period: 1860s–ca. 1900.
(M)
A shallow stand collar with the corners turned down
Period: 1870s.
in front.
A short summer overcoat of Melton or cheviot.
Dyes
(F) All were of vegetable origin until the introduction of
Period: 1880s. aniline dyes in 1859; the two first used in textiles for
A summer overcoat or “dust cloak”, sometimes caped women’s dresses were Magenta (1859), nearly re-
and belted like an Ulster, and long to the skirt hem. sembling the modern Raspberry, and Solferino (1860),
Made of alpaca or silk. The “Sling Duster” was a light, resembling the modern Fuchsia. Both were named after
loose-fitting dolman. battles in the Franco-Austrian war of 1859.

73 Elastic-sided boots
E
Ear-ring, earring Edge, neyge, age, oegge, egge
(F & M) Period: Late 15th and 16th centuries.
Period: Early Saxon. A term used for a border or edging of goldsmith’s work
A ring worn in the lobe of the ear as an ornament but as a trimming for a head-dress.
then abandoned for several centuries. Eelskin masher trousers
(M) e
Period: ca. 1350.
Period: 1884–1885.
Rings of gold for women’s ears, mentioned in The
Romaunt of the Rose, were a foreign fashion which was Excessively tight trousers favoured by mashers and
uncommon in England owing to the shape of the head- considered “utterly mashy”.
dresses of that period. Eelskin sleeve
(F)
Period: Late 16th century to ca. 1660. Period: 17th century onwards.
Rings were worn by women in both ears, while by men A tight-fitting sleeve. “An eeleskin sleeve lasht here
in one ear only. and there with lace” (1602, Middleton Blurt, Master
Period: Late 17th century onwards. Constable, ii). “Jersey jackets and eel-skin dresses”
Earrings of various types were mainly worn by women, (1881, Miss Braddon, Asphodel).
but also by sailors, until the later 20th century when men Eel skirt
often wore one or more small rings or studs in the ears. (F)
Ear-string Period: 1899.
(F & M) A day skirt very tight over the hips and slightly flared
Period: Late 16th century to ca. 1640. from below the knees, touching the ground all round.
A short length of ribbon or a few strands of black silk, The fabric cut on the cross and gored, having a front
worn as an ear-ring, tied and allowed to dangle from panel, two side and two back panels, all except the
one ear only, usually the left. front piece having circular hems; fastened in front or at
“What! Meanst thou him that walks all open-breasted, the side or, rarely, behind. No placket hole for the inside
Drawn through the eare with ribands” (1598, Marston, pocket.
Satires). Egham Staines and Windsor
Earthquake gown (M)
(F) Period: Early 19th century.
Period: 1750. Nickname for a tricorn hat, “from the triangular situa-
Following two nocturnal earthquakes in London in March tion of those towns” (1824, Spirit of the Public Journals).
1750 a third was foretold, causing many to flee to the Eisenhower jacket
countryside against the predicted night of disaster. “This (M)
frantic terror prevails so much that within these three Period: 1945 onwards.
days 730 coaches have been counted…with whole par- An olive-green US Army uniform jacket made popular
ties removing into the country.…Several women have by Dwight D. Eisenhower (1890–1969), the World War II
made earthquake gowns; that is, warm gowns to sit out military commander and later President of the USA. Also
of doors all night…” (April 4, 1750, Horace Walpole). a non-military version of this style.
A precursor of the siren suit of two centuries later. Elastic round hat
Echelles (M)
(F) Period: 1812.
Period: Late 17th to late 18th century. Patented in that year. The crown was fitted inside with
A stomacher trimmed down the front with ribbon bows a steel spring by which it could be flattened at will and
arranged like the rungs of a ladder. carried under the arm. The forerunner of the Gibus.
Ecossaise hat Elastic-sided boots
(F) (F & M)
A type of bonnet associated with Scotland. Boots with gussets of India-rubber fabric inserted into
See Glengarry. each side; patented in 1837 by James Dowie.

Elbow cloak 74
(M) A small, close-fitting, outdoor bonnet in the shape of a

The term was revived in the 20th century for a specific baby’s bonnet.
style called Chelsea boots. Empire jupon
Elbow cloak (F)
(M) Period: 1867.
Period: Late 16th and early 17th centuries. A wide-gored petticoat with two or three steels round
An alternative name for the short cloak of those years. the bottom, replacing the cage-crinoline. Worn with the
Elbow cuff so-called Empire-style dress of that date.
(F) Empire line
e Period: ca. 1700–1750. (F)
The turned-back cuff of the elbow-length sleeve of a Period: ca. 1800–1820.
woman’s gown. It spread round the point of the elbow The term is usually applied to the high-waisted, nar-
but was very narrow at the bend. row and sinuous dresses worn by fashionable women
Elephant sleeve throughout Europe during this period, and associated
(F) with the period of Napoleon’s rule in France as First
Period: 1830. Consul and Emperor.
A very large sleeve of a day dress in light fabrics; the Later revivals in the 1890s and in the 20th century, and
bulk of the fullness hanging down from the shoulder to its regular appearance in films and on television, have
the closed wrist “in the shape of an elephant’s ear”. The given it a classic status.
name was also given in 1854 to the pendulous cape of Empire petticoat
the Moldavian mantle. (F)
Eleven-gore ripple skirt Period: Late 1860s.
(F) Another name for the Empire jupon.
Period: 1895. Empire skirt
A day skirt of eleven gores, very narrow above and (F)
hanging in flutes; the hem twenty feet round; lined and Period: 1888–1890s.
stiffened at the bottom with horsehair. A day skirt gathered at the waist, with a full-gathered
Elliptic collar flounce above the hem. There were no “steels”, i.e. half
(M) hoops, at the back in the lining, as was usual at this
Period: 1853. date. The evening-dress version, ruched at the hem and
A patent collar made with the fronts cut higher than the embroidered with flowers, was slightly trained. In 1892
back; to be fastened in front or behind and detachable the Empire skirt for day wear had two straight panels
from the shirt. front and back and two triangular gores each side;
Embroidery slightly trained.
The craft of stitching onto fabric with threads of metal, Empress petticoat
silk and wool to create designs or patterns, often pre- (F)
drawn or occasionally freehand. Embroidered fabrics Period: 1866.
for clothing have been produced in domestic and An evening-dress petticoat closely gored at the waist,
professional settings over many centuries. Also called spreading out to a circumference of eight yards at the
needlework. hem, with a train “nearly a yard on the ground”. Trimmed
Emperor shirt with a deep flounce from above the knee. Worn as a
(M) substitute for the cage crinoline.
Period: 1850–1870. Enamelled button
A shirt of red flannel; worn by gentlemen in the country. Period: 18th and 19th centuries.
Empire bodice Very fashionable for men’s coats in the 1770s, and some-
(F) times for men’s waistcoats in second half of the 19th
Period: 1889. century. Also used on women’s dresses in the 1860s.
An evening bodice attempting to revive the Empire style Enbraude
of the early 19th century and made to appear short- Period: Medieval.
waisted by an arrangement of silk scarves variously Term for embroider.
draped across the front and tied behind or on one side. Engageantes
See Directoire. (F)
Empire bonnet, Empire cap Period: Late 17th to mid-19th century.
(F) In the 17th and 18th centuries, this French term indi-
Period: 1860s. cated ruffles. “Engageantes, double ruffles that fall over

75 Etiquette
the wrist” (1690, The Ladies’ Dictionary). Engreynen

From ca. 1840 they were detachable, white under Period: Medieval.
sleeves, edged with lace or embroidery. They ceased to To dye in the grain, i.e. to dye in the thread before
be worn ca. 1865. weaving.
English chain En tablier
(F) See Tablier skirt.
Period: Early 19th century. Envelope bag
An early form of chatelaine. “Chain also denotes a (F)
kind of string or twisted wire; serving to hang watches, Period: Mid-20th century onwards.
tweezer-cases, and other valuable toys upon. The in- A small, hand-held bag which has a flap fastening simi- e
vention of this piece of curious work was owing to the lar to an envelope.
English; whence in foreign countries it is denominated Epaulettes
the English chain” (1819, Abraham Rees, Cyclopaedia). (F)
English farthingale Period: 19th century onwards.
(F) Ornamental shoulder pieces, very popular in the 1860s.
Period: 1580s–1620s. Subsequently revived in the 20th century.
A roll farthingale, producing a tub-shaped hang of the Equipage
skirt without any flattening in front. (F)
See French farthingale. Period: 18th century.
English hood An etui or ornamental metal case slung by a chain from
(F) the waist and containing knife, scissors, tweezers, thim-
Period: ca. 1500–1540s. ble, etc.
A hood wired up to form a pointed arch above the fore- Esclavage
head. The early form hung in thick folds to the shoulders (F)
behind, with the facial borders continued into long lap- Period: Mid-18th century.
pets, called chaffers, in front. An under cap was worn, Necklace composed of several rows of gold chains
but the smooth, parted hair was visible under the gable falling in festoons over the bosom.
until ca. 1525. After that date the back drapery was Espadrille
replaced by two long pendant flaps, sometimes pinned (M & later F)
up, and the front lappets were shortened, turned up Period: 1920s onwards.
and pinned in place. The front hair was concealed in A canvas shoe with twisted rope soles, originally worn in
silk sheaths, often striped, and crossed over under the Spain, but popular for beach and sports wear for visitors
gable point. to Spain and France from the 1920s. Expensive de-
Also described by 19th-century writers as the gable or signer versions have been made, but the original style,
pediment head-dress. impractical in wet weather, is the disposable summer
English nightgown footwear of choice for many Europeans.
(F) Estaches
An unboned, loose dress worn for comfort and usu- Period: ca. 1350–1400.
ally informally. “It was four o”clock…Mrs Darner…in an French term for strings for attaching the hose to the
English nightgown” (1769, Letters of Lady Mary Coke). doublet.
See Nightgown. See Points.
English work, opus Anglicanum Ethnic dress
Period: Medieval. Period: 1950 onwards.
Very fine Anglo-Saxon embroidery worked by ladies A loosely defined term in the context of dress, but
from the 7th to the 14th century. This pictorial style of usually meaning textiles and styles of dress from non-
work was particularly suited to ecclesiastical vestments western countries, e.g. African or Indian, which are
and was so excellent that it was not only prized in absorbed into or influence western fashions.
England but celebrated abroad. Etiquette
English wrap (F & M)
(M) Period: 18th century onwards.
Period: 1840s. Originally concerning correct behaviour, dress and prec-
A double-breasted paletot-sac resembling a loose edence at royal courts, by the 18th century travellers
Chesterfield. wrote about the differing national views on the etiquette
See Twine. of correct clothing. George Lucy, an Englishman on

Eton collar 76
Period: 1892 to early 1900s.

A day bodice cut like the boy’s jacket of that name
and worn open over a waistcoat; the fronts sometimes
rounded in 1898, braided and frogged.
Eton jacket bodice
(F)
Period: 1889.
A fitted jacket with large revers and flap pockets on each
side; worn with a double-breasted, fancy waistcoat with
e revers and a large cravat.
Eton suit
(M)
Worn by junior schoolboys; comprising a short jacket,
the fronts cut square or slightly pointed with a shallow,
turned-down collar and wide lapels turning nearly to
the bottom. The back with a slight point in the centre.
Sleeves without cuffs. The foreparts cut back so that
the jacket cannot be buttoned up. Worn with a single-
breasted waistcoat having a narrow turned-over collar
and buttoned high. Trousers of a lighter colour, com-
monly grey.
Originally the jacket was blue or red, becoming black
in 1820 in mourning for George III. At first white ducks
or nankin pantaloons were worn; at Eton College the
the Grand Tour, remarked upon the formality of Italian Oppidans took to trousers in 1814, but the Collegers
society, “…(they) dress much and I have been obliged to continued to wear knee breeches until ca. 1820. An
daub myself all over silver, accompanied by a sword and essential feature of the outfit was the starched, white
bag wig” (1755, quoted in J. Ashelford, The Art of Dress). Eton collar turned down over the coat collar; worn
British snobbery about correct and incorrect forms of with a white shirt and a black tie. In the correct form of
dress generated many column inches in journals and Eton suit the bottom button of the waistcoat was left
etiquette books from the 19th century onwards, aimed unfastened and the bottoms of the trousers turned up.
at the newly affluent entrepreneurs and their families. By “Harrow Eton jackets have no point” (1898, The London
the 1830s, it was decreed that “It is in bad taste to dress Tailor).
in the extreme of fashion; and in general, those only do Etui
so who have no other claim to distinction – leave it in Period: 1611 onwards.
these times, to shopmen and pickpockets” (1834, Hints A term describing a small, often decorative, case to hold
on Etiquette). Only after World War II did etiquette about bodkins, needles, tweezers or similar.
clothing diminish, but vestiges of it are found on invita- See Equipage.
tions which require “black tie” or “lounge suit”. Evening dress
See Court dress, Livery. (F & M)
Eton collar Period: 20th century onwards.
(M, occasionally F) A generalized term for the more formal styles of clothing
Period: 19th century onwards. worn to evening functions, dinner jackets and long
A broad, stiff, white collar worn outside the jacket by dresses for instance.
Eton schoolboys in earlier times, but also a collar of this Exercise wear
style worn by women. (F & M)
Eton crop Period: Late 20th century onwards.
(F) Any type of garment designed and marketed for taking
Period: Mid-to-late 1920s. any form of physical exercise, including track suits,
A closely cut, boyish hairstyle worn by women, which running clothes, etc.
complemented the narrow androgynous outline of Eyelets, oilets
1920s fashions. Period: Medieval onwards.
Eton jacket “Oilets” was the 14th-century term replaced in the 17th
(F) century by “eyelets”. The term describes holes for the

77 Fan
passage of a lace, cord or tape, to join garments or strengthened by a metal ring, as used in corsets by
parts of garments. Until ca. 1828 these holes were ca. 1830, but not in the back-lacing of waistcoats until
bound with silk or thread; from 1828 they might be 1839.
F
f
Fabala, falbala Falling ruff
See Furbelow. See Ruff.
Fabric Falls
See Glossary of Fabrics and Materials. (M)
Faggoting Period: 1730 onwards.
An openwork embroidery technique in which a number A buttoned flap to the front of breeches and, later, of
of threads are drawn out of a piece of fabric and tied pantaloons and trousers. Whole falls was the name
together at regular intervals. given to a flap extending from one side seam to the oth-
Also a means of joining two edges of fabric by the crea- er; small or split falls was a narrow central flap. In each
tion of lace-like, embroidered stitches. style the flap buttoned up to the front of the waistband.
Fair Isle See Spair.
One of the Shetland Islands which has given its name to False calves
a style of knitted pattern found on jumpers, gloves, etc. (M)
Traditional forms and colours were originally used for lo- Period: 17th–20th century.
cal use, but a wider range developed from the mid-19th Pads worn inside the stockings to improve the shape
century onwards as the designs became fashionable of the legs. “They say he puts off the calves of his legs
beyond the island. with stockings every night” (1601, B. Jonson, Cynthia’s
Faldetta Revels). Still occasionally used in stage costumes.
(F) False hips
Period: 1850. (F)
A short, waist-length mantle of coloured taffeta edged Period: 1740s–1760s.
with deep lace round the hem, and wide sleeves. A pair of side hoops producing the excessive widening
Fall, falling band of the skirt on each side over the hips.
(M) “I furnish’d her…with three pairs of hips” (1705, Sir J.
Period: 1540s–1670s. Vanbrugh, The Confederacy).
A turned-down collar, at first attached to the shirt but See Oblong hoop.
from ca. 1585 a separate item, the size and shape vary- False sleeves
ing with the fashion; generally lace-edged. Worn as an See Hanging sleeves.
alternative to the ruff and sometimes worn with a ruff, Falsies
between 1580 and 1615, and entirely replacing the ruff (F)
from ca. 1640. Period: 1940s onwards.
Padded brassières or pads to insert into them to
(F) enhance the size and shape of the breasts. Originally
Period: 17th century. associated with performers, but quickly copied by other
Falling bands were occasionally worn by women but young women.
were very uncommon at an earlier time. The term could Fan
also mean a wrist ruffle, late in the century, but was Period: Mid-16th to late-18th century.
rarely used in this sense. “Falls or long Cuffes to hang In common use by women, but until ca. 1580 the prin-
over the Hands” (1688, R. Holme, Armory). cipal form was that of a rigid fan with feathers, silk or
Fal-lal straw fixed to a decorative handle and variously shaped.
Period: 17th century onwards. After ca. 1580 the folding fan came into use, and both
Any slight but noticeable decoration added to clothing. styles were popular until the 18th century when folding
“His dress, his bows, and fine fal-lals” (1690, J. Evelyn). fans became the rule. The size varied considerably. In

Fanchon 78
the 18th century the fan was an essential to a fine lady’s Fanchon cap
toilet. (F)
“It’s shake triumphant, it’s victorious clap, Period: 1840s–1860s.
It’s angry flutter and it’s wanton tap…” (1730, Soame A lace or tulle cap with side pieces covering the ears, or
Jenyns, The Art of Dancing). sloping down to them.
Fancies
Fans of ivory were common in the early decades; Period: 1650s–1670s.
painted fans in mid- century, and in the 1880s fans Ribbon trimming for suits worn with open-legged
decorated with animals, such as cats’ heads the size breeches and also petticoat breeches.
of furry toy cats, were fashionable. In the 1890s large, “I”ve a new suite and Ribbons fashionable yclept
folding ostrich-feather fans with frames of ivory, mother- Fancies” (ca. 1652, Richard Brome, Mad Couple,
of-pearl or tortoiseshell were fashionable. Prologue).
Period: 20th century onwards. The amount of ribbon used was commonly 72 yards;
Advertising fans of paper or card were popular early but up to 250 yards was not unknown.
in the century, alongside more formal varieties. As the Fancy dress
century progressed fans were less popular, but in hot (F & M)
weather inexpensive paper versions and small battery- Period: Medieval onwards.
driven plastic fans could be bought. Denotes the wearing of clothing of a different place or
time for the purposes of entertainment, usually at mas-
(M) querades in the 18th century, and fancy-dress balls,
Period: Late 16th century. pageants and parties from the 19th century onwards.
Fans were carried by foppish men in the late 16th cen- Although dress for such events could often be hired
tury – “When a plum’d fan may shade thy chalked face” from theatrical costumiers, fancy dress and theatrical
(1597, Hall’s Satire, addressed to the fops of the day). dress are different in intention if not in form.
They were also carried by some of the dandies of the See Domino, Masquerade costume, Vandyke.
late 18th century. Fanfreluche bodice
Fanchon (F)
(F) Period: 1888.
Period: 1830s–ca. 1900. A day bodice with gathers from neck and shoulders
A small kerchief for the head, but the term was chiefly sloping to a point just above the top of the corset.
used for the lace trimming falling about the ears of a day Fan hoop
cap or outdoor bonnet. (F)

79 Fashion illustration, fashion plate
Period: 1700–1750. Amongst various applications and meanings, it became

A hooped petticoat, pyramidal in shape, but com- increasingly associated with clothing and the constant
pressed front and back to form a fan-shaped structure shifts and changes in personal adornment. “Fashions
over which the skirt fell with a curve up on each side. crosse the Seas as oft as the Packet Boat” (1654, R.
Mentioned as early as 1713, but especially fashionable Whitlock, Zootomia). Later, changes were celebrated,
in the 1740s and 1750s. “But to return to the magnificent fashions of the mo-
Fan parasol ment, for “magnificent” is the only word to express the
(F) sumptuousness of the fabrics, the beauty of the laces
Period: 1790s–1850. and embroideries, and the costliness of the furs now in
A small parasol with a hinge in the stick near the cover, use” (1904, The Lady’s Realm).
by which it could be tilted upright and then used as a Fashion designer
fan. Period: 20th century. f
Fantail hat The various terms describing professional designers and
(F & M) makers of female clothing range from couturier at the
Period: 1775–ca. 1800. most expensive and exclusive Paris-based end of the
A tricorne hat, the front cocks sloping down towards business to local dressmakers, whose more derivative
the back; the brim behind semicircular in shape and ver- work could be afforded by many more customers. The
tically cocked resembling an open fan. Fashionable for term “fashion designer” is a hybrid, suggesting original-
riding and sometimes worn by women on horseback. ity alongside a degree of exclusivity. As French couture
Fantail wig was increasingly challenged by American, British
(M) and Japanese designers in the post-World War II pe-
Period: Early 18th century. riod, the name “fashion designer” became usual as an
The queue of a wig hanging loose in a number of small Anglophone description of couturier. An early use of the
curls. term is: “The very red about which fashion-designers are
Farthingale, vardingale, verdyngale decided” (1909, 15 March, The Westminster Gazette).
(F) Fashion doll
Period: 1545–1620s. Period: 14th to late 18th century.
A structure, variously shaped, using hoops of rushes, Carefully dressed miniature figures rather than play-
wood, wire or whalebone, for expanding the skirt of things, these advertisements for the latest fashions
a gown under which it was worn. There were several and fabrics were carried throughout Europe and to the
named styles: English, French, Italian, Scotch, Spanish, New World to demonstrate changing personal appear-
also the roll, pocket and demi- or semi-circular farthin- ance, from hairstyles to footwear. Dressmakers and
gale and wheel farthingale. milliners paid to acquire the latest “doll” to show to
In Spain and Portugal the farthingales continued as their customers, and only the regular and increasingly
formal court wear; the Portuguese Princess Catharine sophisticated journals of the late 18th century replaced
of Braganza, who married Charles II, and her attendants them as a source of information. Miniatures continued
wore them on their arrival in England in 1662, causing to be made as part of an apprenticeship or for advertis-
much mirth. ing a whole system, as with the “poupées mondaine” of
Farthingale sleeves Le Théâtre de la Mode, exhibited in Paris in 1945, which
(F & M) publicized the work of forty couturiers and went on tour
Period: Late 16th and early 17th centuries. to America in 1946.
Trunk sleeves or bishop sleeves distended by wire, Fashion illustration, fashion plate
reeds or whalebone. Period: 16th century onwards.
Fascinator Interest in the clothing of other nations prompted artists
(F) to produce printed illustrations in book form or as single
Period: Late 19th century onwards. sheets. 16th-century versions were produced in France,
A head shawl made of a light fabric or crocheted; Germany and Italy and copied each other in accuracy
originally an American term. In the late 20th century and mistakes. They recorded known appearance rather
this came to mean a lightweight confection of feathers, than changing styles of dress, and this persisted into
flowers, ribbons and net which was worn on the head the 17th century when the Bohemian artist Wenceslas
in lieu of a hat. Hollar (1607–1677) produced a series of plates of female
Fashion English styles from different social groups in the 1640s.
Period: Medieval onwards. In the 1670s in France, engravings began to depict
From the French façon, denoting the process of mak- new and changing fashions seasonally and annually, in
ing something, creating a particular shape or style. order to promote the luxury trades such as silk weaving

Fashion waist 80
and lace making. The emergence of pocket books and Worn as ornaments, mainly on hats, from the mid-15th
magazines in the 18th century offered regular plates century in the UK, in Europe from the mid-14th century;
and details of fashions monthly, and in the 19th century thence off and on until the end of the 18th century, and
weekly journals and newspapers all offered information after that as a modest trimming or with formal uniforms.
about and engravings of fashionable garments. From Chiefly feathers were of ostrich; sometimes in the 15th
the early years of the 20th century photography over- century peacock, and at the end of 16th century pyed
took fashion illustration in recording the ideal as well as feathers, “figaro feathers”. In the early 17th century
the affordable in visual terms. spangled feathers were fashionable.
Fashion waist
(F)
(M)
Period: End of 16th century onwards.
Worn from the time when hats came into fashion and
A tailoring term indicating the length from the base of a
f usually attached to a hat or bonnet but also, from the
coat collar to the waist seam.
end of 18th century, plumes were worn ceremonially in
Fausse montre
the hair. Ostrich, grebe and other feathers were used
(M)
in 18th and 19th centuries for dress trimmings, boas,
mantles, pelerines, muffs and fans. Even when hats
It was fashionable for a man to wear two watches, and
began to disappear from general wear in the 20th cen-
often one of them was a sham, being perhaps a snuff-
tury, fascinators often included feathers.
box disguised as a watch.
Feather-top wig
Favourites
(M)
(F)
Period: ca. 1750–1800.
Period: 1690–ca.1720.
A wig with a toupee made of feathers, usually drake’s
“Locks dangling on the temples” (1690, The
or mallard’s. Worn by parsons and also sportsmen.
Fop-Dictionary).
“Gentlemens” perukes for sporting made of drakes’
(M) tails” (1761, Ipswich Journal).
Period: 1820–1840. Fedora
“Favourite” was a small tuft of hair worn under the chin. (M, occasionally F)
Fax, facts, feax Period: After 1882.
Period: Medieval to ca. 1610. A soft felt hat with a medium curled brim and a crown
The hair of the head. with a crease from front to back. Very popular in the
Fearnothing, fearnothing jacket USA, but originally seen in Sardou’s play Fédora pro-
(M) duced in Paris in 1882. A classic style since the early
Period: 18th and early 19th centuries. 20th century.
A jacket resembling a sleeved waistcoat made of a Felt
thick, woollen cloth called “fearnothing”, “fearnought” or (M)
“dreadnought”. Worn by seafaring men, sportsmen, la- Period: Mid-15th century onwards.
bourers and apprentices; “…that J. Tospill have cloaths This term, when used alone, indicated a felt hat. “And
with a fearnothing and stockings” (1725, Stoke-by- on his heade a felt” (ca. 1450, Merlin). In the 17th cen-
Nayland Records). tury the word was often loosely used for any kind of hat,
Featherbrush skirt whether felt or not.
(F) See Glossary of Fabrics and Materials.
Period: 1898. Fent
A day skirt of a light fabric having a series of overlapping Period: 15th century.
flounces below the knees. With the same meaning as vent, both being used in the
Feather pelts 15th century, but subsequently “fent” was discarded in
Period: 14th to mid-17th century. favour of “vent”, a functional slit in a garment. “Fente
Skins of various birds with the feathers attached, used of a clothe, fibulatorium” (ca. 1440, Promptorium
for trimming garments in place of furs. Especially those Parvulorum).
of the swan, ostrich, drake, crane and vulture. “A furre Fermail, fermayll
of drakes” necks for facing and furring his Lordship’s Period: 15th century.
gown” (1550, Revels Accounts). A buckle or brooch. Later used in heraldry.
Feathers Ferronière
(M) (F)
Period: Mid-14th century onwards. Period: 1830s.

81 Fitchet
A narrow gold or jewelled band worn low round the Period: 1867.
head and crossing the forehead. Worn with day or A fichu of white tulle or lace, cut square over the shoul-
evening dress. ders and upper part of the bodice. Worn with a high-
Fetishist fashion necked bodice to “give a dressy effect”.
(F & M) Fichu-robings
The psychological state of finding satisfaction by fo- Period: 1820s.
cusing upon a physical fetish, such as underclothing, A flat trimming from the shoulders to the waist to give
leather, rubber or shoes, was extended into a system the effect of a fichu.
of clothing using those elements, along with chains, Figaro jacket, signorita
plastic or PVC, body piercing and tattooing, to create (F)
alternative forms of dress including so-called bondage Period: 1860s; revived 1892. f
clothing. A figure-fitting jacket, curving away from the midline at
Fez the sides; tight sleeves with epaulettes; worn over a
See Tarboush. waistcoat. A variant of the Zouave jacket.
Fichu Fig leaf
(F) (F)
Period: 1816 to early 20th century. Period: 1860s and 1870s.
A term replacing the handkerchief or neckerchief, A small ornamental apron of black silk, without a bib.
being a length of usually flimsy material worn round the “Known by the ladies as their fig-leaves.”
neck and shoulders. Fillet
Fichu Antoinette (F)
(F) Period: 13th–17th century.
Period: 1857. In medieval English also known as a “filet” or “felet”, this
For summer wear, a morning fichu of fine muslin trimmed was a narrow band to tie around the hair of the head.
with black lace and narrow velvet ribbon, fastening with In the 13th and 14th centuries the fillet was a stiffened
a small bow behind, the long ends floating at the back. circlet of linen worn with a barbette or fret, or both.
It covered the shoulders like a shawl and crossed in
front at the waist.
The term was sometimes used to mean a hair-net cov-
Fichu-canezou
ering the whole head, worn at night. “…take a very large
(F)
fillet which must be big enough to cover the head…”
Period: 1820s.
(1782, Stewart, Plocacosmos).
A form of deep collar, sometimes made with a small ruff
and falling over the front and back of the dress bodice, Period: Early 19th century onwards.
but not covering the arms or sides. A fillet of satin and pearls spirally twisted round the head
Fichu Corday was sometimes worn with evening coiffure, or a sim-
(F) pler narrow ribbon at later periods.
Period: 1837. Filleting
A fichu of grenadine gauze with a broad hem run Period: 17th century.
through with a ribbon; crossing over the bosom, it was A narrow tape.
tied behind; for day wear. Film
Fichu la Vallière See Cinema.
(F) Fish
Period: 1868. (M)
A fichu with the fronts not crossed but meeting edge to Period: 1800–1850.
edge and fastened by a button. A tailoring term for a dart, a narrow dart-shaped piece
Fichu-pelerine of material cut out and the edges then joined together
(F) to improve the fit of a garment. The dictum “Where there
Period: 1826 to early 20th century. is a crease there take out a fish” is attributed to George
A large covering for the shoulders, generally of white IV.
fabric, and often having a double cape and turned- Fitchet
down collar. The front having fichu ends carried down (F)
beneath the belt to knee-level. Period: 13th to mid-16th century.
Fichu Raphael A French term for a vertical placket hole in the skirt of
(F) a gown.

Fitzherbert hat 82
Fitzherbert hat See Glossary of Fabrics and Materials.

(F) Flipe, flepe
A modified form of the balloon hat, the wide brim oval A fold or flap, as in the flexible brim of a hat or cap. “I
in shape, the crown of puffed fabric slightly raised. tourne up the flepe of a cap” (1530, Palsgrave).
Flandan Flip-flops
(F) (F & M)
Period: Late 17th century. Period: Late 1950s onwards.
“A Flandan is a kind of Pinner (lappet) join’d with a A plastic- or rubber-soled sandal with a post between
Cornet (day cap)” (1694, The Ladies’ Dictionary). the big toe and the second toe to which two thin straps
Flannels are attached and held on the sole towards the ankle.
(F) Possibly based on a similar but sturdier Japanese style.
f
Period: 18th and early 19th centuries. Flockard
The large flannel gown or wrap worn by bathers at the (F)
seaside and at spa towns such as Bath. Period: 15th century.
“Oh! “Twas pretty to see them all put on their flannels This article was often listed in pairs for flockards were
And then take the waters like so many spaniels” (1766, veils or lappets. “Item…for a pair of flokkardes for my
C. Anstey, The New Bath Guide). Lady…” (1481, Howard Household Expenses).
Flocket
(M) (F)
Period: 1850 onwards. Period: 16th century.
Cricketing or boating costume. “Beautifully dressed in A loose garment, possibly a gown with long sleeves.
white flannels” (1895, E. F. Benson, The Babe, B.A.). By “In her furred flocket / And gray russet rocket” (1529,
the 20th century the term applied to casual trousers for Skelton, Elynour Rummyng).
men, made of flannel in various subdued colours. “All Florentine button
wool flannel trousers. White and three shades of grey” Period: 19th century.
(1928, Harrods). A name for a covered button.
Flares Flounce
(F & M) (F)
Period: Late 1960s–1970s. Period: Early 18th century onwards.
An American fashion for trousers which fitted closely to A deep, gathered or pleated frill used as a trimming to
the body and upper leg and then widened or “flared out” women’s garments.
from knee to ankle. Flounce à disposition
See Loon pants. (F)
Flat cap Period: 1852 onwards.
(M, sometimes F) A flounce woven with the same border pattern as the
Period: 16th century into the 17th century. dress material.
A cap with a flat crown spreading over a flat, narrow Flourish
brim. By 1570 it was being worn only by citizens and Period: 16th century.
apprentices and known as the “City Flat Cap”. To ornament profusely; a garment “flourished with
Such caps continued to be worn by young men, and pearls” meant one lavishly decorated with them.
sometimes young women, when at work and, much Flower bottle
later, was associated with working men of all ages be- (M)
fore the baseball cap replaced it. Period: 1865.
Flea-fur A small glass bottle for flowers, worn in the buttonhole
(F) which at that date was sometimes worked in the left-
Period: 16th century. hand lapel of a morning coat for that purpose. A piece of
Popular name for a fur stole of marten or sable. broad ribbon was put under the turn to hold the flower
Fleece bottle in place.
(F & M) Flower hole
A jacket or sweater lined with fleece, usually a synthetic Period: 1840s onwards.
fabric with a smooth outer layer and fleece-like inner A slit hole in the left lapel of a coat through which a
layer. A style originally found in ski-wear and adopted flower stem could be inserted.
by non-skiers. See Boutonnière.

83 Foot-mantle, fote-mantel
Flower-pot hat, turf hat Fogle

(M) (M)
Period: 1830s. Period: 19th century.
“Of grey felt, low crown like a flower-pot upside-down, Slang term for a silk handkerchief.
the very large brim looped all round” (i.e. rolled over) Foil button
(1830, The Gentleman’s Magazine of Fashion). Period: 1774.
Flowers Silk pasted on paper and applied to the underside of a
Fresh and artificial flowers have been used to decorate glass button, as a foil; patented in 1774.
items of clothing across many centuries. Artificial flower- Folk costume, folk dress
making was one of the notorious “sweated labour” (F & M)
industries in the 19th century. It was usual until recently Period: 19th century onwards.
for women to buy plain hats and decorate them with Increased travel led to the acquisition of certain types of f
ribbons and flowers. clothing found in surrounding countries or further away.
Flow-flow In Europe Magyar dress and Tyrolean items became
(F) fashionable in the 19th century; dirndls, espadrilles,
Period: 1885. Afghan coats, etc. in the 20th century. Other cultures
The name given to a graduated cascade of coloured and their forms of dress also influenced major European
ribbon loops decorating the front of a bodice of an af- and American designers.
ternoon or evening dress “to brighten it up”. Folly bells
Fly cap (M)
See Butterfly cap. Period: 15th century.
Fly-fringe A form of decoration composed of small bells sus-
(F) pended by chains from the girdle, the shoulder belt or
Period: 18th century. a neckband.
A fringe of fine cord with knots and bunches of floss silk Fontange
attached. Used to decorate gowns. (F)
Fly-front fastening Period: ca. 1690–1710.
Period: 19th century onwards. An indoor linen cap with a small, flat crown behind and a
A device for concealing a row of button fastenings by tower of lace or lace and linen frills in front, kept erect by
extending an overlap of the fabric over them. Used in- the commode, a tall wire frame. Two long lace or linen
frequently in the 18th century for waistcoats. Introduced streamers called lappets hung down at the back or
for trousers ca. 1823; for breeches ca. 1840. Also often were sometimes pinned up to the crown. The front hair
used for overcoats, e.g. Chesterfields. In the 20th was arranged in curls mounting up from the forehead in
century the fastening often concealed a zip rather than front of the fontange elevation.
buttons.
Flying suit Period: 1850.
See Jumpsuit. A term used for ribbon gathered along the centre as
Fly suit, fly-away suit ruching and used to edge a day corsage.
(F) Football shirt
A loose négligée dress. “Apparell for my Daughters. Two Period: 1895 to late 20th century.
flye Sutes.…” (1723, Diary of Nicholas Blundell, Univ. A cotton shirt with attached Shakespere collar, super-
Press, Liverpool, 1952). seding the earlier knitted football jersey.
Fob pocket Football strip
(M) (M, occasionally F)
Period: 17th to mid-20th century. Period: Late 20th century onwards.
A horizontal pocket in the front of the waistband of A term usually applied to the team colours worn by
breeches, pantaloons or trousers, usually one on each players of football (not American football). Teams usu-
side. ally have home and away strips, and national sides also
Fob ribbon have two strips. Subtle annual changes have ensured
(M) that supporters will constantly buy new shirts, scarves
Period: 1740s–1840s. etc. and these items are often worn even when not at-
A short ribbon attached to the watch in the fob pocket tending matches.
and dangling outside, suspending seals and watch-key. Foot-mantle, fote-mantel
Worn with breeches or pantaloons only. (F & M)

Footwear 84
Period: 14th to early 18th century. doublet of yellow satin and the foresleeves of it of cloth
Probably a protective garment worn to keep clothing of gold” (1523, Inventory, Dame Agnes Hungerford’s
from becoming soiled; associated with riding. “A foot husband).
mantel aboute hir hippes large” (ca. 1386, Chaucer, Fore-stocks
Prologue, Canterbury Tales). (F)
See Safeguard. Period: 1500–1550.
Footwear A term meaning fore sleeves and listed with a plack-
(F & M) ard. Those matching the plackard were separate items.
Period: 20th century onwards. “Item. Pd. for makyng of a payer of forestockes and
A generalized description for any type of boot, sandal, placard” (1525, Lestrange Household Accounts).
shoe, whether formal or casual. Foretop
Fop (F & M)
f
(M) Period: 13th to end of 18th century.
Period: Late 17th century onwards. The hair of the head or of a wig immediately above the
The medieval meaning of the word was “fool”, and its forehead. In the 18th century called toupee or merely
later use in respect of clothing is indicative of undue top.
interest in or vanity about dress and grooming. Forked beard
See Beau, Dandy. (M)
Forage cap Period: 14th century; occasionally 17th century.
(M) A beard trimmed in two peaks. “A marchant was there
Period: 1800–1850. with a forked beard” (ca. 1386, Chaucer, Prologue,
A cap adapted from the military and worn by small boys; Canterbury Tales).
it comprised a circular, flat crown, its border stiffened Foundation
with cane; a tassel hanging from the centre; a visor in (F)
front and sometimes held in place by a japanned leather Period: 1885–ca. 1914.
strap passing under the chin. An underskirt forming a foundation and giving sub-
stance to the overskirt, both being joined together at
the waist to form one garment; worn with day dresses.
An undress cap of soft fabric worn by soldiers.
Foundling bonnet
Forebody
(F)
(F & M)
Period: 1880s.
A bonnet with a small, stiff brim, soft crown, usu-
The front part of the garment covering the chest, namely
ally of plush, and tied under the chin “like the Quaker
the bodice or doublet. “A doublet whose forebodie is
headgear”.
fine stuff and the backe course” (1611, Randle Cotgrave,
Fouriaux
A Dictionarie of the French and English Tongues).
(F)
Forehead cloth
Period: ca. 1100–1150.
See Crosscloth.
Silk sheaths enclosing the two long, pendant plaits of
Forepart
hair worn by ladies of high rank. These sheaths were
(F)
usually depicted white with red circular stripes.
Four-in-hand
Term applied to the decorative, triangular-shaped panel,
(F & M)
mounted on a plain underskirt, which filled in the front
opening of some styles of skirt.
Also known as a Derby. A necktie knotted in front, the
(M) knot presenting a free edge above and below, thus dif-
Period: 19th century. fering from the sailor’s reef knot with its free edges on
The fronts of a coat or waistcoat covering the chest. each side. Also worn by women with a morning blouse.
Fore sleeves, half sleeves In the 20th century worn more in North America.
(F & M) Fourreau dress
Period: Late 14th to mid-17th century. (F)
“A foresleeve of a garmente which Kevereth the arme Period: 1864.
from the elbow downwarde” (1538, Elyot, Dictionarie). A princess style dress, that is with no seam at the waist,
The sleeve covering the forearm was often of richer fab- “now beginning to be called by an old name “fourreau”.
ric, the upper-arm portion being hidden by an overgar- It was buttoned all down the front and frequently worn
ment. Fore sleeves were sometimes separate items. “A with a peplum fastened round the waist.

85 French hood
Fourreau skirt French farthingale

(F) (F)
Period: 1864. Period: 1580s–1620s.
A skirt sufficiently gored to fit the figure and spread over This gave the same outline as the wheel farthingale,
the crinoline, without pleats at the waist; a morning- producing a tub-shaped hang of the skirt, but with wider
dress style. curves at the sides and a flattening in front. “My wife…is
Fourreau tunic underlayed not with a Frenche fardingale, whiche strot-
(F) tethe out by the sydes, But withe an English bumbaste
Period: 1865. wiche beareth out before” (1588, Letter from John
The upper skirt, that is the tunic, cut in one with the Adams, Lord Middleton’s MSS).
bodice and measuring about six yards round the hem. French frock
A double skirt for evening dress. (M) f
Fraise Period: 1770s–1800.
(F) A French version of the frock, the closely-fitted, but-
Period: 1836. toned coat with a turn-down collar worn by fashionable
A piece of embroidered muslin edged with ruching, men. This was the only elegantly cut, embroidered and
folded across the bosom and secured by an ornamental “full trimmed”, formal, dress form of the frock.
pin; worn instead of a cravat with carriage dress. French gigot sleeve
Frelan, freland, frelange (F)
(F) Period: 1890–1897.
Period: Late 17th century. A sleeve with the cuff prolonged over the back of the
“Frelan…Bonnet and Pinner together” (1690, The hand; a fashion introduced by the French actress Sarah
Fop-Dictionary). Bernhardt (1844–1923).
French bearer French gores
(M) (F)
Period: 19th century. Period: 1807.
The bearer band of breeches or pantaloons made Gores introduced into the skirt of a day dress to elimi-
with falls and cut very narrow. nate gathers at the waist.
French boa See Gored skirt.
(F) French heel, Pompadour heel
Period: 1829. (F)
A long, round tippet of swansdown, fur or feathers; very Period: 1750–1790.
fashionable again in the 1890s. A high heel curving into a narrow base; named for
French bottoms Madame de Pompadour (1721–64), mistress of Louis
(M) XV of France.
Period: 19th century. “…Her tott’ring form Ill propp’d upon French Heels”
Trouser legs cut somewhat wider at the bottom of the (1784, Cowper, The Task).
leg than above. French hood
French cloak (F)
(M) Period: 1521–1590; unfashionably to ca. 1630.
Period: 16th and 17th centuries. A small bonnet made on a stiff frame, worn far back
A cloak that was long, circular or semicircular in cut on the head, the front border curving forward on each
and described as compass or half-compass. Generally side to cover the ears. This border was usually trimmed
having a square, flat collar or a shoulder cape; some- with an inched edging, behind which was the nether
times plain. billiment of goldsmith’s work; further back, arched
French cuff over the crown, was the upper billiment. Behind this,
(M) falling down the back of the neck, was fabric in formal
Period: 19th century. pleats or, more often, a stiffened flap which could be
A coat cuff with a side slit which was closed by turned up and worn flat on the crown, the straight edge
buttons. projecting over the forehead and known as a cornet or
bongrace.
Period: 1850s onwards. The English variation of the French hood (1525–1558),
The name was also applied to a wide shirt cuff fastened associated with Queen Mary I, was flattened across the
by a link near the lower margin and by a button higher head, projecting wide of the temples, then turned in at
up at the wrist. an angle to cover the ears, otherwise the same.

French hose 86
French hose Frileuse

(M) (F)
Period: ca. 1550–1610. Period: 1847.
Round or oval trunk-hose, usually with panes, and with A pelerine wrap of quilted satin or velvet, fitting into the
canions after 1570. Synonymous with bullion-hose. waist behind, and having long, loose sleeves. For wear-
French jacket ing over the shoulders “by the fireside or at the theatre”.
See Petenlair. Frill
French lock Period: 16th century onwards.
See Love lock. An edging gathered to produce a rippled surface. “Their
French night-cap flaunting ruffes…their borowed frilles and such like vani-
See Dormeuse. ties” (1591, R. Turnbull).
French opening vest Frilling
f
(M) (F)
Period: 1840s onwards. Period: ca. 1850–1900.
One with the waistcoat fronts cut low to expose much A gathered edging of stiff white muslin, worn at the
of the shirt-front. wrists and neck, especially on the dress of widows in
French pocket the 1870s and 1880s.
(M) Fringe
Period: 17th century. Period: Medieval onwards.
The early form of horizontal slit pocket with the opening An ornamental border of pendant threads of various
covered by a flap. “A straight bodied Coat with French makes. In the medieval period used mostly for ecclesi-
pockets” (1675, London Gazette). astical garments but rare for lay dress before the 15th
French ruff century. “Fringe of silke, yelowe, grene, rede, white, and
(M) blue” (1480, Wardrobe Expenses, Edward IV).
Period: 1580–ca. 1610. Fringed waistcoats, with fringe along the bottom of the
The very large cartwheel ruff, as mentioned by John foreparts, were fashionable between ca. 1710 and ca.
Stowe. 1730.
French skirt Also, a hairdressing term from the late 19th century
See Cornet skirt. onwards.
French sleeves Frisette
(M) (F)
Period: ca. 1550–1600. Period: 19th century.
Sleeves, probably detachable and with pinking or A crimped fringe of hair over the forehead, sometimes
panes. “A pair of French sleeves of green velvet” (1547, artificial. In the 1860s it denoted a pad over which the
Inventory of Wardrobe of Henry VIII). “Sleeves of cambric back hair was rolled.
and calico for plucking out of French sleeves” (1553,
Inventory of the Palace of Westminster, Hatfield Papers). Period: 1869.
French vest The term extended to padding used in underskirts.
(M) Frisk
Period: 1860s. (F)
A waistcoat with short lapels cut on and not turned; Period: 1815–1818.
buttoned high. A bustle worn outside helping to produce the Grecian
French work bend.
(F) Frizze
Period: Early 19th century. (F)
Insertions of embroidery let into the front of a bodice. Period: 17th century onwards.
Fret, frette Closely curled or crimped hair. “Her hair brown of a
(F, rarely M) natural Frizze or curl about the forehead” (1685, London
Period: 13th to early 16th century. Gazette).
From the Old French word frete, this was a trellis-work Frizzle
coif or skull-cap made either of goldsmiths’ work or Period: 17th century.
fabric. “A frett of goold sche hadde next hyre her” (ca. A frizz-wig.
1385, Chaucer, Legend of Good Women, Prologue). Also, a small ruff.
In 16th century it could mean trellis-work ornamentation Frizz-wig
on a garment. (M)

87 Frontlet, frontel, frontayl
Period: 17th to mid-19th century. One cut like a frock coat but often longer and usually
A wig closely crimped all over. double-breasted; for outdoor wear when it could be
Frock worn without an under-coat.
(M) Frock jacket
Period: Medieval. (M)
The term was first used for the monastic habit, but Period: 1840s.
also began to denote a loose, sleeved outer garment A very short, single-breasted frock coat just covering
of coarse material worn by farm-workers, carters and the buttocks. By the 1860s the name was applied to
drovers, and later called a slop frock; in the 19th cen- a jacket without a seam at the waist or a back seam;
tury it became a smock-frock. collar, and lapels small and cut in one with the forepart.
Frog, frogging
A loose jerkin or jacket made to be comfortable; some- f
An ornamental loop-fastening for a coat, used with a
times called a “frocked jacket”.
frog-button; associated with Brandenbourgs.
Period: From ca. 1720. Frog-button, olivette
See Frock coat. Period: 18th century onwards.
A spindle-shaped, braided button to pass through frog
(F)
fastenings.
Frog pocket
The term was occasionally used for an informal gown,
(M)
but more usually it denoted children’s dresses, including
those worn by small boys before they were breeched.
A pocket in front of the side seam of breeches, and cut
“Instead of green sey that was wont to be used for
with a rectangular flap, the point secured by a button.
children’s frocks, is now used painted and India stained
Front
and striped calicoes” (1678, The Ancient Trades, etc. by
a Country Tradesman).
A term applied to a forehead fringe of false hair.
Period: Late 18th and 19th centuries. Frontlet, frontel, frontayl
The word “frock” was used for a back-fastening dress of (F)
thin fabric. This usage continued into the 20th century Period: Medieval.
but was superseded by the use of frock as an alterna- A decorative band worn across the forehead, usually
tive to dress. under a veil or coverchief, but by the late 15th century
Frock coat often a band of black velvet worn across the brow.
(M)
A sporting and informal coat which appeared in fash-
ionable circles in the 1720s. That version had a small,
turned-down collar and sleeves with narrow cuffs or
slits. By the last quarter of the 18th century it had be-
come acceptable formal wear.
Period: ca. 1816–ca. 1823.
It became a formal, waisted and close-fitting coat, at
first single-breasted with roll or Prussian collar and
no lapels; buttoned to the waist-level. It had a full skirt
hanging vertically in front, the back with a vent, side
pleats and hip-buttons.
Period: 1823 to early 20th century.
It acquired a seam at the waist, collar and lapels, and
pockets on the hips under flaps. With minor variations
this remained the basic style for the rest of the century;
it was often called a morning frock coat in the 1870s
and 1880s to distinguish it from the dress frock coat.
Frock great coat, top frock
(M)
Period: ca. 1830 to early 20th century.

Frose paste, Frows paste, Froes paste 88
Period: 16th and early 17th century. Rubbing perfumed oil into a garment to sweeten it.
Worn with a bonnet, caul or coif. “Frontayle for a Frouze, fruz
woman’s head, Some call it a fruntlet” (1552, Hulock). Period: Late 17th and early 18th centuries.
A term implying crimped false hair or a wig worn to
cover up baldness. “This woman…has adorned her
A frontlet was synonymous with a forehead cloth or
baldness with a large white fruz” (1678, Sir G. Etherege,
crosscloth, a band smeared with cream and bound
The Man of Mode).
round the forehead to remove wrinkles.
See Frizz-wig.
“In vain, poor nymph, to please our youthful sight
You sleep in cream and frontlets all the night” (1722, T. Full bottom, full-bottomed wig, French wig
Parnell, Elegy to an Old Beauty). (M)
Frose paste, Frows paste, Froes paste Period: 1660 to early 18th century.
Period: ca. 1527–1560s. A massive wig with a centre parting and close curls
Possibly the quilled or crimped border to the front of framing the face, and extending all round on to the
shoulders. Later in the 18th century it was worn on
g a French hood with which pastes were associated in
wardrobe accounts of the period. When French hoods formal occasions and by the learned professions
went out of fashion, references to pastes vanished. only.
The paste was “fine pasted paper such as paste-wives Fun fur
made womens paste of” (1570, Billingsley, Euclid). This Period: 1960s onwards.
was the foundation for the border of velvet, lawn or other Either cheap fur, such as rabbit skins, or synthetic furs
rich material, sometimes decorated with gold or jewels. dyed in bright colours and worn in place of expensive
Frou-frou dress traditional furs.
(F) Funnel sleeve
Period: 1870. See Pagoda sleeve.
A day dress with a low corsage covered with a short Fur
muslin tunic, the skirts rounded off in front and worn Period: Medieval onwards.
over a light, silk underskirt trimmed with innumerable The short, fine, soft hair of various animals, from inex-
small, pinked flounces. Named from the 1869 comedy pensive pelts such as rabbits, to expensive ones such
by Henri Meilhac and Ludovic Halévy. as sables, used to line and trim garments and later to
Frounce form the outer layer.
(F) Furbelow, below
Period: Mid-14th century to ca. 1610. (F)
A pleated or gathered frill, a flounce; adapted from its Period: 18th century.
original meaning a wrinkle of the brow, a frown. The “Plaited or ruffled trimming for women’s petticoats and
skirt over the wheel farthingale was often frounced to scarves” (1730, Bailey, Dictionary). Furbelows were usu-
avoid the hard line produced by the understructure. ally flounces of the same fabric as the garment, or of
Frouting lace, and were also used on gowns and aprons. The
Period: 17th century. French term, often used, was falbala.
G
Gabardine, gaberdine Gable bonnet, gable hat
(M, occasionally F) (F)
Period: Early 16th to early 17th century. Period: 1884.
A long, loose overcoat with wide sleeves, worn with or A bonnet whose front brim rose “like the angle of a
without a girdle at the waist. After the 1560s it ceased thatched roof forming a point over the face”.
to be a fashionable garment but remained popular Gable head-dress
among the poor and was defined as “a cloake of felt See English hood.
for raynie weather”, and also as “a horseman’s cloak Gabrielle dress
or coat”. (F)
See Glossary of Fabrics and Materials. Period: 1865.

89 Gamashes
A day dress of which the bodice and front breadth of the Galligaskins, gally-gas-coynes, gaskins
skirt were cut in one; three large box pleats at the back, (M)
or one each side and one behind; all widths gored. Period: ca. 1570 to end of 17th century; rare after 1620.
Gabrielle sleeve Knee-breeches, either wide or bombasted round the
(F) buttocks, or “sometimes close to the buttocke like the
Period: 19th century. Venetian gallicascoyne” (1610, S. Rowlands, Martin
One very full to the elbow, thence narrowing to mid- Mark-all).
forearm and finished at the wrist with a deep cuff. Used
for spencers in 1820, for day dresses from 1830 to
The term was applied to leather gaiters worn by
1835. Between 1859 and 1869 the term was applied
sportsmen.
to a sleeve made up of a series of puffs from shoulder
Gallislops, gallyslops, gally hose, gally breeches
to wrist.
(M)
Gadroon
(F)
The same as wide galligaskins. g
Gallo-Greek bodice
An inverted pleat or fluting used as a trimming on caps
(F)
and cuffs, and popular for skirts of dresses in the 1870s.
Period: 1820s.
Gainsborough bonnet
A bodice with narrow, flat trimming descending from the
(F)
shoulders, without quite meeting at the waist.
Period: 1877.
Gallowses
A close-fitting bonnet with a high front brim and a broad
(M)
crown sloping off abruptly behind: generally of velvet
trimmed with roses.
Braces, unfashionable before the 1780s. “Contrivances
Gaiter
made of cloth, and hooks and eyes, worn over the
(M)
shoulders by men to keep their breeches up” (1730-6,
Period: Late 18th to 20th century.
Bailey, Dictionary).
A covering for the ankle or with it the small of the leg,
Galosh, golosh
and spreading out over the upper of the shoe or boot,
(F & M)
with a strap passing under the instep. Generally but-
toned up on the outer side.
A generic term for a protective over-shoe, though the
(F) nature varied. There were many spellings, including
Fashionable for women from the 1820s–1840s and galoche, galage, galoss, galossian, galloses, galloshoes
also in 1890s. Usually made of silk, cashmere or elastic and gallotives. In the 14th century they were buckled
fabrics. overshoes; in the 15th and 16th centuries they were
Gaiter bottoms the same as pattens, i.e. wooden soles secured by
(M) latchets.
Period: ca. 1840–1860. In the late 16th and early 17th century they were
Term indicating the cut of the bottom of the trouser legs; wooden-soled, low over-boots, buckled and worn
“whole gaiter-bottoms” had the side seams brought by all classes. In 1607 Prince Henry had sixteen gold
forward 4” from the heel, the fronts being 5” wide and buckles, “with pendants and tongues to buckle a pair of
the backs 12½”; “half gaiter-bottoms” had the seams galosses” (Wardrobe Accounts).
brought forward 1½”, making the fronts 8” and the In the late 17th century “galloshoes are false shooes
backs 11” at the ankles. or covers for shooes” (1688, R. Holme, Armory). In the
Galatea comb 18th century they were usually called clogs. Rubber
(F) galoshes were introduced and patented in 1842.
Period: 1890s. Gamashes
A decorative hair-comb with a few long prongs set in a (M)
curve with an ornamental, looped handle. Period: 1590s–1700.
Galatea hat Loose, long, cloth leggings, often buttoned.
(F & M) “Gamashes or upper stockings” (1598, Florio). In the
Period: 1890s. 17th century they acquired soles. “Gamashes, high
A hat of Chinese or Japanese plait, made with a sailor boots, buskins or start-ups” (1688, R. Holme, Armory).
crown and turned-up brim; worn by small children in They were worn on horseback or by pedestrians as a
summer. protection against the dirt.

Gambado, gamada, gambage 90
Gambado, gamada, gambage into a wristband with small epaulettes on the shoul-
(M) ders; small collar and black cravat; sometimes worn
Period: ca. 1650–1750. with a Zouave jacket. The blouse usually overhanging
“A kind of leather instrument attached to the saddle in the skirt and worn with a waist-belt.
place of stirrups” (1656, Blount, Glosso-graphia). The Garibaldi bodice, Garibaldi vest
gambado resembled a large boot open on the outer (F)
side. Period: 1860s.
Gamine A day bodice made loose and falling over the waistband
(F) or confined with narrow tucks from neck to waist; worn
Period: 1900 onwards. with or without a jacket. Also known as Russian vest.
A French term descriptive of a pert, elfin-featured, Garibaldi’s visit to England in 1863 gave enormous
slender young woman, often with a short hair style. popularity to anything named after him, from a blouse
Particularly associated with the French dancer Zizi to a biscuit.
Jeanmaire (b. 1924) and the film actress Audrey Garibaldi jacket
g Hepburn (1929–1993), and the clothing worn in Jules et (F)
Jim, the 1962 French film, boyish styles – cap, knicker- Period: 1860s.
bockers, etc. with a feminine twist. An outdoor jacket, short and square-cut, without
Gamp basques; made of scarlet cashmere with military
Period: 19th century. braiding.
Popular name for an umbrella; so-called from Dickens’s Garibaldi sleeve
character, Mrs Gamp, in Martin Chuzzlewit (1843). (F)
Gangsta style Period: 1860s.
(M) A sleeve that was full and gathered into a wristband.
Period: Late 1980s onwards. Worn with morning or afternoon dresses of thin fabrics.
An African-American term applied to young members Garment
of street gangs. The popularity of gangsta rap musi- Period: 14th century onwards.
cians ensured that their style of clothing – loose T-shirts, Any item of clothing for the body.
baseball caps worn at an angle, unbelted jeans worn Garnache
low on the hips and an excessive quantity of heavy gold (M)
jewellery – was widely emulated throughout the world, Period: 13th to mid-14th century.
often by white youths. A long, loose super tunic with short, cape-like sleeves
Garçonne look cut in one with the body and falling over the shoulders.
(F) The side seams were sometimes left open or joined at
Period: 1922. the waist-level or from waist to hem.
The publication of Victor Marguerrite’s novel La In the 14th century a characteristic feature was two
Garçonne offered a descriptive term for the young, tongue-shaped lapels at the front of the neck; these
emancipated women of the post-World War I period, were paler than the garment itself and often faced with
with their androgynous clothing and cropped hair. The fur.
clothing choices of these women, often known as flap- See Tabard.
pers and later as gamines, was suggestive of the black Garniture
and white dress of French waiters – garçons. Period: 17th century, rare after ca. 1900.
Garde-corps “The trimming of a suit with Ribbons, precious stones
(F & M) etc., as Garniture of Diamonds” (1706, Phillips, edit.
Period: 13th and early 14th centuries. Kersey).
A voluminous, unbelted super tunic with hood and Garter
long, wide sleeves often worn as hanging sleeves, the (F & M)
arm passing through a vertical slit in the upper half. A A tie or band to keep the stocking in place on the leg,
garment for winter wear. and placed above or below the knee. For the signifi-
See Herigaut. cance of “ungartered”, see love.
Garibaldi blouse, Garibaldi shirt
(M)
(F)
Period: 1860 into 1880s.
Garters were usually ties; subsequently ties or buckled
Worn in place of a bodice, with any style of day skirt,
bands.
this blouse was originally of scarlet merino trimmed with
black braid. Full sleeves or plain “coat sleeves” gathered Period: 17th and 18th centuries.

91 Gemmews, jemews
Some garters were like small decorative scarves, with up the wrist.
fringed ends and tied in a bow on the outer side of the See Gloves.
knee. Others were decorative bands with ornamental Gemmews, jemews
buckles, always placed below the knee. Garters might (M)
be of wool, worsted, crewel, list, or ribbon, taffeta, cy- Period: 15th century.
press and net. “2 yards of ribband for garters” (1522, The jaws of a bag working on pins at the side, or a mere
Le Strange Accounts). “A pair of silver garters buckled strengthening of leather or velvet round the jaws.
below the knee” (1711, The Spectator).
(F)
Period: Late 17th and 18th centuries.
Garters, worn above or below the knee, were often
very decorative and sometimes woven with mottoes
addressed to young men who sought them as trophies.
“Great quantities of silk garters are bought by the la- g
dies with the following motto NO SEARCH” (1739,
Pilborough’s Colchester Journal).
The garter was usually a long, narrow strip of knitted
wool wound round the leg above the knee, or more ele-
gant forms were of silk enclosing fine brass springs and
having metal clasps. From ca. 1830 India-rubber woven
elastic began to appear, becoming general by ca. 1850.
From 1878 garters were replaced by suspenders.
Gascon coat, Gaskyn coat
See Jupe.
Gascon hose
Another term for galligaskins.
Gather
To draw a length of fabric into a shorter length by means
of a thread; a basic sewing skill.
Gaucho pants
(F)
The style of wide-skirted, calf-length riding breeches
worn by South American cowboys and made popular
by Rudolph Valentino in The Four Horsemen of the
Apocalypse (1921). The style was worn by women and
became fashionable again in the 1960s.
Gauging, gaging, shirring
A term applied to a series of close, parallel running
stitches, so that the fabric in between is fixed in gathers.
A form of decoration extremely popular in bonnets of the
1840s and in dresses of the late 1870s and 1880s; also
found in traditional smocking.
Gauntlet
(M)
Period: Mid-15th to late 17th century.
Until the abandonment of armour this term was applied
to a glove-like defence of the hand.
(F & M)
The term was also given to a glove with a cuff spreading

Gender-blurred fashions 92
Gender-blurred fashions (M)

(F & M) Period: 1820s and 1860s.
Period: 20th century onwards. A minor male fashion.
Not cross-dressing, but the adoption of clothing which Gilet
defies usual gender categories, such as jeans, T-shirts, (F)
leather jackets, biker boots, and so forth. Period: 19th century onwards.
See Unisex. A sleeveless bodice shaped to imitate a man’s
Geneva hat waistcoat.
(M) Gillie, ghillie
Period: Late 16th and early 17th centuries. (F & M)
A broad-brimmed, high-crowned hat, sometimes un- Period: 19th century onwards.
trimmed, worn by Puritan ministers and others. A form of footwear worn with traditional Scottish dress
Geneva print ruff, Geneva-set ruff and named for the attendant on a Highland chieftain.
(F & M) It is a leather shoe with an open front, with lacing from
g Period: 17th century. side to side through tabs and up around the ankle. It
A small ruff of Puritanical design modelled on that of was and is made in various weights and variants of the
the Genevan Calvinists. “In print as Puritan ruffes are style, to suit everything from dancing to stalking.
set” (1613, Mynshul, Essays); “A little Geneva-set (ruff)” Gills, shirt-gills
(1633, T. Adams). (M)
Genoa cloak Period: 19th century.
See Spanish cloak. Colloquial name for the upstanding points of the
German gown shirt-collar.
See Brunswick gown. Gimp, guimple
Ghillie See Wimple.
See Gillie. Gingham
Ghutra, gutra Period: 19th century.
See Keffiyeh. A colloquial name for an umbrella, the cheaper kinds
Giboun being made of that material.
(M) See Gamp.
Period: 1844. Ginglers
A loose wrap in the form of a small shoulder cape with (M)
wide sleeves, resembling the caban of the period, but Period: Late 16th and early 17th centuries.
the fronts falling straight like a cloak without fastenings. Spurs with one or two metal drops hung in an eye on
Gibus, Gibus hat the rowel-pin, which rattled against the rowel when the
(M) wearer walked. Very fashionable at the period indicated.
Period: 1840s onwards. “I had spurs of mine own before but they were not gin-
A top hat with a collapsible crown, the sides of which glers.” (1599, B. Jonson, Every Man out of his Humour).
contained concealed within the lining a metal “lazy “You that weare Bootes and Ginglers at your heels”
tongs”; when flat the hat could be carried under the (1604, S. Rowlands, Swaggering Ruffian).
arm. Worn with evening dress and replacing the earlier Gipon, jupon
elastic round hat. Named after its inventor. (M)
Gig coat Period: 14th century.
(F) A military term adapted for civilian use and taken from
Period: 1820s. the French term jupon. The gipon was a close-fitting,
See Curricle coat. waisted and padded garment worn over the shirt. It
Gigot sleeve, leg-of-mutton sleeve ended near the knees at first, but was much shortened
(F) in the second half of the century. Buttoned or laced
Period: 1824–1836, 1862 and 1890–1896; ca. 1960–1980. down the front, the sleeves long and tight with buttons
A day sleeve, very full at the shoulder, diminishing in up to the elbows on the outer side. No belt unless worn
size towards the elbow and gradually becoming tight without an overgarment. The gipon was the forerunner
at the wrist. In 1827 the upper portion was sometimes of the doublet and was so-called towards the close of
distended with whalebone hoops. In 1862 used only for that century.
summer dresses. In 1895 the gigot was “monstrous”, Gipser, gipcière
requiring 2½ yards of material. It collapsed abruptly in Period: 14th and 15th centuries.
1896 but was revived in the 1960s and 1970s. A purse or pouch.

93 Gloves
“A gipser al of silk Heng at his girdle…” (ca. 1381, Period: 1870s.

Chaucer, Canterbury Tales,Prologue). A short, double-breasted overcoat with a shoulder-cape
Gipsy, gypsy styles and borders trimmed with astrakhan.
(F) Glaudkin, glawdkin
Low-cut blouses, wide colourful skirts, flowing scarves Period: Early 16th century.
and gold jewellery, associated with both real and stage A term for a wide-sleeved, flowing gown.
gipsies, entered the design vocabulary at several points Glauvina pin
in the 20th century. (F)
Gipsy bonnet Period: ca. 1820–1840.
(F) An ornamental pin with a large, detachable head, often
Period: 1871. tasselled; used to secure an elaborate coiffure.
A small, flat bonnet only covering the crown of the head; Glengarry, Glengarry bonnet
trimmed with lace and feather. (F & M)
Gipsy hat Period: 1860s. g
(F) “A Scotch bonnet higher in front than at the back”
Period: 1800–1830s. (1858, Simmonds’s Dictionary). Generally decorated
A straw or chip hat with wide brim, always with ribbons with a small feather and pendant ribbons behind; worn
passing from the crown over the brim and tied in a bow by certain Scottish regiments and with traditional
under the chin. Highland dress but, in this context, as a fashionable
Giraffe comb head-covering.
(F) Glove-band
Period: 1874. (F)
A very high, ornamental hair-comb of tortoiseshell, worn Period: ca. 1640–1700.
in the day as well as with evening dress. A band of ribbon or plaited horsehair tied at the elbow
Girdle over a long glove to keep it in place.
(F & M) Gloves
Period: Medieval onwards. (M)
A cord or band, tied or buckled, encircling the waist Period: Medieval to late 17th century.
or hips. In the medieval period it confined the flowing Either covering the hand and ending at the wrist, or
garments at the waist, or was used to suspend various made with deep, spreading cuffs as gauntlet gloves.
objects, or sometimes it was purely decorative. In the 16th century gloves were made of leather from
“And by hire girdel heng a purs of lether stag, sheep, horse, kid, suède, doe, also satin, velvet,
Tasseled with grene and perled with latoun” (ca. 1381, knitted silk and worsted, variously coloured. Some were
Chaucer, Miller’s Tale). slashed to show a finger ring. Long gloves were rare
See Knightly girdle. for men but occasionally worn by the ultra-fashionable
(F) in the 17th century, and often elaborately decorated,
Period: 1920s onwards. fringed and scented.
An American term for an elasticated, rather than a “He is indeed a pattern of modern foppery. He was yes-
boned, corset. terday at the play, with a pair of gloves up to his elbows”
Girdle glass (1676, Etherege, The Man of Mode).
(F)
“Gants à l’anglaise” ended at the wrist, having a short
A hand mirror hanging from the waistband.
slit on the back or a narrow, turned-back cuff, some-
Girdlestead
times embroidered. From 1600 until 1800 gloves were
(F & M)
made from similar materials to earlier centuries though
Spanish leather, cordovan, was very fashionable.
The waist-line.
Gite Period: 19th century onwards.
(F, occasionally M) Invariably short and until ca. 1870 often coloured for
Period: 14th–16th century. day, with white for evenings and lavender for weddings.
A type of dress or gown. In the 20th century plain leather and knitted gloves were
Gladstone overcoat worn in town and country; there were specialist gloves
(M) for driving, golf, riding and other activities.

Glove-string 94
(F) Gole, golet

Period: Medieval to ca. 1800. (M)
As for men, until ca. 1640 when elbow-length gloves, Period: 14th and 15th centuries.
close-fitting, of fine leather or silk, and often white, The cape portion of the hood or chaperon. “Golet” was
sometimes embroidered, began to be fashionable and the 15th-century term.
essential for full dress. In the 18th century elbow-length Golf vest
gloves were universal except with riding habits and, (M)
towards the end of the century, with long-sleeved Period: 1894.
dresses. A single-breasted waistcoat without a collar; having two
side pockets and watch-pocket. Of scarlet knitted wool
bound with braid.
Either short to the wrist or long to the elbow; coloured
Golilla
during the day, but white in the evening. A short evening
(M)
glove was fashionable from 1830–1865; subsequently
g it lengthened and by the 1890s spread up beyond the
A Spanish term sometimes used for the semicircular
elbow.
collar or band curving round the back of the head with
Period: 20th century onwards. the straight border under the chin. Very fashionable from
Many types and colours until the post-World War II 1605–1630.
period when gradually gloves became less essential, Gonel
except for winter warmth. (M)
See Berlin gloves, Limerick gloves, Woodstock gloves, Period: 14th century.
York tan gloves, Chicken-skin gloves, Cut-fingered A gown, sometimes worn over armour.
gloves, Mittens. Gored bell skirt
Glove-string (F)
(F) Period: 1893.
Period: 18th century. The front panel of this skirt was gored with three to five
Similar to a glove-band, made of ribbon or horsehair side gores; the back panel cut on the cross, keeping the
and tied or buckled at the elbow over a long glove. fullness behind; the hem was 10–16 feet in circumfer-
“Diamond buckles to the glove-strings” – for full dress ence, lined with a footing of muslin or crinoline 9 inches
(1783, Lady’s Magazine). deep.
Godet pleat Gored skirt
(F) (F)
Period: 1870s onwards. Period: 14th century onwards.
A hollow, tubular pleat, narrow above and expanding A constructional method of cutting the material into
downwards to give a fluted effect to the skirt. pyramidal-shaped panels, narrow above, to produce a
Godet skirt close fit at the waist, avoiding gathers or pleats. Much
(F) used in the 19th century, especially the 1820s, late
Period: 1895. 1860s and mid-1890s, when it reached the highest
A day skirt with godet pleats at the back and sides often degree of technical skill. Also found in the 20th century,
sustained by fine steel in the hem and in the lining. “A especially on 1930s skirts.
labyrinth of black elastic to keep the flutes in place”. Gorget, gorgette
Goffered veil, nebula head-dress (M)
Period: 19th century. Period: 14th and 15th centuries.
Terms used in the 19th century for a head-dress worn by The cape portion of hood or chaperon.
women from ca. 1350–1420. The head-dress, made of See Gole.
linen, was draped over the head with a broad, goffered
frill surrounding the face and ending at the temples or
A military steel or plate-armour collar covering the neck
chin. The back drapery fell to the shoulders, sometimes
and upper chest and worn as a mark of distinction by
having a goffered border.
civilians.
Goffering
Period: 17th century onwards. (F)
The use of heated goffering irons or tongs to create Period: 12th to early 16th century.
a decorative, fluted edge to cotton or linen used in A neck covering. The more usual term was wimple;
clothing. Later it referred to a fabric with a permanent by the late 16th century it meant the small ruff of a
crimped appearance. smock.

95 Granny bonnet

A deep, falling, cape-like collar, generally called a whisk.
Goth
(F & M)
A follower of a particular post-Punk cult of music and
appearance, the latter involving black hair, exaggerated
black and white make-up, and black clothing often
ripped or with aspects of bondage style, such as
chains.
Gothic cap
(F)
Period: 1834.
An indoor morning cap with a very small crown; trimmed
with ruching framing the face. g
Gowce
Term meaning a gusset.
Gown
(M)
Period: Medieval to ca. 1600.
A loose, long, upper garment of a formal nature, vary-
ing in design but generally with wide and often hang-
ing sleeves; a demi-gown or half-gown reached the
knees; a side-gown or long gown reached the ankles.
Mostly worn by the learned professions and officials.
(F)
A term indicating a woman’s dress.
Usually implied a dress of uniform fabric fastened in
front, as opposed to a frock which fastened behind.
However, by the 20th century the term “dress” was
more usual.
Grande-assiette sleeves
(M)
Period: Mid-14th to mid-15th century.
A type of sleeve sometimes made for the gipon and
early doublet; the sleeve cut so as to form a circular,
plate-like seam when inserted, thus overlapping the
front and back of the body; rare in England.
Grannie skirt, Victoria skirt
(F)
Period: 1893.
Supposed to be a revival of the skirt of the 1830s; cut
in a circular shape from double-width material, the hem
sixteen to eighteen feet round; made with flounces and
tucks from knee level, with a velvet band facing the hem;
a pocket, if present, was behind in the placket hole.
Granny bonnet
(F)
Period: 1893.

Granny style 96
“A huge erection with wide and flaring brim and pot- three below and one above, and a grecque en dos
like crown and decorated with feathers.” A homage to d”âne turned off at top behind in the form of a horse-
1830s fashions. shoe and tied behind in a long queue” (Ipswich Journal).
Granny style The side curls were arranged horizontally, framing each
(F & M) side of the face.
Period: 1960s and 1970s. Grecque corsage
Clothing and accessories which suggested an earlier (F)
period; round wire-framed spectacles, collarless shirts, Period: 1850.
long skirts or similar. The quasi-Edwardian clothing An evening-dress bodice, low off the shoulders and
designed by the British designer Laura Ashley (1925– square, with vertical pleats sloping down to a point in
1985) in the early 1970s was especially evocative of this front.
referencing of past styles. Gregorian
Graundice (M)
(F) Period: Mid- to late 17th century.
g Period: 16th century. A wig called after “one Gregory a barber in the Strand”
An ornament for the head; a variant of craunce or (1670, Blount, Glossographia).
crants. Gregs
Greatcoat See Galligaskins.
(F & M) Grelot
Period: 18th century onwards. Period: 1860–1900.
An outdoor overcoat varying in style according to the Small metallic balls or bells used on a fashionable trim-
fashion of the day. ming for dresses.
Greatcoat dress Gretchen
(F) (F)
Period: Late 18th century. Period: 1890s onwards.
A fashionable style of the 1780s; either a closed robe Term describing a style associated with young German
buttoned to the hem or, more often, just closed to the women, such as plaits wound around the head or peas-
waist with the overskirt falling away to reveal the pet- ant-style blouses with their distinctive round necklines
ticoat. The wrist-length sleeves fitted closely and the and embroidery.
caped collar and contrasting revers of the male great- Grunge
coat were copied. (F & M)
Grecian bend Period: Late 1980s onwards.
(F) Loose-fitting, layered clothing, ripped jeans and heavy
Period: 1815–1819; 1868–1870. boots worn by subcultural band members and copied
A fashionable stance consisting of a forward stoop from by their followers. Perceived as a junk shop or charity
the waist, the effect increased by a bustle and in the shop approach to dressing, rejecting commercialism in
later period by a puffed-out overskirt. favour of recycling. One of many movements in the 20th
Grecian sleeve century which seemed to reposition fashion as a street-
(F) influenced business.
Period: 1852. G-string, gee-string
An under sleeve slit open at the side and closed with (F)
buttons. Period: 20th century.
Grecque Term originally referring to a loin cloth but appropriated
(M) to describe the modest fabric triangle and strings worn
Period: ca. 1750–1800. by exotic dancers and strippers in night-clubs. From the
A style of dressing the hair of the wig. “Some people 1990s a form of minimal underwear for women.
wear it cut short before and comed up en brosse very See Thong.
high upon the top of the head; it’s called à la greque Guard-chain
and is very pretty when well done” (January 1766, Lady (M)
Sarah Bunbury to Lady Susan O”Brien, The Life and Period: 1825 onwards.
Letters of Lady Sarah Lennox, J. Murray, 1902). A long chain of small links worn round the neck and
By 1787, “The hair is dressed in 2 long curls on each attached to the watch, replacing the fob-chain.
side and a Grecque behind, divided like a horseshoe, Guards
inclining a little forward en coque” (Ipswich Journal). (F & M)
In 1788, “ The hair is dressed in four curls on each side, Period: 16th to mid-17th century.

97 Hair-band
Decorative bands of rich material, plain or embroidered, Gwimple

used as borders to conceal seams on garments. “A See Wimple.
jacket guarded with velvet” meant one trimmed with Gym-slip
guards. Also a term used in heraldry. (F)
Guernsey Period: Early 20th century onwards.
(M, later F) A sleeveless woollen tunic with a deep, square-necked
Period: Early 19th century onwards. yoke from which the garment reached to knee level or
Worn much earlier by local fishermen (Guernsey is one just below in wide box pleats; the waist usually held
of the Channel Islands), these thick, knitted, oiled-wool, by a sash or belt and worn over a long-sleeved blouse.
close-fitting sweaters with their distinctive rib and rope The term derives from gymnasium clothing but quickly
patterns became increasingly popular in the 19th cen- became a school uniform for girls, rather than athletic
tury, either in the original deep blue/black or in other wear. Hugely popular by the 1920s, the garment was
colours. Their warmth and waterproof qualities ensured also called a gym-dress or gym-tunic and often worn
that they became a classic garment in the 20th century. with gym knickers (long and baggy) and gym shoes. The
Guimpe style has been used as inspiration for fashion designers
(F) and is also appropriated for fetishist purposes.
Period: 1890s. See Pinafore dress. h
A term used in America for a chemisette worn with a Gypsy
low-necked dress. See Gipsy.
H
Habit Habit-redingote
(F & M) (F)
Period: Medieval onwards. Period: 1879.
Fashion or style of clothing, often used for the distinc- A princess polonaise, the overskirt as long as the un-
tive dress of a particular rank or profession, especially of derskirt behind and closed down to the knees in front.
religious orders. Habit shirt
(F)
(F)
Worn as part of a riding costume; it was a linen garment
The dress or suit worn on horseback, as riding habit.
about 15” deep in front and 11” behind, and tied round
Habit bodice
with tape. It had a stand collar and ruffled shirt front,
(F)
buttoned with two buttons; the sleeves frilled at the
wrist. It was worn under a waistcoat.
A long cuirasse bodice with long basques or with
the back of the basque cut into short tabs or coat-tails Period: 19th century.
similar to those found on a postilion’s coat behind. The Worn as a fill-in for a day dress. In 1815 a ruff was
bodice open in front and worn with a waistcoat. added to the neck; often of cambric or muslin. A habit
Habit d’escalier shirt was often called a chemisette.
(F) Hacking jacket
Period: Late 18th and early 19th centuries. (F & M)
A full evening dress with half robe and short sleeves slit Period: Late 19th century onwards.
open from below and joined by ribbon ties resembling A full-skirted, single-breasted jacket, with a long skirt
the rungs of a ladder. and either a centre back vent or two side vents. Usually
Habit glove made in tweed and worn for riding.
(F) Later, in the 20th century, it became a fashionable riding
Period: 18th century. jacket.
A lady’s riding glove; some of these were of grey kid, Hair-band
some of York tan; usually short and resembling men’s. (F)

Hair cap 98
Period: 15th–17th century. Half dress

A ribbon or fillet for binding the hair. (F & M)
A term denoting the costume worn at day functions and
A structured band of stiffened fabric or plastic, of vari-
at informal evening ones.
ous widths, which held the hair back from the face.
Half-gaiters
See Alice band.
See Spats.
Hair cap
Half handkerchief
(F & M)
(F)
A travelling wig.
Half of a square of fabric cut diagonally across; usually
Hair colour
decorative, and in the 18th century it was worn usually
(F & M)
on the head or round the neck.
There were always preferred hair colours at certain peri- Period: 1800–1830.
ods and methods, both primitive and subtle, of achiev- An evening cap of triangular shape pinned to the crown,
h ing them; coloured wigs, powdered hair, and dyestuffs with the point behind and the straight side curving round
including henna and peroxide were used until, in the the head. From the 1830s this style is generally known
second half of the 20th century, sophisticated colour as a fanchon.
ranges for home or professional application became Half hose
widely available. (M)
Hair-do Period: 19th century.
(F) A tradename for socks.
Period: 1930s onwards. Half kirtle
An American term for a method of arranging and styling See Kirtle.
the hair. Half robe, half gown, demi-habillement
See Coiffure. (F)
Hair lace Period: 1794 to early 19th century.
Period: 16th century. A low-necked, thigh-length tunic with short sleeves,
A synonym for either a hair-band or a crosscloth, the worn over a round gown and pulled in at the waist with
purpose of the latter being “to keep the wrinkles out a narrow ribbon tie or belt.
of their foreheads” (1698, Fryer, East India and Persia). Half shirt
Hair pieces (M)
Period: 16th century onwards. A short shirt with decorative front, intended to be worn
Usually lengths of hair or sections to add bulk to curls, over a full-length plain shirt or one that had become
ringlets or similar. Made of human hair until synthetic soiled.
hair became available in the 20th century. A late-20th-
century variant was extensions, to add length and bulk
Sometimes called shams. “Half-shirts or shams of
to women’s hair.
coarse linen” (1772, Nugent, History).
Hair style
(F & M) (F)
Period: Medieval onwards. Period: 18th and 19th centuries.
The manner in which hair was cut, curled or straight- Half shirts of a coarse fabric were occasionally worn by
ened; its length and arrangement on the head. Often countrywomen.
involving trained barbers or hairdressers, though across Half sleeves
the centuries the cutting, washing, colouring and ar- See Fore sleeves.
ranging of hair has often taken place within the domes- Halter neck
tic setting. (F)
See Coiffure. Period: 20th century onwards.
Half boots A method whereby a bodice is supported by a band of
(M) fabric passing round the top of the neck but revealing
Period: Late 18th to early 20th century. the rest of the back and shoulders. It can be high or
A name given to boots reaching to just below the calf low-cut at the front and the halter can be tied or but-
of the leg. toned in place.

99 Handkerchief
Hammercut beard occasionally with a standing ruff. “12 rouffe bands and
(M) 8 payre of handefalles £1.10” (1604, Inventory of Wm.
Period: ca. 1618–1650; rarely to 1660. Spicer, Exeter Records).
This combined beard and moustache, the small Handkerchief
straight or, rarely, twisted tuft under the lower lip forming (F & M)
the handle of the hammer; the moustache, waxed hori- Period: 16th to late 18th century.
zontally, forming the cross-piece. “Some with hammer- Although its history goes back much earlier, it was in the
cut or Roman T” (1621, J. Taylor, Superbiae Flagellum). 16th century that the handkerchief became especially
Handbag popular. Often distinguished as a pocket handker-
(F & M) chief, this was a square of linen or silk, often edged
Period: 19th century onwards. with lace, carried about the person and used for wiping
A term originally descriptive of a small travelling bag the face or nose; the more elegant styles being used
of the sort made famous by Lady Bracknell in Oscar for display only, e.g. “five handkercheves wrought with
Wilde’s The Importance of Being Earnest, first performed golde and red silke” (1556, Nichols, Gifts to Queen
in 1895. More usually, by the late 19th century, a British Mary).
term for a woman’s bag of the type that is suspended by See Buttoned handkerchief, Tasselled handkerchief.
handles from the hand or, later, the shoulder. Souvenir handkerchiefs date back to the 17th century
Hand cloth and include printed maps, performers, unusual events,
See Handkerchief. etc.; if used they were often acquired by snuff-takers. In
Hand cuff the 19th century, alongside the black-edged handker-
See Hand fall. chiefs carried by both sexes for mourning, at the death
Hand fall of notable people huge mourning or commemorative
(F & M) handkerchiefs were produced, printed with the portrait
Period: 17th century. of the deceased and details of his life.
A turned-back, spreading cuff, sometimes double,
trimmed with lace and starched. It might be worn Period: 19th and early 20th centuries.
with a standing or falling band, with a falling ruff and (M)

Handkerchief dress 100
Men’s handkerchiefs were always larger than women’s, Hand sleeve

often coloured for day use, with black for mourning Period: 16th century.
(1804) or, later, with a black border up to an inch wide. The term for the wrist portion of a sleeve and not a
“Generally of silk, cotton not being known among the separate item.
middling ranks since the duty has been taken off silk” Hanger
(1830). India coloured silk and foulard bordered with a See Coat-hanger, Shoulder belt.
white stripe were fashionable in the 1830s. Hanging sleeves
See Bandana, Belcher. (F & M)
By 1840 a white silk handkerchief, often embroidered Period: ca. 1400–1560.
and edged with lace, was fashionable for evening wear. Wide, long, tubular sleeves with a slit in the upper half
By ca. 1870 the plain white cambric was correct for day through which the arm could emerge, leaving the sleeve
and evening, the former carried in the outside breast pendant. Some nearly reached the ground. Worn with
pocket, the latter in the tail-pocket. gowns, houppelandes, jackets and jerkins and
In the 1890s there was a fashion, borrowed from the sometimes with women’s dresses of the French far-
military, of wearing the day handkerchief in the cuff of thingale style.
the left sleeve. At the close of the century a red silk
h Period: ca. 1560–1640.
handkerchief was often worn tucked into the opening of
Sham or false hanging sleeves were worn by both
the evening-dress waistcoat.
sexes. Men’s garments had pendant streamers at-
(F) tached to the back of the arm-hole; the remains of a true
Women’s handkerchiefs, for day use, were of white hanging sleeve had become merely ornamental. Worn
cambric, linen or cotton; for evening, they were often of sometimes with jerkins.
lace or edged with lace or embroidery; about the mid- Women’s sham hanging sleeves corresponded to those
dle of the 19th century the corners of the handkerchief worn by men.
were rounded. By the 1890s the diminutive “hanky” was
(F)
being used.
(F & M) Another form of a sham hanging sleeve was represented
Period: Early 20th century onwards. by the leading strings worn by children, and remained,
The distinction between the size remained; men’s as a sign of youth, for girls and young women. “Carry
handkerchiefs were silk for breast pockets, and cotton my wedding suits to Mrs. Arnold and tell her she has
in white, colours or patterns for actual use. Women’s forgot the hanging sleeves to the gowns” (1754, S.
were similarly silk for display, often patterned, and plain Richardson, The History of Sir Charles Grandison).
white or edged with lace or embroidered in one corner. Hanselin, hanslein, henselyns, haunseleynys, hense
Towards the end of the century paper handkerchiefs lynes
became usual and were made in several sizes. (M)
Handkerchief dress Period: Late 14th and early 15th centuries.
(F) The extremely short doublet, also called a paltock,
Period: 1880s. which was fashionable. Also spelt “hanslet” or “anslet”.
A dress composed of pieces of fabric resembling large Haori
bandanna handkerchiefs. “Two compose the tunic, (M)
the point of the lower reaching nearly to the hem of the A Japanese term for a traditional style of short, loose,
skirt which is plain in front, the back kilted. The point open coat worn over a kimono. Usually of silk and deco-
of the upper handkerchief shews beneath the deep rated with emblems or other designs.
basqued jacket-bodice, which is plain, coat-shaped Harem pants, harem skirt
with revers and worn with a waistcoat.” (F)
Handkerchief points Period: ca. 1909 onwards.
(F) Another style associated with the arrival of the Ballets
Period: Early 20th century onwards. Russes in Paris in 1909. These loose, wide-legged
An overskirt, or layered sections of fabric making-up a trousers gathered into the waist and ankles were worn
skirt, creating a loose, floating, zigzag effect like an as- in the evening and were popular at various times later
semblage of handkerchiefs with angled points. in the century.
Hand ruff The skirt was a modest variant at a time when few
(F & M) women wore any form of trousers and was not dissimi-
Period: 1560–1630s. lar to a hobble skirt.
A small wrist-ruff. A “pair of ruffs” meant hand ruffs only. Hare pocket
See Ruffles. (M)

101 Hat pin
Period: 19th century In the late 16th century these were very elaborate, often
A large pocket inside the skirts of a shooting jacket or of goldsmith’s work and enamelled, set with gems and
coat. pearls, or formed of a string threaded with buttons of
Harlot, herlot precious metal. In the late 16th century the absence of a
(M) hat-band, together with a dishevelled appearance, was
Period: Late 14th century. said to indicate that the wearer was in love.
This usage is problematic but might, conceivably, be See Love.
connected to one medieval meaning of “harlot” which is The cable hat-band, a late-16th-century fashion, was
buffoon and one meaning of “herlot” which is acrobat. made in a twisted design resembling rope. “I had a gold
The Cunnington and Beard definition is of a garment for cable hat band, then new come up; it was a massie
the lower limbs in which the hose legs (like stockings) goldsmith’s work” (1599, Ben Jonson, Every Man out
and the breech were combined to form one, resembling of his Humour).
modern “tights”. Previously separate hose legs had See Mourning band.
been worn and presumably the term “harlot” was used Hat cap
for this new fashion, which by many was considered (M)
indecent (see Chaucer, The Parson’s Tale). Period: 17th century.
Harvest gloves The hat cap was part of the military equipment for the h
(M) English Foot sent to Ireland in 1601.
See Dannock, Hedger’s gloves.
Hasp
(M) (F)
An ornamental hook and eye fastening for coats A term for a day cap worn under a hat.
instead of buttons. “A set of gentlemen who take the See Under cap.
liberty to appear in all public places without any buttons Hatire
on their coats, which they supply with little silver hasps” See Attire.
(1711, The Spectator). Hat pin
Hat (F)
(M)
A head-covering generally consisting of a crown and
brim; always designed to draw attention to a man’s
head, emphasizing the social class of the wearer;
contrasting with the insignificant, close-fitting cap of
the working man. Worn indoors as well as out until ca.
1680, and in church until that time.
(F)
Hats were rarely worn by women until the late 16th
century, except for travelling, and usually considered
frivolous; hence in the 19th century hats were consid-
ered less proper than bonnets for women to wear on
Sundays or in church, until ca. 1875.
Hat à la Reine
(F)
Period: 1863.
A hat of Italian straw with a shallow brim turned down all
round a small, flat crown with a narrow ribbon hat-band,
the fringed ends of which hung down behind.
Hat-band
(F & M)
A length of gold, silver or coloured silk or ribbon, bound
about the base of the crown of a hat as an ornament.

Hat-screw 102
Period: Late 19th century onwards. Head band

With the shift from bonnet to hat it was necessary to (F & M)
ensure the latter did not move from its fashionable posi- Period: 16th to early 18th century.
tion on the head or blow away, and hat pins became Synonymous with crosscloth, although separately
a decorative accessory for most women. They were at named in technical documents. Like the crosscloth, it
their longest, up to 14 inches with ingeniously styled was supposed, when medicated, to induce sleep. “To
heads, in the period between 1900 and 1914. The width promote sleep take common roses with the white of an
and height of hats was supported on “transformations” egg well beaten…and make an Head band or fillet of it”
(pads of false hair) into which the pin could be pushed (1725, Bradley, Family Dictionary).
without scratching the scalp. Head cloth
Hat-screw (F)
(M) Period: Medieval.
Period: Late 18th and early 19th century. Synonymous with kerchief.
An implement, usually of boxwood, consisting of a Head-dress, head-dressing
screw-shaft with a curved, horizontal piece at each end; (F)
used to stretch the cylindrically shaped crown of a bea- Period: 16th century onwards.
h ver hat into an oval to fit the wearer’s head. “The natural A descriptive term for what was worn on the head.
shape of the common hat which, by its being made on a See Head.
perfectly round block, requires to be brought to the oval Headgear
shape by means of a screw…liable when exposed to (F & M)
rain to get soft…and return to its round form.…” Period: 16th century onwards.
The need for a hat-screw was abolished in 1817 by Any form of head covering.
the invention by Messrs Dando & Co. of the “Improved Head kerchief
Oval-shape Beaver Hat, being finished upon an oval Period: 17th century.
block, nothing can cause it to lose its shape…” (1817, A large handkerchief folded cornerwise and worn on
Advertisement, Ipswich Journal). the head.
Haute couture Head rail
A French term describing the highest form of fashion- Period: 16th and 17th centuries.
able design and dressmaking, initially found in Paris and A large form of kerchief or veil worn on the head and
later elsewhere in the world. flowing down behind; generally edged with lace; some-
Hawaiian shirt times starched and sometimes wired up over the head
(M) between 1590 and 1620. “For mendinge, washinge
Period: 1950s onwards. and starchinge of a heade raille of fine sipers edged
A loose, brightly coloured shirt printed with bold pat- rounde aboute with white thred bone lace” (1588,
terns of flowers, birds, etc. found in Hawaii and taken Egerton MS).
back to mainland America as tourist souvenirs and Head scarf
copied by other shirt-makers. (F)
Hawk-glove, hawking glove Period: 20th century onwards.
(M) A scarf worn as a head covering instead of a hat. In
Period: 13th century onwards. previous centuries scarves and shawls were often worn
A short glove worn on the left hand as a protection when by poorer women in place of a cap, bonnet or hat.
the hawk was being carried on the wrist. In the 16th In the 20th century a square or length of fabric could
century some of these gloves were lined with velvet and be tied around the head in several combinations which
some embroidered. “Hawking glove” is the later term. were practical or fashionable. They were much worn
Head during World War II and after. Chic brands compete to
(F) produce silk scarves for elite women.
Period: Late 17th and 18th centuries. Head suit
Often called a tête. The shortened term for head-dress, Synonymous with head-dress.
generally indicating an indoor cap, but by the end of Heart breaker
17th century it often included the whole arrangement of (F)
the coiffure. “Lost, a Head with very fine looped lace” See Crêve-coeur
(1700, The Protestant Mercury). (M)
See Quadrille head. See Love lock.

103 Highlows
Heart-shaped head-dress Henrietta jacket

(F) (F)
Period: ca. 1420–1450. Period: 1890s.
A descriptive term applied later to the bosses or tem- A three-quarter-length, loose jacket with a deep collar
plers covering the ears and extending upwards above falling over the chest in front; lined with quilted satin or
the head, together forming a U-shaped dip above the merv.
forehead. These were secured by a decorative circlet Herigaut, herigald, heregaud, gerygoud, herigans
and draped with a veil falling at the back. (M, rarely F)
Heavy swell Period: Early 13th to early 14th century.
(M) A gown-like garment of three-quarters to full length with
Period: 1860s. full, generally hanging sleeves.
Term applied to ultra-fashionably dressed young men. See Garde-corps.
A “rank swell” was a flashily dressed person drawing Heroin chic
attention to himself. (F)
Hedger’s gloves, hedging gloves Period: 1990s.
(M) The use of slender, waif-like models with angular bones
Period: 16th–19th century. and pale, exhausted make-up to promote lingerie, h
A countryman’s mittens. skinny T-shirts and other forms of clothing. The asso-
See Dannock. ciation with drugs was, supposedly, that this was how
Helmet cap some models ensured that their tiny bodies did not put
(F) on weight. This movement was the start of the dan-
Period: 1810. gerous fad for ever thinner and ever younger models,
A day cap domed and shaped like a helmet, generally leading to the public debate about the impact on the
made up in stripes of lace and embroidery and tied un- impressionable young.
der the chin with ribbons. Hessians
In the 1960s the term was applied to a sleekly elegant (M)
cap designed by Pierre Cardin (b. 1922). Period: 1790s–1850s.
Helmet hat Short riding boots, calf-length behind and generally
(M) curving up to a point in front to below the knee-cap, and
Period: 1870s. there decorated with a tassel. Made of black leather,
A hat with a helmet-shaped crown and narrow brim, sometimes bound round the top with a narrow border
made of cloth; chiefly worn at the seaside. of coloured leather.
Hemispherical hat Heuse, huseau, housel, houseau
(M) (M)
Period: 1850s and 1860s. Period: 1240s to late 15th century.
A hard felt hat with bowl-shaped crown and narrow, flat A long riding boot reaching to mid-thigh and fitting the
brim. By 1858 it had developed a knob on the crown, leg by means of buttons, buckles or straps on the outer
and was sometimes called a Bollinger; replaced by the side of the leg. “Heuse” is the earliest form of the word.
bowler in the 1860s. High-head
Henley boater (F)
(M) Period: Early 18th century.
Period: 1894 onwards. Synonym for the fontange.
A blue or drab felt hat in the shape of a straw boater. Highlows
Hennin (M)
(F) Period: 1750–1800.
Period: 1450–1500. Boots reaching to the calf of the leg and laced up in
French term for the steeple-shaped head-dress; very front; made of stout leather. Worn in the country and by
rare in England. Generally worn with “loose kerchiefs those little interested in fashion. “Dressed in…a pair of
atop hanging down sometimes as low as the ground”. Highlows” (1757, Norwich Mercury).
Henri deux cape
Period: 1890s. Boots reaching just above the ankle. “A pair of pol-
A variation of the Tudor cape but having a square yoke; ished high-lows secured across the instep with a strap
the name refers to Henri II of France (1519–1559). and buckle” (1841, Arthur Armitage, Heads of the

High-tops 104
People). Eventually becoming more elegant; “High- Period: Late 1960s onwards.
lows pass as patent-leathers” (1878, W. S. Gilbert, A pair of trousers or a skirt cut to fit from the level of the
H.M.S. Pinafore). hips rather than the waist.
High-tops Historical shirt
See Top button. (M)
Hijab Period: 17th century.
(F) A shirt embroidered in religious subjects.
A long, rectangular, black cloth or scarf which is “Sure you should not be
wrapped around the head and shoulders, covering the Without a neat historical shirt” (ca. 1619, J. Fletcher & P.
hair and flesh and held by safety pins. Usually worn by Massinger, The Custom of the Country).
Muslim women for cultural or religious reasons, often See Holy work.
with the jilbab and sometimes with the niqab. Hive
Himation (F)
(M) Period: Late 16th to mid-18th century.
Period: Classical Greece. A high-crowned, hive-shaped hat of plaited straw with
The outer garment worn over the chiton, described as narrow or no brim. “Upon her head a platted hive of
h “an oblong piece of cloth thrown over the left shoulder, straw” (1597, W. Shakespeare, Lover’s Complaint).
and fastened either over or under the right” (Liddell & “…the hive, the milkmaid’s chip hat, were rescued for a
Scott, Greek-English Lexicon). time from old women and servant girls to adorn heads
Hip bags of the first fashion” (1754, The Connoisseur).
(F) H-line
Period: 1883. (F)
A popular slang phrase for the pannier folds “known in Period: 1954.
England as the Pompadour” and in America as the “cur- The name given by the French designer Christian Dior
tain drapery”, which were draped across the hip region. (1905–1957) to his autumn collection which Vogue
Hip-buttons described as “the tapering figure of a young girl” by
(M) increasing the distance between hips and bust.
Period: Late 17th century to ca. 1900. Hobble skirt
The pair of buttons at the back of a skirted coat, head- (F)
ing the pleats on each side of the back vent; in the 19th Period: ca. 1909–1915.
century generally at waist-level, and after 1823 on the A style attributed to the French designer Paul Poiret
seam at the waist. There is no evidence that these but- (1879–1944). The skirt narrowed towards the hem and
tons were ever functional. was sometimes held beneath the knees with a decora-
Hippie style, hippy style tive band of fabric. Probably influenced by the designs
(F & M) for the Ballets Russes which were first seen in Paris
Period: 1950s. in 1909.
A term appropriated from the hipsters of the early 1950s. Hodtrene
This was an alternative approach to fashion espoused (F)
by the young and demonstrated through their choice of Period: 1500–1550.
clothing, which mixed recycled but colourful old clothing Probably the draped fabric or pendant lappets at the
with patchwork, psychedelic colours, and some ethnic back of a hood, as in the English hood or French
elements such as Indian fabrics and Afghan coats. hood.
Often long, wild hair styles, beards and bare feet were Hogger
part of the look. See Oker.
Hip-pocket Hollow lace
Period: 1890s onwards. A form of braid lace used for edging.
A cross pocket, with or without a flap, placed at the Hollywood style
back of the hip of trousers. (F & M)
See Caddie. Period: 1920s onwards.
To be distinguished from the tailoring phrase “pockets The increasing dominance of American cinema
on the hips”, meaning outside pockets over the hip throughout the world from the post-World War I era had
region in a skirted coat. an impact on clothing. What was worn on the screen
Hipster quickly became desirable, and the appearance of every-
(F & M) thing from men’s suits to women’s evening dresses and

105 Horsehair petticoat, crinoline petticoat
hair styles were imitated accordingly. dressed youngster wishing to conceal their identity.
See Capri pants. Hooker chic
Holy work, hollie work (F)
Period: Late 16th and 17th centuries. Period: Late 20th century onwards.
Lace, cut-work and embroidery representing re- Various meanings based on the slang term for a prosti-
ligious subjects, used in the ornamentation of shirts, tute, a style of discreet disguise unexpected from such
smocks, bands and domestic linen. “Collars of Hollie a profession; a style of dress encouraging inappropriate
work” appear in an inventory of Mary Queen of Scots sexual interest, i.e. short, tight and revealing too much
in 1578, but the fashion was spread by Puritan ladies flesh, found on women, on dolls and impacting upon the
towards 1620. type of clothing worn by pre-pubescent girls.
“She works religious petticoats; for flowers Hooks and eyes
She”ll make church-histories. Her needle doth Period: Early 17th century onwards.
So sanctify my cushionets! Besides my smock sleeves Known in the 14th century as crochets and loops,
have such holy embroideries but as hooks and eyes from 1620 on. “The needle
And are so learned, that I fear in time lance Knights…put so many hookes and eyes to every
All my apparel will be quoted by hose and doublet” (ca. 1626, Egerton MS., Duke of
Some pure instructor” (1631, Jasper Mayne, City Devonshire). They were made of iron hammered flat; h
Match). in the 18th century often of copper, sometimes tinned;
See Religious petticoat, Historical shirt. early in the 19th century of brass; by 1840 of wire (brass
Homburg hat or of japanned iron) and in the 20th century of stainless
(M) steel.
Period: 1870s onwards. See Hasp.
A stiff felt with a dent running from front to back in the Hoop, hoop petticoat
crown, the brim braided and slightly curved up at the (F)
sides. A style made fashionable by the Prince of Wales, Period: 1710–1780, to 1820 for court wear.
later Edward VII, who frequented the German spa town An under-petticoat variously distended with cane,
of Homburg. wire or whalebone hoops. For the different shapes
Home dressmaking see bell hoop or cupola coat, fan hoop, oblong
Period: 19th century onwards. hoop or square hoop, pocket hoop. Also, the term
At much the same time that professional dressmaking “hoop” was occasionally applied to the farthingale of
was moving in several different directions, namely exclu- the 16th century. “The hoopes that hippes and haunch
sive shops with well-known owner/makers, small local do hide” (1596, Gosson, Pleasant Quippes for Upstart
dressmaking businesses and sections within depart- Newfangled Gentlewomen).
ment stores offering readymade and couture garments, Horn button
there was an increased surge in home dressmaking. Period: 18th and 19th centuries.
This was assisted by the invention of the sewing ma- A button of moulded horn.
chine and the sized pattern, both becoming generally Horned head-dress
available in the 1860s. (F)
See Butterick. Period: ca. 1410–1420; rarely to 1460.
Hood A head-dress worn with wide templers and wired up
(F & M) to resemble horns from which a pendant veil curtained
Period: Medieval onwards. the back of the head. “She is hornyd like a kowe…for
A term usually indicating a loose, soft covering shaped syn” (ca. 1460, The Townley Mysteries, 312, Surtees
to fit over the head; worn as a separate garment or Society).
sometimes attached to an outdoor garment such as a Horns
cloak, etc. (F)
The name often loosely applied to other kinds of wom- Period: 14th century.
en’s head coverings, such as the French hood. Originally identical with bosses and so named because
See Chaperone, Capuchin, Long hood, Pug hood, the spirally lapped bosses began to resemble rams’
Short hood. horns.
Hoodie Horsehair petticoat, crinoline petticoat
(F & M) (F)
Period: Late 1980s onwards. Period: 1840s–1850s, 1868–1870.
A British term for a hooded fleece, sweatshirt or An under-petticoat made of crinoline, a fabric with a
similar. Also, pejoratively, as a description of a loutishly horsehair warp and wool weft. The petticoat might be

Horse-shoe cap 106
six feet round the hem, which was often stiffened with Houppelande
lines of piping. Used to distend the skirt, but replaced (F & M)
by the cage crinoline and revived for a few years when Period: Mid-14th and 15th centuries.
the cage was going out of fashion. A term introduced in France around the time that
Horse-shoe cap “goun” or “gown” appeared in England. It was a volumi-
(F) nous upper garment fitting the shoulders and generally
Period: Mid-18th century. falling in tubular folds. The length varied from reach-
A small day cap with long lappets. ing the thighs to trailing on the ground (in ceremonial
Horse-shoe collar costume). Earlier forms had high, bottle-neck collars
(F) expanding round the head; in later forms the collar
Period: 1950s. varied. Sleeves very wide, expanding to a funnel shape
A deep, U-shaped roll collar, in the shape of a horse- below; bagpipe sleeves were common in the 15th
shoe, found on some fashionable clothing of this century. A belt was usual but optional. After 1450 the
decade. term gown was more usual, but the term pellard was
Hortense mantle also applied to a houppelande, according to Ducange
(F) in the late 16th century, and this was picked-up by later
h Period: 1849. dress historians.
A three-quarter-length mantle with a falling collar and House coat
lapels, and a square-cut, fringed cape descending to (F)
the waist. Named after Queen Hortense (1783–1837), Period: Early 20th century onwards.
the mother of Napoleon III. “A superior type of dressing gown worn at home in
Hose the evening, or for breakfasting” (1973, Mansfield &
(M) Cunnington, Handbook of English Costume in the
Period: Medieval to 15th century; after ca. 1660. Twentieth Century 1900–1950). Possibly a variant of the
The word meaning leg-wear or covering, with long, house dress or teagown.
tailored stockings being united at the fork and carried House dress
up over the buttocks forming tights. These were known (F)
as long-stocked hose. In the 16th century the upper Period: 1877 onwards.
portion was expanded and this was variously termed A plain princess robe, sometimes with a Watteau
trunk-hose, round hose, or upper stocks, the lower back, trained, worn without corsets informally at
stocking portion called nether stocks. breakfast and indoors during the morning. By 1890 it
had become a close-fitting teagown.
(F) Housemaid skirt
Period: Medieval onwards. (F)
Hose meant stockings. “Her hosen weren of fine skar- Period: 1884.
let redde, Ful straite y-tyed” (ca. 1387, Chaucer, The A plain skirt with five or six tucks round the lower part;
Wife of Bath). worn informally by young women.
Hosiery Houvette
Period: Late 18th century. See Howve.
A collective term for all goods sold by a hosier; any Howling bags
items frame-knitted, from stockings to waistcoats. In (M)
the 20th century more usually socks, stockings and Period: Mid-19th century.
tights. Slang term for trousers with a loud pattern.
Hotpants Howve, houve
(F) (F & M)
American term applied to very tight, brief shorts worn A hood.
as a fashion statement rather than for leisure activities; See Houvette, Huvet.
often made of colourful and luxurious fabrics. Hoxter
Hounds ears (M)
Period: ca. 1660–1690. Slang term for an inside pocket of a coat.
A popular name for the rounded corners of the large Huke, hewke, heyke, huque, hewk, hyke, heuque
coat-cuffs with a deep turn-up and open behind. (F & M)

107 Hydrotobolic hat
Period: ca. 1400–1450; rare later. The shaggy hair of a man’s head. “A staring, horrid,
Mentioned in French literature in the 13th century, this unkembed, or ill-kept pate of hair” (1611, Cotgrave).
was a short overgarment of tabard design with front and Also a cap of the skin of an animal with the hair on; later,
back panels; occasionally with sleeves and generally possibly, a cap of piled felt or thrummed material; and
belted, probably also a form of cloak. still later, a round-topped felt cap.
Hush Puppies
(F) (F & M)
Period: 16th and 17th centuries. Period: Late 1950s onwards.
A large head rail or veil enveloping the wearer to knees Brushed pigskin, patented as shoe leather in America
or ankles. It was known to English travellers from its use in 1957 and used to make a classic, brown-suede,
by women in the Low Countries, although it originated in Oxford-style, laced shoe. This style was launched with
Spain, where it later became the mantilla. It is doubtful the brand name, Hush Puppies. These were comfort-
if it was ever worn in England, though the expression “to able, low heeled, lace-up shoes and were popular when
huke”, meaning to veil, was used here. fashionable shoes were narrow and uncomfortable. In
Hungarian cord the 1960s Mods wore them, and over successive dec-
(F) ades many different styles and colours were introduced
Period: 1860s. into the range. h
A substantial silk cord used to border the hem of a Husky
trained skirt, in place of the conventional braid; particu- (F & M)
larly popular in 1867/8. Period: Second half of 20th century onwards.
Hungerland band A sturdy, quilted jacket often made from quilted nylon,
(F) sometimes with a contrasting turn-down collar of leather
Period: 17th century. or needle cord. Devised to cope with cold and damp
A kind of lace sometimes used for making bands, conditions in the country, it became a design classic for
i.e. collars; presumably “point de Hongrye”, a lace town amongst certain social groups in Europe. Variants
made at Halle of a style and pattern accepted as being include the use of other fabrics and a body warmer or
Hungarian. waistcoat version.
Hunting belt See Puffa.
(M) Hussar boots, buskins
Period: 1820s. (M)
A belt of whalebone worn by the dandy in the hunting Period: Late 18th century to 1820s.
field. Calf-length boots with a dip at the centre front top edge
Hunting necktie and a tassel on either side.
(M) Hussar jacket
Period: 1818–1830s. (F)
A very broad necktie worn high round the neck, with Period: 1880s.
three creases each side verging towards the centre in A short jacket, braided and frogged; worn with a waist-
front; the ends brought forward and crossed over and coat to form the bodice portion of a day dress. From
concealed under the coat; secured by a pin. 1887 worn as an outdoor jacket.
Hunting stock Hussar point
(M) (M)
Period: 1890s onwards. Period: 1820s.
A large scarf of cellular cloth, folded and tied twice A feature appearing in the cut of waistcoats, the bottoms
round the neck, concealing the absence of a collar. “But of the foreparts shaped to produce a beak-like point in
few there are who can wear a hunting-stock and still the centre curving downwards when the garment was
look like a gentleman” (1898, The Tailor& Cutter). buttoned up. The sides of the foreparts “hollowed”, i.e.
Huntley bonnet cut with a slight curve over the hips.
(F) Huvet
Period: 1814. See Howve.
A style of bonnet, also known as a “Scotch bonnet”, Hydrotobolic hat
made in twilled plaid sarcenet and trimmed with a ro- (M)
sette and three feathers. Period: 1850s and 1860s.
Hure A hat with the crown ventilated by having a small hole
(M) in the centre protected by wire gauze. “Becoming very
Period: Late 13th to 17th century. general” (1851, Punch).

Imbecile sleeve, sleeve à la folle 108
I
Imbecile sleeve, sleeve à la folle product. A patent for its use was registered in 1823.
(F) “A recent discovery substituting India rubber for elastic
Period: 1829–1835. wires” (1831).
A day sleeve very full down to the wrist and there gath- Previously brass-wire springs covered with cloth had
ered into a narrow cuff. No stiffening but “falls down in all been used.
its amplitude”. Named after the sleeve of the “straight- Indispensable
waistcoat” worn by lunatics. (F)
Imperial Period: 1800–ca. 1820.
(M) A small handbag of soft fabric such as silk or velvet,
Period: 1829 onwards. often square or lozenge-shaped, drawn in with a run-
Term describing a loose, fly-fronted paletot overcoat. ning string; suspended from the arm or hand by a length
Also, a narrow tuft of beard below the lower lip. of ribbon.
Inchering See Ridicule.
Period: 18th century. Ineffibles
i Measuring a person in inches for making a garment. (M)
“Pd. for Inchoring the girls 2d” (1729, Walthamstow Period: 19th century.
Records). One of the many euphemisms for breeches or trousers.
Incroyable bows “Our lower garments or Ineffibles sit but awkwardly”
(F) (1823, New Monthly Magazine).
Period: 1889. Inexpressibles
Huge bows of lace and mousselaine de soie, worn at (M)
the throat with Directoire-style garments. Period: Late 18th and early 19th centuries.
Incroyable coat A euphemism for breeches or trousers.
(F) See Unmentionables.
Period: 1889. Intarsia
A coat with long coat-tails and wide lapels, worn with a Period: 19th century onwards.
lace jabot and waistcoat for afternoon dress; intended Term applied to inlaid, patterned motifs of glass, stone,
to resemble the swallow-tail coat of the Directoire pe- etc. set into metal as jewellery.
riod of French history (1794–1799). A fashion attributed Also used in knitting to describe patterns created in two
to Lillie Langtry in a play of 1886 and also to Sardou’s or more coloured wools.
play La Tosca (1887). Inverness
Indian necktie (M)
Period: 1815–ca. 1840. “The new name for the Cape Paletot.” A large, loose
A muslin cravat, the ends brought round in front overcoat, about knee-length, with a fitting collar and
and secured by a sliding ring. In 1818 it was called a deep arm-length cape. In the 1870s the cape was usu-
“Maharatta”. ally incomplete behind, being sewn to the side seams.
Indian nightgown, Indian gown By the 1880s the sleeves were often omitted, the cape
(F & M) being sufficient and then called “Dolman cape sleeves”.
Period: 17th and 18th centuries. However, between 1890 and the early 20th century
A synonym for a banian or banyan. there were very large arm-holes under the cape, which
Also a term occasionally used for a woman’s négligée were faced with a sling or “arm-rest” to support the
attire. “Contented…instead of a variety of new gowns forearms.
and rich petticoats, with her deshabillie or flame-colour Irish mantle
gown called Indian” (1673, Wycherley, The Gentleman Period: 15th century.
Dancing Master). Term used for a cloak, or a blanket.
India rubber See Bratt.
Period: 19th century onwards. Irish polonaise
An elastic or flexible material taken from the sap of (F)
rubber trees and processed to form various types of Period: 1770–1775.

109 Jack boot
A day gown with a close-fitting, low, square-cut bodice Italian heel

fastened close down the front and fitting behind. The (F)
bodice had an overskirt pleated to it, this overskirt being Period: 1770s onwards.
bunched up behind and open in front. The underskirt, A small, peg-top heel with slender waist, placing the heel
called a petticoat, was worn short. This style of polo- forward under the shoe with wedge extension under the
naise was also called “Italian”, “French” or “Turkish”. instep. The heel was made of wood covered with kid of
Isabeau corsage a colour different from that of the shoe, generally white
(F) or cream.
Period: 1846. Italian hose
The bodice resembled a jacket descending to just below (M)
the hips where the edges were rounded off. The front, Period: ca. 1600.
open at the bottom, was trimmed across with bands of Synonym for Venetians.
galloon and silk buttons. The neck was cut high with Italian nightgown, Italian robe
a falling collar; the sleeves nearly wrist-length with an (F)
open mancheron below each shoulder. A style of dress Period: 1770s.
for morning wear. A day dress of a semi-formal nature (see Nightgown).
Isabeau sleeve The bodice, with low neck and elbow sleeves, was
(F) boned and joined to a long overskirt open in front. The
Period: 1860s. underskirt, called the petticoat, was of a colour dif-
A triangular-shaped sleeve, the apex at the shoulder ferent from the rest of the gown. The overskirt could
and widely open below; made with an inner and an be hitched up like a polonaise by “loops to two small j
outer seam. Used for dresses, often with an under buttons on the hips”, or by running strings in the lining
sleeve or engageante; also used for the pardessus which were fixed to the hem, emerging at the waist with
and the Maintenon cloak. a large tassel at each hip, “by which they draw up the
Isabeau-style dress robe to dance country dances”.
(F) Italian polonaise
Period: 1860s. (F)
A day dress, the bodice and skirt in one, shaped to the Period: 1770s.
figure by goring, without a seam at the waist. A line of Synonymous with Italian nightgown or Italian robe.
buttons or rosettes all down the front. Ivy League
Italian cloak (F & M)
(M) Period: 1930s onwards.
Period: 16th and 17th centuries. Term describing styles of clothing worn by American
A short, hooded cloak; the same as the Spanish cloak students at wealthy and long-established East
or Genoa cloak. “He wears a short Italian hooded Coast “Ivy League” colleges. Traditional rather than
cloak” (1590, Marlowe, Edward II). innovative, and not dissimilar to the conservative
Italian farthingale dress of the previous generation. Sometimes called
The same as the wheel farthingale. “preppie”.
J
Jabot A short jacket; also a military garment and the term
(F) continued in use until late in the 17th century.
Period: 19th century onwards. Jack boot
A made-up cravat of lace or similar fabric, worn at the (M)
neck and sometimes frilling down the front opening of a Period: ca. 1660–18th century.
bodice or blouse. A boot made of hard leather and worn for riding.
Jack Heavy jack boots of “bend leather”, i.e. hardened by
(M) boiling or by applications of pitch paint, in the 17th cen-
Period: Late 14th century. tury had expanding bucket tops to enclose the knees

Jack chain 110
and deep, square heels and square toes. In the 18th

century the style was less cumbersome.
Light jack boots were of softer leather and sometimes
laced or buttoned on the outer side. In the 18th century
the front of the boot extended above the knee, the back
being scooped out to allow for the bending of the knee.
Half jack boots; see Jockey boots.
Jack chain
(M)
Period: 17th century, also 19th century.
A form of decoration; a chain made up of links each in
the figure of eight and joined at right angles. Considered
a trumpery ornament.
Jacket
(M)
Period: 1450–ca. 1630.
A short body garment varying in use, sometimes only for
boys, sometimes also for men. As an upper garment it
was worn over the doublet or occasionally alone with a
plackard or stomacher; subsequently, until ca. 1630,
j it was worn over the doublet and was often sleeveless,
and usually called a jerkin.
The jacket was the main body garment “in use among
Country people” (1706, Phillips) and was also worn
by labourers, apprentices, seafarers, postillions and
sportsmen. In the 18th century elite men used it only
when powdering.
It began to be acceptable ca. 1840 as part of a gentle-
man’s suit, replacing the coat, for informal occasions
and acquired specific associations, e.g. hacking
jacket, Norfolk jacket, smoking jacket, etc.
An informal coat for both summer and winter wear,
made of various weights and types of fabric but retain-
ing earlier connotations and acquiring new ones, such
as the sports jacket: “Sports lounge model. Two styles
of jacket” (1922, Harrods). Jack Tar suit
(F) (M)
Period: 16th century onwards. Period: ca. 1880–1900.
The woman’s jacket was an alternative kind of bodice, A sailor suit with Jack Tar trousers; worn by small
being then an essential part of the gown. It was some- boys.
times called a waistcoat in the 16th century. Jack Tar trousers
(M)
It was worn as an upper garment, mainly for sports Trousers having the legs cut without a side seam, close-
wear, or as a part of the tailor-made costume, espe- fitting above, expanding below to 22 inches round the
cially in the 1890s. ankles. Made with whole falls, and worn for yachting.
Period: 20th century onwards. Jaeger underclothes
Jackets were often matched to a dress as well as being (F & M)
a popular separate garment for day-time wear. They Period: 1880s onwards.
were made in a wide variety of weights and fabrics. Introduced by a German, Dr Gustav Jaeger (1832–1917),
See Blazer. this underclothing of natural wool was constructed on

111 Jersey
hygienic principles so as to envelop the whole trunk and Jellies

limbs. George Bernard Shaw was an early advocate. (F & M)
Gradually the company diversified into a number of lines Period: 1970s onwards.
of pure wool garments until the 1920s when it expanded Term for jelly sandals or jelly shoes, a colourful rubber or
into other, more fashionable ranges of clothing. plastic item of footwear, originally found on beaches but
Jags, jagging later worn more widely.
See Dag. Jellybag
Jambee cane See Night-cap.
(M) Jemmy
Period: Early 18th century. (M)
A knotty bamboo walking-stick. Period: 19th century.
Japanese hat A shooting coat, being a short frock coat with multiple
(F) pockets.
Period: 1867–1869. Jemmy boots
A circular, plate-shaped hat without a crown, the straw (M)
brim sloping slightly downwards from a small, central Period: 18th century.
knob; trimmed with ribbon and tied on with ribbon pass- Light riding boots, a smart form of jockey boots.
ing under the chignon. Jemmy cane
Jasey, jazey (M)
(M)
A little switch carried under the arm, most fashionable in j
A wig made of Jersey yarn.
the 1750s and 1760s.
“Jasey, a contemptuous name for a wig or even a
Jemmy frock
bushy head of hair, as if the one were actually as the
(M)
other is apparently made of Jersey yarn” (1825, Forley,
Vocabulary of East Anglia).
A smart frock; “The jemmy frock with plate buttons”
Hence a slang name for a judge: “the cove with the
(1756, The Connoisseur).
jazey”.
Jerkin, jerking
Jean de Bry
(M) (M)
Period: 1790s–ca. 1820. Period: 1450–1630.
A double-breasted coat with high stand-fall collar and A jacket worn over the doublet and following the same
low-turning lapels. Sleeves greatly padded and gathered pattern, with slightly longer skirts; sometimes made with
at the shoulders; the coat-tails short and scanty. A style hanging sleeves. In the 16th and 17th centuries jerkins
named after Jean-Antoine-Joseph de Bry (1760–1834), were often sleeveless, having wings only.
a leading member of the National Convention and a Jersey
regicide during the French Revolution. (M)
Jeanette Period: 1860s onwards.
(F) A knitted, sleeved body garment, generally made with
Period: 1836. horizontal stripes; worn for football in the 1870s and
A necklace made up of a narrow tress of hair or velvet later also worn by boys as a winter garment. “Begin
ribbon, suspending a small cross or heart. your jerseys” (November 1863, Mrs Charles Darwin to
Also, a fabric similar to jean cloth. her son).
Jeans In the 20th century the jersey was not wholly a sporting
(M) garment and was also described as a jumper, pullover
Period: 1810 onwards. and a sweater – all terms for hand- or machine-knitted
A twilled cotton cloth, jean, similar to fustian and used garments intended for casual wear.
for trousers made of this fabric, thus jeans. Later con- (F)
flated with denim, as blue jeans.
(F) Jerseys for women were often made as cardigans and,
Period: 20th century onwards. once the machine-knitted fabric was used by Coco
Term often used for cotton or denim informal trousers Chanel (1883–1971) for cardigans and skirts, it became
before proprietary brands, such as Levis, etc., were ultra-fashionable in the 1920s and later. Women also
introduced. wore jumpers and sweaters.

Jersey costume 112
Jersey costume Jim Crow hat

(F) (M)
A blue or red knitted silk or wool jersey, fitting the figure A felt hat with a very wide, flapping brim; named after the
and reaching to thigh level; worn above a serge or flan- Negro plantation song as performed by the American
nel kilted skirt. A style popularized by Mrs Lillie Langtry, Thomas D. Rice (1808–1860) in the 1830s.
the “Jersey Lily” (1853–1929), actress and mistress of Jingle spur
Edward VII. See Ginglers.
The island of Jersey had long been known for the quality Joan
of its knitted goods. (F)
Jessamy gloves, jasmine gloves Period: 1755–1765.
(F & M) Sometimes called the “Quaker cap”, this was a close-
Period: 17th century. fitting, indoor cap shaped like a baby’s bonnet, tied un-
A description of gloves heavily perfumed with jasmine, der the chin and trimmed round the face, with a muslin
but a variety of scents were used. It was a custom to or lace frill.
give a supply as a wedding present both to the bride Joan-of-Arc bodice
and to the bridegroom. Thus a prospective mother-in- (F)
law wrote: “I could not get so many woman’s Jessamy Period: 1875.
gloves as she wrote for, they being a prohibited and A tight day bodice, known as a cuirasse bodice,
scarce commodity; and at last I was fained to pick upon shaped like a pair of stays reaching to the hips, and
j cordinent (i.e. the Spanish leather, cordovan) for men covered with jet or steel beads; tight sleeves frilled at
and perfumed kid for women; I had them perfumed bet- the wrists.
ter than ordinary that they might give content” (1661, Jocelyn mantle
The Gurdon Papers, East Anglian Notes & Queries). (F)
Jet buttons Period: 1852.
(F) A mantle, knee-length, double-skirted and with
Period: 19th century onwards. three capes each fringed; with arm-holes but no
Worn in 1818 by women on half boots buttoned at the sleeves.
sides; also popular for black clothing or as a contrast on Jockey
paler hues. Jet was much used for jewellery, both in its (F)
original form and as the glass imitation, French jet. Period: 1820s onwards.
Jewellery A flat trimming applied over the outer part of the shoul-
(F & M) der of a dress and having the lower border free.
Period: Medieval onwards. Jockey boots, half jack boots
Precious or other stones set into metals and worked (M)
into various forms, bracelets, brooches, buttons, ear- Period: 1680s to late 18th century.
rings, necklaces, etc. Often a gift with symbolic or other A boot ending below the knee with turned-down top of
significance, or a memento of foreign travel. Inexpensive softer and lighter-coloured leather. Pulled on by leather
items were known as costume jewellery; the latter or string loops on each side. After 1780s called top
might use base metals, glass and plastic instead of boots.
expensive settings and stones. Jockey cap
Jigger button (M)
(M) Period: Late 17th and 18th centuries.
Period: 19th century. A peaked cap of black velvet or cloth with a hat-band
A small, concealed button, usually brass, fastening back buckled at the front above the peak and worn for riding
the point of a wide lapel or the wrap-over of a double- and other sports.
breasted waistcoat. In washing waistcoats this button
was of mother-of-pearl. Period: 19th century.
Jilbab A light silk, coloured jockey cap came into favour for
(F) racing.
One of the three garments worn by Muslim women who See Riding hat.
prefer traditional styles of dress for cultural or religious Jockey sleeve
reasons. This is a full-length, long-sleeved, black robe, (M)
often front-fastening (modern ones have zips), with Period: Late 17th century onwards.
which the hijab and niqab is worn. A close-fitting sleeve with small, close cuff.

113 Jump, jumpe, jump-coat
Jockey waistcoat waist and ankles in a washable fabric.

(M) See Track suit.
Period: 1806 to late 19th century. Joinville
A straight waistcoat buttoned high, with a low stand (M)
collar cut off square in front leaving a deep gap under Period: 1844–1855.
the chin. A fashion revived in 1884. A necktie worn as a broad, wide-spreading bow with
Jodhpurs square, fringed ends. The name was revived in the
(M) 1890s for an American scarf tie filling the space above
Period: Late 19th century onwards. the waistcoat opening.
From the Indian for trousers cut loose at the top but Joseph
close-fitting below the knee; the term was applied to (F)
riding breeches, full at the upper but tighter below the Period: Mid-17th to early 19th century.
knee, with a gaiter-like structure. Initially a cloak in the 17th century; the term was applied
to a greatcoat or a riding coat which buttoned at the
(F)
front from the early 18th century. It seems often to have
been made of green cloth.
Worn by women in preference to the riding skirt.
Josephine bodice
Jogging suit
(F)
(F & M)
Period: 1879.
An evening-dress bodice with a very low, round dé-
Clothing designed for wearing when warming-up for, or
cooling down after, this type of aerobic running. Usually
colletage and a wide silk or satin belt draped round j
in folds.
a zip-fronted, loose jacket and trousers with elasticated
Jub, jube
(M)
A short, sleeveless coat or jacket.
Juive tunic
(F)
Period: 1875.
A princess style over-bodice and skirt; the bodice with
wide arm-holes, a V-opening in front and behind; the
skirt portion falling in a point to hip level and continued
into a train behind. The tunic worn over a dress consti-
tuted a costume for outdoor wear without additional
covering.
Juliet cap
(F)
An open-mesh cap, often of metal threads and deco-
rated with beads or seed pearls. Worn in the evening
or by brides. Named after the style of cap worn by the
heroine in Shakespeare’s Romeo and Juliet.
Jump, jumpe, jump-coat
(M)
In the early part of the century, a soldier’s coat. “A
Colonel in beaten Buff with a scarlet Jump” (1639–
1660). Later, a civilian coat. “Jumpe…extendeth to the
Thighs, is open or buttoned down before, open or slit up
behind half way; the sleeves reach to the wrist” (1688,
R. Holme, Armory).
(F)
Usually in the plural, as “jumps”; a loose, unboned

Jumper 114
bodice worn instead of stays for comfort or during zipped at the front. It is similar to the boiler suit.
pregnancy. “Bought my wife a new pair of jumps instead Jupe, jupon
of stays” (1716, Marchant Diary). (M)
Jumper Period: 1290–1400.
(F & M) See Gipon.
(F)
A variety of meanings, in part deriving from the loose
upper garment or shirt worn by sailors and other work-
A riding coat generally worn with a safeguard (i.e. a
ers. Thus, a loose-fitting blouse, a pinafore dress, and a
protective over-skirt). “A safeguard with jhup or gaskyn
long-sleeved, woollen sweater.
coat of faire cullored satten” (1588, Nichols, Progress of
Queen Elizabeth).
(M)
Juppo, juppa, jippo
Period: 1861–1880.
(M)
A loose, single-breasted Tweedside jacket, the fronts
Variants of jump; often implying one of meaner quality.
cut straight with three buttons. The fit was improved
Just-au-corps, justacorps, justico, justacor, ches-
by the introduction of side bodies. Also known as an
ticore, juste
Oxonian jacket.
(M)
Jumper coat
(M)
A close-fitting coat worn over a waistcoat. “His justau-
Period: 1880s.
corps brac’d to his body tight” (1705, Elsbob, Hearne
See Beaufort coat.
Collecteana).
Jumpsuit, jumpersuit
(F) (F)
k
Period: 20th century onwards. Period: 1650–1700, late 18th century.
The idea seems to have been derived from a child’s A riding coat; in the 17th century shaped like a man’s
romper suit. This adult version is all-in-one garment, coat; in the 18th century made with short basques and
with long sleeves and ankle-length legs, which is usually often called a demi-riding coat.
K
Kaftan frock in the style of an Empire dress with high waist and
See Caftan. puffed shoulder-sleeves, the skirt trimmed with a narrow
Kall, kelle flounce; made of light fabric patterned with flowers.
A woman’s caul. Keffiyeh
Kampskatcha slipper, Chinese slipper (F & M)
Period: 1786–1788. The square head scarf folded in triangular fashion and
A slipper made with a pointed toe turned up at the tip; held in position by a cord, worn by many Arab men and
the vamp moderately high, and a low French heel. “… associated by many westerners with the late Yasser
perfectly adapted to the winter season; they are made Arafat (1929–2004), the Palestinian leader. Traditionally
of fine black Spanish leather and turned up at the toes made of a cotton and wool mix, sometimes patterned
in the Chinese taste; and securely guard the feet of with black or red checks and with tasselled corners, the
the wearer from cold by being lined with white or fox- scarf was appropriated by western supporters of both
coloured fur which is brought over the edge and forms sexes and worn around the neck to show solidarity with
the binding” (1787, Ipswich Journal). the Palestinian cause.
Kate Greenaway costume Kelly bag
(F) (F)
Period: 1880s and 1890s. Period: 1930s onwards.
A style of dress for small girls made popular by the artist Hermès, the French firm established in 1837, produced
of that name in her illustrations of children’s books. A a classic handbag inspired by saddle bags in 1935. A

115 Kimono
smaller version of this achieved worldwide publicity in Period: Early Medieval to late 18th century.
1956 when Princess Grace of Monaco (1929–1982), A draped covering for the head.
formerly Grace Kelly, appeared holding one on the cover See Coverchief.
of Life magazine. After that this style was always known In the 16th century “kerchief” was often loosely used
by her maiden name and came in a wide range of leath- for neckerchief, a similar covering for the neck.
ers and colours. Named bags were unusual until the Occasionally the term also applied to a handkerchief.
1990s; for instance, Chanel’s quilted shoulder bag with Kersche
its leather and gilt chain strap was called 2.55 because Period: Medieval.
it first appeared in February 1955. Term for a kerchief.
Kemes, kemise, kemse Kevenhuller cock, Kevenhuller hat
See Chemise. (M)
Kennel Period: 1740s–1760s.
(F) A large felt tricorne hat, the front brim cocked high,
Period: 1500–1540s. forming a peak. “A laced hat pinched into what our
A 19th-century term for the gable-shaped head-dress Beaux have learnt to call the Kevenhuller Cock” (1746,
or English hood. The British Magazine).
Kerchief, kercher, kercheve, karcher Key chain
(F) (M)
A chain attached to a bunch of keys in a trouser pocket;
the other end of the chain attached to a braces button
on the trousers.
Kick pleat k
(F)
A short inverted pleat inserted into the lower back or side
seam of a tightly fitting skirt to allow easier movement.
Kicksies
See Unmentionables.
Kilt
(M)
One item within Highland dress for men is a kilt, a length
of woollen cloth, usually of a checkered or tartan pat-
tern, fitting around the waist and descending to the
knee, with closely overlapping pleats and a plain wrap-
over panel at the front held by straps and buckles and
a decorative pin.
(F)
Kilts began to be worn by women, though often their
construction was lighter, involving a shorter yardage of
cloth but the principles of the male kilt were retained.
Fashion designers often used variants of the style, the
fabric or both in the 1970s.
Kimono
(F & M)
Kimono is the modern Japanese term for the kosode, a
T-shaped garment, of cotton or silk, often brightly pat-
terned, with wide, rectangular sleeves and overlapping
front sections held in place by an obi, a wide sash. The
style became popular in western countries as a result of
widespread artistic interest in Japanese art and culture.

Kimono sleeve 116
It was an artistic alternative to the teagown. In the 20th Period: End of 17th century onwards.
century the style became popular for dressing-gowns. The band closing the knee breeches below the knee.
Kimono sleeve Knee breeches
(F) (M)
Period: Late 19th century onwards. Period: ca. 1570 onwards.
The wide, rectangular sleeve found on the traditional Breeches closed below the knee, the usual leg-covering
kimono was used on various other items of clothing, of the 18th century but rarer in the 19th century except
blouses, coats and dresses. for formal evening, court and ecclesiastical wear. Even
Kirtle rarer in the 20th century except for certain uniforms and
(M) sports wear.
Period: 9th to late 14th century. See Knickerbockers.
A sleeved, knee-length body garment, the same as the (F)
tunic. In the 13th and 14th centuries it was commonly Period: From 20th century onwards.
worn with a courtepy, probably a type of surcoat. “A Intermittently popular for sports and more rarely as
kertil and a courtepy” (1362, Langland, Piers Plowman). fashionable garments.
(F) Knee buckles
Period: 10th to late 15th century. (M)
An inner garment worn over the smock but beneath Period: Late 17th century onwards.
the gown. The term kirtle replaced tunic at about the Buckles securing the breeches knee-band below the
turn of the 14th and 15th centuries, though the purpose knee; rare after 1920 except for court, etc.
of the garment, which was to provide an early form of Knee cuffs
corseting, remained the same. In the 14th century it (M)
k might be worn without an overgarment, especially by Period: Mid-17th century.
unmarried women. “Damoselles two right young and Probably a synonym for port cannons. “One paire of
full semelyhede In kirtels and none other wede.…” scollopp lynnen knee cuffs worth three pounds” (1659,
(Chaucer, Romaunt of the Rose). Middlesex Session Rolls).
Knee-fringe
Period: Late 15th century to ca. 1650. (M)
The kirtle was usually worn under the gown. A “full kirtle” Period: 1670–1675.
was bodice and skirt; a “half kirtle” was skirt only. From The hanging fringe of ribbons about the bottom edge of
ca. 1545 onwards the kirtle meant the skirt or petti- the open breeches.
coat; subsequently as the name kirtle was dropped, Knee-piece
petticoat replaced it. (M)
The term was occasionally applied to a short jacket. The top portion of boot hose.
“Kirtle, a kind of short jacket” (1706, Phillips); “Kyrtle, a Knee-string
kirtle or short coat without laps or skirts”) 1828, Craven, (M)
Dialect). Period: 17th and 18th centuries.
It was also a safeguard;”Kirtle, an outer petticoat to The ties for drawing-in of breeches below the knee.
protect the other garments from dust, etc. in riding” Knickerbockers
(1825, Forby, Vocabulary of East Anglia). (M)
Kissing-strings, bridles Period: 1860 onwards.
(F) A loose form of breeches of tweed, etc., fastening
Period: 1700–1750 with a band below the knee; introduced at first for the
Strings for tying the mob cap under the chin. voluntary militia, and then used by civilians for country
Kiss-me-quick pursuits; “cut three inches wider in the leg and two
(F) inches longer than ordinary breeches” (1871, The Tailor
Period: 1867–1869. & Cutter). Usually worn with a Norfolk or other type of
Popular name for the very small bonnet then fashionable. sports jacket for golf, etc. The name derived from the
fictional Dutch founders of New York as depicted by
Kitten heel
Washington Irving in his History of New York by Dietrick
(F, rarely M)
Knickerbocker (1808).
A relatively low, pointed heel on a shoe or boot. (F)
Knee-band Period: 20th century onwards.
(M) A country style of dress; also an intermittent fashion.

117 Label
Knickers Knitwear
Period: 1890 onwards. A generic term for all items of clothing produced by
An undergarment similar to knickerbockers but usu- hand or machine knitting.
ally made of flannel or longcloth, and worn instead of See Jersey.
drawers and often without a petticoat. Knop
In the 20th century a term denoting any form of female Period: Medieval onwards.
drawers or panties, but usually large, baggy, elasticated A button or tassel, generally decorative in character.
versions often worn at girls’ schools. Knot
Knife pleat (F)
Period: Late 19th century onwards. Period: 17th to mid-18th century.
Similar to an accordion pleat but with all pleats fac- A ribbon bow for decorating the head or gown; feather
ing in one direction; the actual pleats could be of any knots were also used. Named varieties included: the
width. “bosom knot” worn at the breast; the “duchess”, “a knot
Knightly girdle to be put immediately above the tower” (1694, Ladies’
(F & M) Directory), i.e. above the raised curls of the fontange
Period: ca. 1350–ca. 1420. coiffure; a “suit of knots”, a set of bows for the gown
A decorative belt comprising metal clasps joined to- and sometimes also for the head; the “top knot”, a large
gether and fastened in front by an ornamental buckle bow or bunch of ribbon loops worn on the top of the
or clasp. Always worn encircling the hips, not the waist, head, usually known as a pompon in fashionable circles
over the gipon or cote-hardie, and only by the in the 18th century.
nobility.
Knitted spencer Period: 19th century onwards.
See Spencer. Name given to the hair when it was twisted into a “bun”
Knitted vest at the back of the head.
(M) Kurta l
Period: 1880s. (F & M)
A home-made, knitted waistcoat in fancy colours, A loose shirt or tunic made from cotton or silk and
often with a fly-front fastening and worn with a velvet reaching to the knees; worn over churidars or shalwars
lounging jacket. (both styles of trousers, the former tight-fitting, the latter
Knitting looser) in Bangladesh, India and Pakistan, and abroad
Period: 16th century onwards. by those who live in Europe, North America or other
A method of producing a fabric by interweaving thread parts of the world.
or wool using hand-held needles or, later, a machine. See Shalwar kameez.
L
Label This was placed under the yoke lining or within a back
(M) pleat; towards the close of the century it was placed on
Period: 15th century. the lining of the inside breast pocket.
The turned-back, tongue-shaped lapel of the tabard. Cotton or silk fabric labels with the tailor’s name and
address woven on them began to appear by 1850, but
were uncommon until the 1880s; from ca. 1870 the
The small strip of fabric attached on the inner surface of
tailor’s name might be woven on to the coat-hanger
a garment bearing the name of the owner, or maker, or
loop. On waistcoats the name was often attached to
both. The earliest example of a label on a man’s coat,
the lacing tabs at the back, from ca. 1840.
1822, was concealed under the yoke lining and was of
parchment bearing the owner’s name. Paper labels were (F)
occasionally used, on bespoke coats and waistcoats The dressmaker’s name woven on a label attached to
until ca. 1870, sometimes with the owner’s measure- the inner surface of the bodice or waistband became
ments as well as name, together with the tailor’s name. usual from ca. 1870.

Lace 118
l (F & M) elastic sides. Usually applied to sturdy, front-lacing,

During the course of the 20th century brand and mak- leather footwear rather than the lighter, side-laced boots
ers labels including country of origin became usual and, worn by women in the 19th century.
gradually, extra labels with laundering or dry-cleaning Lacing studs
details were also inserted in every type of garment and (M)
accessory. Period: 1897 onwards.
Lace Oval brass hooks for criss-cross lacing-up of men’s
Period: Medieval onwards. boots and later, in the 20th century, women’s hiking
A tie for fastening or pulling together opposite edges, as boots, to avoid having to thread through eyelet holes.
for boots, stays, etc. See Button-hooks.
Lamballe bonnet
(F)
Braid used for trimming, now found mostly on ceremo-
Period: 1865.
nial uniforms.
A very small, saucer-shaped bonnet of straw, worn flat
Period: 16th century onwards. on the head, curving down slightly on each side, and
An openwork trimming of many patterns; both hand- tied under the chin with a large ribbon bow. Some were
made and machine-made. made with a very small bavolet behind; others with lace
See Glossary of Laces. lappets on each side of the chignon.
Laced Langet, langette, languette
Tightened or closed with cord or tape, etc. “One pair of Period: Late 14th–16th century.
new Laced shooes” (1697, The London Gazette). The term “langette” was used to describe tongue-
shaped decorative beads, of amber, jet, etc.
Trimmed with braid or lace; this meaning was discarded Period: 15th–17th century.
for general use but retained for uniforms after 1900. A “langet” was a type of thong for tying hose, or a strap
Lace-ups or lace for tying shoes in the 17th century; also spelt
(F & M) “langot”.
A shorthand description of boots or shoes that are laced (F)
rather than fastened with buttons or straps or have Period: ca. 1818–1822.

119 Laundry
A “languette” was a flat, tongue-shaped, applied trim- Lappets

ming, a common decoration for skirts and pelisses. (F)
Langtry hood Period: 18th and 19th centuries.
(F) Pendants from an indoor head-dress, hanging at the
Period: 1880s. sides or behind, and made either plain or trimmed with
A detachable hood to any outdoor garment; resembling lace.
an academic hood displaying a coloured lining and at- Lasting boots
tached by hooks or short ends crossing in front. Period: Late 19th century.
Lapel Boots of which the uppers were made of black
(M, later F) cashmere.
Period: 19th century onwards. Latchet
The turned-back upper part of the front of a coat or (M, later F)
waistcoat, known in the second half of the 19th century Period: Medieval onwards.
as “the turn”. A strap to fasten a shoe or clog.
Lap-mantle Laundry
(F & M) Period: Medieval onwards.
Period: Late 16th and early 17th centuries. The washing of clothing was a lengthy and physically
A covering for the knees; a rug. arduous activity, but it was not necessarily a frequent

Laveuse costume 120
occurrence. In fact, it was a sign of wealth that a Period: 16th and early 17th centuries.
household had many changes of shirts, smocks and A bodice.
other washable body linen, bed linen and towels. All of Leek button
these items were white until comparatively recently and Period: 1842.
needed soaking and washing before being hung out A button with a metal shell or mould of pasteboard with
to dry. Elite households had dedicated laundry areas, a metal edge applied to it, covered with silk or other
close to water supplies, and it was a sign of social mo- fabric, and having a flexible shank made of “woven wire
bility to be able to afford to take laundry to professional cloth”. Made at Leek in England and patented in 1842.
laundresses. Legging, leggin
However, by the 19th century various items of machin- (M)
ery had improved considerably, such as mangles to Period: 18th century.
squeeze out water and early washing machines. Early An extra covering for the leg from ankle to knee and
domestic machines were still expensive and were de- sometimes higher, usually of cloth or leather.
signed to look like a piece of kitchen furniture rather than
an appliance; “An ingenious but simple combination of (F)
Mangle, Wringer, Washing Tank and Table, eminently Period: 1960s onwards.
suitable for flats and small houses, where space is A fashionable form of leg covering, often close-fitting
limited” (1914, Gamages General Catalogue). A series and of elasticated fabric; adopting a style worn by
of inventions before and after World War I in America dancers.
led to washing machines that were electrically powered See Leg warmers, Tights.
and undertook several processes efficiently. Automatic Leghorn hat
machines were made by the late 1940s, and in launder- (F)
ettes and individual homes they ensured that laundry Period: Early 18th century onwards.
was no longer an arduous chore. A summer hat made from an Italian plaited straw. The
See Dry cleaning. hat was associated with Livorno in northern Italy and
l Laveuse costume anglicized to “Leghorn”. A particular type of wheat was
(F) cut when green, bleached and plaited, offering a
Period: 1876. flexible material for hat-making. Many imitations were
A day dress with an overskirt, called a tunic, turned up attempted, but this name for a wide-brimmed straw hat
“like a washerwoman’s” and draped round the sides, was retained.
gathered behind and there buttoned. Leg-of-mutton sleeve
Layering See Gigot sleeve.
(F) Leg warmers
Period: Mid-20th century onwards. (F)
Term used to describe clothing which requires layers of Period: 1970s onwards.
different construction, length and weight to create an A style adopted from professional dancers, who wore
effect; found in hippie style clothing of the 1960s and long, knitted, foot-less stockings over their tights as they
1970s. Also used to mean clothing which suits change- warmed up or cooled down in practice sessions. Within
able weather by layering unstructured items, such as mainstream fashion these came in various weights of
T-shirts, shirts, sweaters, coats, etc., which are wool or synthetic, in many colours, and could be pulled
lightweight and easily removable. up or concertinaed over tights and trousers for warmth.
It also describes a method of cutting hair. Leicester jacket
Leading strings (M)
(F & M) Period: 1857.
Period: 17th and 18th centuries. A lounging jacket with raglan sleeves.
A term applied to children’s clothing. Long, narrow strips Leisure wear
of fabric forming sham hanging sleeves were attached (F & M)
to the back of the arm-holes and used to control the Period: Mid- to late 20th century onwards.
child’s efforts to walk. “Buy me a pair of leading strings An all-purpose term for clothing worn informally or for
for Jak (aged 4); there is stuff made on purpose that is activities pursued when not working, e.g. fleeces, polo
very strong” (1715, Verney Letters). shirts, T-shirts, etc.
Leaf Leotard
See Stand-fall collar. (F & M)
Leefekye, lyfkie Period: 1880s onwards.
(F) A closely fitted, one-piece garment covering torso and

121 Liripipe, tippet
arms and made from a stretchable fabric; worn by ac- artistic and quasi-timeless style of clothing, often with
robats, dancers and other performers. Named after J. arts-and-crafts-style embroidery; these included its
Léotard, a 19th-century French trapeze artist. perennially popular burnous evening cloak. After a
Le smoking period of stagnation in the post-World War I period it
(F) was resuscitated by young designers in the late 1950s,
Period: Late 1960s onwards. when its scarves, ties, printed lawns, and ranges of
A dinner jacket or tuxedo suit for women introduced clothing including shirts and blouses, repositioned it as
by the French designer Yves Saint Laurent (1936–2008) a fashionable store.
in 1966. Liberty bodice
Lettice cap, lettice bonnet, ermine cap, miniver cap (F)
(F) Period: 1908 to mid-1960s.
Period: 16th century. A waist-length, sleeveless undergarment of knitted cot-
An outdoor bonnet covering the ears; triangular-shaped ton with vertical cotton bands offering support. Front-
above the head; made of lettice, the fur of the snow fastening with buttons, originally bone, later rubber; sus-
weasel, or of the cheaper miniver or more costly ermine. penders for stockings could be buttoned to the bodice.
Designed for girls aged between nine and thirteen, it
(M) became a classic item of underclothing for British girls
Period: 16th and 17th centuries. and in countries trading with the UK. It was produced by
A night-cap or house-cap made of lettice fur; in the 17th the Leicestershire corsetry factory of Symington & Co.
century it was supposed to induce sleep. “Bring in the and by the 1930s its success led to enlarged premises.
Lettice cap. You must be shaved, Sir, and then how Various versions were produced, including an unsuc-
suddenly we’el make you sleep” (1619, John Fletcher, cessful nylon variant in the 1950s.
Monsieur Thomas). Lily Benjamin
Lettice ruff (M)
Period: Early 17th century. A colloquial term for the white overcoat much worn in l
An error in spelling for “lettuce”; a ruff with flattened the first half of the century.
convolutions resembling the crinkled leaves of a lettuce. See Benjamin.
See Cabbage-ruff. Limerick gloves
Levis (F)
(M, later F) Period: ca. 1750–1850.
Period: 1860s onwards. Long or short gloves made of very fine leather, said to be
A proprietary name for denim jeans and dungarees made from the skins of unborn lambs. “Lymarick gloves
manufactured by Levi Strauss in America in the second 1 pr. 3/–” (1789, Biddulph Accts., Hereford Records).
half of the 19th century. From working garments these Limousine
evolved into highly fashionable styles in the second half (F)
of the 20th century, and included named varieties such Period: 1889.
as Levi 501s. A long, circular evening cloak, gauged round the throat,
Levite gown, Levetes with the fullness falling in folds over the arms, as sleeves.
(F) Linecloths
Period: 1780s. (M)
An open robe, often of linen, in which the back of the Period: 15th century.
bodice appeared pointed although continuous with the A “pair of linecloths” were linen drawers or possibly
overskirt; the bodice front was often closed by cross- loin cloths. “A payre of lynclothys” (ca. 1474, Paston
straps. It had long sleeves and could be worn with or Letters, Inventory of Servants’ Clothes).
without an apron. Day wear. Lingerie
Liberty & Co. (F)
Period: 1875 onwards. Period: ca. 1830s onwards.
A London department store started by Arthur Lasenby A French term describing any linen items found in
Liberty (1843–1917) in Regent Street. The store sold women’s trousseaux or wardrobes; later, in the 20th
goods imported from the Far East, including cashmere, century, usually articles of underwear and night wear.
silks and satins. Its early customers were the artistic, Liripipe, tippet
intellectual and progressive members of late Victorian (F & M)
and Edwardian society. It was closely linked to the Period: ca. 1350–ca. 1500.
Aesthetic movement and its workshops produced The long, pendant tail of a hood. In the 15th century

List 122
it was suspended from the male chaperon or wound of livery companies and those in the armed services,
round it, turban-wise; also sometimes pendant from the though the latter tend to wear uniform which is, in many
female head-dress, added as an ornament. respects, a natural extension of livery. It was a form of
List identification of role and social grouping. “A Servant out
Period: 18th and 19th centuries. of livery leaped from the box.” (1841, E. Bulwer-Lytton,
The border or selvage of cloth; strips of selvage, joined Night and Morning).
together, were used to make slippers. “Her quiet tread See Mandilion.
muffled in a list slipper” (1847, Charlotte Brontë, Jane Loafer
Eyre). (M, later F)
Little black dress, LBD Period: 1930s onwards.
(F) A casual, leather, slip-on shoe, originally worn in
Period: Mid-1920s onwards. Norway. Similar to a moccasin but with a firm sole and
A novelty supposedly introduced by the French de- low, wide heel. Below the front tongue was usually a
signer Coco Chanel (1883–1971). A simple, narrow, decorative strap stitched into place. Other versions had
black dress, often knee-length in the 1920s, was worn top stitching, tassels or chains at the centre front. The
at the newly fashionable cocktail parties. It offered distinctive Gucci loafers, produced from 1953, had a
simplicity and elegance and, instead of being a colour metallic horsebit or snaffle across the front.
associated with servants or widows, black became Lock stitch
chic. “An essential in every wardrobe is a black evening Period: ca. 1860.
dress.” (1926, quoted in Cunnington, English Women’s A term referring to sewing by the lockstitch machine
Clothing in the Present Century). rather than the chainstitch machine. It began to be used
In subsequent decades the continuing allure of the LBD by English dressmakers in the 1860s.
can be attributed to the fact that black is a colour which See Sewing machine.
magically makes its wearer look slimmer and taller and Loden
is acceptable at many types of social event. (M, later F)
l Little Lord Fauntleroy suit Period: 19th century onwards.
(M) Term for both a fabric and a style of coat or jacket.
Period: 1886 onwards. Originally found in the Tyrol region of Austria, these tra-
A style of dress for young boys, made fashionable by ditional waterproof fabrics, at first made of sheep’s wool
the eponymous hero of Frances Hodgson Burnett’s and dyed in several colour ways, eventually evolved in
novel. It comprised a velvet tunic and knickerbockers the 20th century into an alpaca, camel hair and mohair
and a white lace collar falling over the shoulders, faintly mixture and ca. 1900 a dark green fabric was used for
reminiscent of 17th-century Cavalier clothing; with a a simple, calf- or knee-length coat with button fastening
wide sash round the waist and a bow with hanging ends often masked by a fly-front, a round collar and long
on one hip. back vent or inverted pleat. This gradually became a
The author described it as: “a black velvet suit with a design classic within Europe, outpacing other loden
lace collar and with lovelocks waving about…the face”. garments such as capes and short jackets, both of
The author was American and Oscar Wilde, on his visit which were edged with braid.
to the USA in 1882, had declared the Cavalier costume Loin cloth
to have been the most artistic male dress ever known, (M, occasionally F)
and had recommended its revival. He may, in part, have Period: Greco-Roman onwards.
been responsible for the Little Lord Fauntleroy style of A long piece of cloth wrapped around the lower body,
dress for boys. In the 20th century it became an outfit for of variable length and sometimes worn passed between
fancy dress or performance rather than boy’s clothing. the legs to cover the genitalia. It is found in many differ-
Livery ent cultures where draping, folding and tying fabric is
(F & M) more usual than sewing it.
Period: 14th century onwards. See Braies, Dhoti, Linecloths.
Amongst several meanings connected with clothing Long-bellied doublet
the central one is the provision of cloth and/or actual See Peascod-bellied doublet.
garments from a master to any degree of inferior who Long clothes
serves in her/his household. Initially it was perhaps Period: ca. 1650 to early 20th century.
one item – a badge, collar, hood or gown – but actual The conventional dress of the infant in arms, gradually
servants wore the colours and fabrics associated with a replacing the former swaddling clothes. A long gown,
family, for instance the green and white of Henry VIII. The some three feet or even more in length, fastening at
term also referred to the garments worn by members the back, with short sleeves; the whole often richly

123 Love and clothing
ornamented with lace and insertion. The garment ap- aimlessly. Probably connected to the much earlier us-
pears to have been adapted from the christening robe age of a clown or behaving like one.
formerly only used on that particular occasion. See Flares.
Long hood Lorgnette
(F) (F)
Period: 18th century. Period: Late 19th century onwards.
A soft hood made like the pug hood or short hood, A pair of eyeglasses in a tortoiseshell frame with a long
but the portion surrounding the face was continued into handle; for examining objects at a distance. “Nearly
two long strips for tying under the chin or for swathing every smartly dressed woman wears a lorgnette.”
round the neck. (1893) Less worn in the 20th century.
Long johns Louis heel
(M) Another name for a Pompadour heel.
Period: 19th century onwards. Louis XIII corsage
A combination undergarment uniting a long sleeved (F)
vest, usually buttoned at the front, with long, close- Period: 1850.
fitting drawers. Wool vests and drawers were a feature Day corsage of a pelisse-robe, closed at the neck and
of male underclothes in cold weather or cold climates waist, with the centre open displaying a chemisette or
and this provided a streamlined version. “The long john cambric pleats or embroidery.
is a homely woollen undergarment of rustic provenance” Louis XIV sleeve
(1964, 14 February, The Spectator). (F)
In the 20th century long johns were made in the new Period: 1850.
fabrics which were used for thermal underwear. A sleeve cut to widen from the shoulder downwards,
Long lock and usually edged below with rows of fluted trimming.
See Love lock. Worn with an under sleeve or engageante.
Long pocket Lounge suit
(M) (M) l
Period: 18th and 19th centuries. Period: ca. 1860 onwards.
A vertical pocket in coat or overcoat. A suit made up of a lounging jacket, waistcoat and
“…the two sorts of pockets – the long pocket with a trousers, all of the same cloth; for informal wear.
plain or indented flap – the cross pocket with the round From the mid 20th century onwards the waistcoat was
or the trefoil or scallop flap” (1715, John Harris, Treatise often omitted.
upon the Modes). Lounging jacket, lounge jacket
Long stock, long stocking (M)
(M) Period: ca. 1848 into early 20th century.
Period: 16th and early 17th centuries. A short-skirted, single-breasted coat just covering the
The long stocking portion of trunk-hose to which they seat, slightly waisted and with or without a seam at the
were joined high up the thigh. “All the swarming genera- waist. Flapped pockets on the hips or slit pockets in the
tion of long stocks, short pain’d hose and huge stuff’d side seams, and outside pocket on the left breast; cor-
doublets” (1607, Beaumont and Fletcher, Woman ners rounded. The style varied according to the fashions
Hater). of the day.
Long-stocked hose See Albert jacket, Three-seamer.
See Long stock; also Hose. Love and clothing
Loo mask (M)
Period: Mid-16th to 18th century. It was correct to show by a nice disorder in his dress
A half-mask covering the upper part of the face only. that a man was in love; e.g. to go without a hat-band
See Mask. and to appear unbuttoned (a symbolic gesture). “He
Loon pants taught me how to know a man in love. Then your hose
(M, occasionally F) should be ungarter’d, your bonnet unbanded, your
Period: Early 1970s. sleeve unbuttoned, your shoe untied, and everything
Casual trousers, close-fitting to the knee and widening about you demonstrating a careless desolation” (1623,
into a wide flare to the ankle; pairs were advertised with W. Shakespeare, As You Like It).
a circumference of up to 30 inches around the bottom. Apart from this example of love and melancholy, there
Derived from “looning”, a mid-1960s term for teenag- are several terms which conjoin love and appearance:
ers dancing, lounging around, enjoying themselves “love-badge” which was a rare mid-17th century usage;

Love knots 124
“love-beads”, the coloured beads worn by hippies in emerging from sleeves with a vertical slash down the
the 1960s; a “love curl”, a term first used in the 1840s. front.
A “love-favour”, of a ribbon, glove or jewellery, was a Love lock
custom originating in the 16th century but, through a (M, sometimes F)
“love-lace”, can be traced back to the obscure 14th Period: 1590s onwards.
century gift of a girdle. A “love-hood” was connected A long lock of hair, usually curled, turned forward from
with mourning, was often made of crape or gauze and the nape of the neck so as to fall over the chest in front,
appeared in the 17th century and continued into the particularly associated with royalists during the reign
19th century, “The ladies to wear black silk, plain muslin of Charles I (1625–1649) but the term was applied to
or long lawn, crepe or love hoods” (1861, The Times, 19 other versions. “Lovelocks as the sailors term the curls
March). Mourning also encompassed “love ribbons” of they wear on their temples” (1840, F. Marryat, Poor
narrow gauze with satin stripes found in the 17th cen- Jack).
tury and lasting until the 19th century and “love veils” of Lunardi hat
thin crape or gauze. See Balloon hat.
Love knots Lyons loops
(F) (F)
Period: Early 15th century onwards. Period: 1865.
Complex, decorative knots of hair, ribbon or silk worn The name given to the velvet straps used to loop up the
as a sign of love. In the 16th century one form was overskirt in three or four places, when double skirts
ornamental ribbon bows tied across coloured puffs were in fashion.

125 Mail order
M
Macaroni cravat A turban made of a blue and orange Indian
(M) handkerchief.
Period: 1770s. Magenta
A muslin cravat edged with lace and tied in a bow Period: 1860.
under the chin. The first chemical dye to be used in dress fabrics. Hailed
Macaroni suit as “the queen of colours” and immensely popular for
(M) women’s clothing. Named after the battle in 1859.
Period: 1770s. See Aniline dyes, Solferino.
Introduced by young men returning from Italy and the Magyar dress
Grand Tour who founded the Macaroni Club in 1764. (F)
The special style of suit did not develop until the 1770s; Period: Late 19th century onwards.
it comprised a coat, somewhat short and tight; “their The colourful folk dress of Hungary (the home of the
coat sleeves are so tight they can with difficulty get their Magyar people) was made popular by the Empress
arms through their cuffs…their legs are covered with all Elizabeth of Austria (1837–1898) who identified closely
the colours of the rainbow. Their shoes arc scarce slip- with the Hungarian part of the Austro-Hungarian Empire
pers and their buckles are within one inch of their toe” and was depicted in elite versions of national dress. In
(1772, The Town & Country Magazine). dressmaking, the Magyar style of blouse in which the
They favoured a very small tricorne hat and attached a sleeves are cut as one piece with the body of the blouse
very large nosegay of flowers to the left shoulder. and gathered tightly at the wrist was an easy style for
Mackintosh amateurs to make.
(M and later F) Maharatta tie
Period: 1836 onwards. See Indian necktie.
A short, loose overcoat using the patent India-rubber Mahoitres, maheutres m
cloth invented by Charles Macintosh (1766–1843) in (M)
1822. It had proof straps over the seams and the origi- Period: Late 14th to late 15th century.
nal colour was drab or dark green. The wearing of these A term used in France from 1394, and in England from
garments met, at first, much opposition owing to “the ca. 1450–1480, describing shoulder pads for broaden-
offensive stench which they emit” (1839, Gentleman’s ing the shoulders of men’s gowns and jackets.
Magazine of Fashion). Mail-coach necktie, waterfall necktie
In the 20th century the term was loosely applied to any (M)
waterproof outer garment and the abbreviation “Mac” Period: 1818–1830s.
came into use. A very large neckcloth, sometimes composed of a
Macramé cashmere shawl, folded loosely round the neck and
Period: Second half of 19th century onwards. tied once in front in a common knot over which the folds
A fringe or trimming of knotted cord, string or thread; spread down “like a waterfall”. Generally white and worn
often an edging for soft furnishings. As macramé lace, by “professional swell drivers” and dandies.
a substantial edging for clothing. It was an amateur Maillot
pursuit amongst other needleworking skills. (F & M)
Made-to-measure Period: After 1870 onwards.
(M, occasionally F) There are three different meanings for this French term.
Period: 19th century onwards. The first is that of tights worn by dancers, circus artists
In tailoring terms, the method whereby an existing and similar. The second is that of a close-fitting, one-
pattern is adapted to fit a customer’s measurements piece bathing suit. The third meaning is that of the
and offers a range of cloths and colours. Less time- maillot jaune, the yellow jersey worn by the leader in
consuming than bespoke tailoring and less expensive, the Tour de France bicycle race.
but offering a better fit than ready-made. Mail order
Madras turban Period: 1860 onwards.
(F) Originally an American term for the supply of goods by
Period: 1819. postal service, usually from a newspaper advertisement

Maintenon cloak 126
or a catalogue designed to promote a range of items, in- Mameluke sleeve

cluding clothing. For instance, the Gamages catalogue (F)
for 1914 runs to 191 pages, of which 16 advertise a lim- Period: 1828–1830.
ited range of garments and accessories, but additional A very full sleeve with a deep cuff; for day wear and of
information on washing and sewing machines, luggage, thin fabrics.
perfumery and haberdashery indicate that everything Mameluke turban
from pins to motor bicycles (sic) could be purchased (F)
by mail order. Period: 1804.
In the 21st century this type of service has been increas- A turban of white satin, the front rolled upwards like
ingly challenged by online shopping via websites. a hat-brim over a domed crown; trimmed with a large
Maintenon cloak ostrich feather.
(F) Mancheron
Period: 1860s. (F)
A very large, black velvet cloak with wide sleeves; Period: 19th century.
trimmed with a deep, pleated flounce covered with A very short, ungathered over sleeve in the nature of an
black guipure lace; sometimes embroidered. epaulette, worn with day dresses or sleeved outdoor
Maintenon corsage garments. The name gradually became replaced by
(F) epaulette in the 1860s.
Period: 1839 and 1840s. Manchette
A close-fitting evening bodice trimmed with ribbon knots (F)
down the centre front, with a fall of lace at the waist. Period: 1830s into 20th century.
Major wig A lace ruffle worn at the wrist for afternoon dress.
(M) Mandarin coat
Period: ca. 1750–1800. (F)
A military style of wig worn by civilians; a wig with a Period: 20th century onwards.
toupee and two corkscrew curls tied together at the A long, embroidered silk coat with straight, narrow lines,
nape of the neck to form a double queue behind. “The designed to emulate those worn by elite Chinese men.
m two locks of my major perriwig” (1753, J. Hawkesworth, Sometimes referred to as a “coolie coat”.
The Adventurer); “His peruke which is naturally a kind See Mandarin jacket.
of flowing Bob, but by the occasional addition of two Mandarin collar
tails it sometimes appears as a major” (1754, The (F, sometimes M)
Connoisseur). Period: 20th century onwards.
See Brigadier wig. The narrow, standing collar, open at the front, which
Make do, make do and mend was found on the clothing of Chinese officials and oth-
Period: 20th century. ers. Adapted for a variety of western uses on blouses,
Terms denoting improvisation and ingenuity by re-using dresses and jackets.
existing resources when cash or resources were in short Mandarin hat
supply. Applied to re-making clothing, unpicking wool- (F)
len garments and knitting anew, and so forth; encour- Period: 1861.
aged by government propaganda during and just after A black velvet hat suggestive of that worn by mandarins;
World Wars I and II. trimmed with feathers over the back of the flat crown.
Make up Associated with the Franco-British war with China
(F & M) which ended in October 1860.
Period: 19th century onwards. Mandarin jacket
A description of how performers altered their facial ap- (F)
pearance, and occasionally their hands, in preparation Period: 20th century onwards.
for any type of stage performance. The heavy prepara- A straight jacket, buttoned at the front and with a nar-
tions were often precursors to innovations in fashionable row standing collar. Worn by Chinese officials and often
make-up for women. originally of embroidered silk. Both imports and west-
See Cosmetics. ernized copies in other fabrics became available in the
Malacca cane post-1950 period.
(M) Mandilion, Mandeville
A cane made from the “clouded” or mottled stem of a Period: 1570s–1620s.
Malacca palm; also called a “clouded cane”. A loose, hip-length jacket with close sleeves (later,

127 Mantua maker, mantua woman
sham) and open side seams. A garment often worn half-shawl, rounded at the neck, some with a falling
colley-westonward. In the 17th century the name hood or a small cape. Some had short, wide sleeves.
“Mandeville” was preferred, and after ca. 1630 it was Worn as an outdoor cloak.
usually a livery garment. Mantella, mantilla
Mannequin (F)
(F) Period: 1840–1860.
Period: Mid-18th to mid-20th century. A small mantle, deep at the back, with long scarf ends
From the French term meaning a lay figure or dummy, in front; sometimes, confusingly, called a “mantilla”
as used by artists. The term widened to include a young when made of lace.
woman displaying clothing in the show-rooms of cou-
turiers and fashion designers. Charles Frederick Worth
The spelling “mantilla” denotes a long lace scarf or veil
(1825–1895) was the first couturier known to use man-
worn over the head and shoulders, especially associ-
nequins, anonymous young women who often doubled
ated with Spanish women.
as seamstresses or sales assistants, but the practice
Mantle, mantil
evolved in various different ways. Lucile (1863–1935),
(F & M)
the English designer, had named mannequins and Paul
Poiret (1879–1944) took his mannequins on tour and
The word was reintroduced from France in the 12th
had them filmed. Training schools sprang up to offer
century; in Old English the word was mentel and there
gullible young women opportunities to enter this new,
are many other variants descriptive of this long, volu-
seemingly glamorous profession, which also encom-
minous, cloak-like outer garment reaching to the feet
passed photographic work. By the 1970s the term was
and made without a hood. An everyday garment until
almost obsolete in English, replaced by the term model.
the 14th century, then generally ceremonial and for men,
Manon robe
and usually fastened on the right shoulder with three
(F)
large buttons, giving free play to the right arm. Tied in
Period: 1860s.
front for women.
A silk day dress, the fronts cut in one, the back with a
broad, double box-pleating flowing loosely down from Period: 16th century.
under the collar to the hem in the style of the Watteau A “double mantle” meant a lined mantle. m
pleat. The hem was trimmed with a deep flounce.
Mant
A large wrap for infants in arms. “The uppermost gar-
See Mantua.
ment that nurses wrap up young infants in before they
Manteau
coat them” (1735, Dyche and Pardon, Dictionary).
(M)
A man’s cloak. The manteau à la reître or “French cloak” The length varied and some mantles had capes or a
was either a compass cloak, namely circular, or a ‘half cape, and some had sleeves.
compass”, semicircular in shape. Mantua, manteau, manto, manton, mantua gown
(F)
(F)
See Mantua.
A loose gown, the bodice unboned, joined to an over-
Manteel
skirt which was open in front exposing a decorative un-
(F)
derskirt called a petticoat. The distinctive feature was
the elaborate arrangement of the back drapery of the
A scarf-like cape with long ends in front and usually a
overskirt, which in its final form in the 1730s consisted
falling hood behind.
of a narrow train. It was worn on all social or formal
Mantelet, mantlet
occasions. “A long trailing mantua sweeps the ground”
(M)
(1712, J. Gay, Trivia).
Period: Medieval.
Mantua hose
A short mantle or cape. “A Mantelet upon his shulder
hangynge, Bretful of Rubies reede” (ca. 1386, Chaucer,
Knitted silk stockings made at Mantua in northern Italy.
Knight’s Tale).
Mantua provided rich fabrics, often silk, imported from
(F) the 16th century, and in the 18th century damasks and
Period: 18th and 19th centuries. paduasoys are mentioned.
“Mantlet, a small cloak worn by women” (1730, Bailey, Mantua maker, mantua woman
Dictionary). In the following century it described a (F & M)

Mao style 128
Period: 17th to early 20th century. Marie Stuart bonnet

A person who made mantuas, later known as a dress- (F)
maker. The term “mantua woman” is less used and not Period: 1820s–ca. 1870.
beyond the 18th century. A bonnet having the front brim curled with a dip in the
Mao style centre over the forehead. A style often worn by widows.
(F & M) Marie Stuart hat
Period: After 1949. (F)
The westernization of Chinese clothing began under Period: 1849.
the government led by Sun Yat-sen (1866–1925). The An evening-dress hat of tulle, having a stiff brim curled
basis was a simplified military or safari-style jacket, first up with a central dip over the forehead.
seen in Japan with a buttoned front, four pockets, and Marin anglais bonnet
a stand collar, later modified to a narrow turn-down (F)
collar worn with trousers. Mao Zedong wore this style Period: 1870s.
from ca. 1927. Another influence was the simplified style Resembling a child’s sailor hat, ornamented with flow-
worn by Soviet students in the 1920s and 1930s. When ers, feathers and ribbon; worn at the back of the head
Mao came to power he recognized the economic and and tied under the chin with a ribbon bow.
cultural impact of clothing and always wore a version Mariner’s cuff
of the Sun Yat-sen suit. There were two subtly different See À la marinière cuff.
variants, but always made in black, blue, grey or khaki Marino Faliero sleeve
(the last for the military) which the entire population were (F)
encouraged to wear. The term “Mao” is associated with Period: 1830–1835.
the soft cap, the collar, the jacket, suit and trousers, A large, hanging sleeve caught in at the elbow by a rib-
which actually were introduced by a predecessor. The bon band. Called after Lord Byron’s 1820 drama of that
simple styles and limited palette influenced western name.
designers in the 1960s and 1970s. Marlborough hat
Marcel wave, Marcelle wave, marcel wave (F)
(F) Period: 1882.
m Period: 1872 onwards. A large, flat hat of lace and Tuscan straw, trimmed with
A method of forming deep waves in the hair with a type long, shaded feathers and worn slightly on one side.
of reverse curling tongs; invented by the Frenchman Marmotte bonnet
François Marcel Grateau (d. 1936) in 1872, this method (F)
of transforming straight hair was overtaken by the per- Period: 1832.
manent wave in the 1930s. The terms “marcel wave” A very small bonnet with narrow brim round the front,
or “marcelling” continued in popular usage long after the like a small Bibi bonnet.
method disappeared. Marmotte cap
Marie-Antoinette skirt (F)
(F) Period: 1833.
Period: 1895–1900. A half-handkerchief placed far back on the head and
A day skirt with seven gores, one in front, two on each tied under the chin. Worn by day indoors.
side, and two behind, box-pleated; 12–18 feet round Marquise bodice
the hem. (F)
See Gored skirt. Period: 1874.
Marie-Antoinette sleeve An evening bodice with a frilled edge; the front
See Marie sleeve. heart-shaped.
Marie sleeve Marquise mantle
(F) (F)
Period: 1813–1824–1829, and 1872. Period: 1846.
A sleeve full to the wrist but tied into compartments by A short taffeta mantlet with short sleeves and pulled in
a series of ribbons. Revived in 1872 under the name to fit the waist behind; trimmed with flounces and lace.
Marie-Antoinette sleeve. Marquisetto, marquisotted beard
Marie Stuart bodice (M)
(F) Period: 1550–1600.
Period: 1828. A close-cut beard.
An evening bodice, tight and boned down the front to a Mary cap, Mary Queen of Scots cap, Marie Stuart
deep, pointed waist. cap

129 Maud
(F) during carnival, the season between late December

Period: 1750s and 1760s. and Lent. In Italian cities there was street theatre and
An indoor cap curved up on each side above the balls which encouraged masking and disguise as a form
forehead with a central V-shaped dip; made of black of anonymity. Similar masquerades, held in palaces,
cypress or gauze and edged with French beads. “As pleasure gardens and theatres swept through European
the cap was made of black gauze and saved washing; cities, London in 1708, Paris in 1715 and into Austria,
it had too much housewifery in it ever to be immense the German states and Russia. The simplest form of
taste” (1762, London Chronicle). disguise was a domino worn over ordinary clothing,
and a mask and veil or three-cornered hat, but various
Period: Late 1840s and late 1860s.
forms of historical dress and Turkish or other exotic
The Marie Stuart cap for day wear enjoyed a revival.
styles became popular and were copied and adapted
Mary Janes
and published. In the 20th century the reintroduction of
(F)
carnival in Venice encouraged a bold, modern interpre-
tation of disguise and masks.
An American style of children’s shoe which gained
See Fancy dress, Vandyke dress.
popularity with adults. A smooth or patent-leather,
Maternity wear
round-toed shoe with a narrow strap across the ankle,
(F)
and buttoned at one side; the heel flat or slightly raised.
Mary Stuart cap
Evidence about what was worn is limited. The looser
See Mary cap.
garments prior to the 16th century probably accom-
Masher
modated pregnancy by the means of not using a belt.
(M)
The sleeveless gowns and unstructured embroidered
Period: 1870–1900.
jackets of the 16th and 17th centuries were an attrac-
The elaborately dressed dandy of the period; also
tive and practical alternative to tightly laced bodices.
known in the 1890s as a “Piccadilly Johnny”.
Corsets may have been replaced by jumps in the later
Masher collar
17th and 18th centuries, and the sack in its closed form
(M)
was an ideal style for this purpose.
Period: 1870s and 1890s. m
In the 19th century letting out standard styles, add-
A very high, all-round stand collar, worn by mashers.
ing a loose front panel, using short jackets, shawls,
Masher dust wrap
teagowns, in fact a range of relatively unstructured gar-
(M)
ments, indicated ingenuity but there is little information,
Period: 1880s.
apart from advertisements for a “gestation stay” in the
A close-fitting Inverness with large arm-holes covered
1880s and a maternity corset in the early 20th century.
by the cape, which was incomplete behind.
Full, unstructured dresses and smocks, loose from
Mask, whole mask
a high yoke to hips were a mainstay of early to mid-
(F)
20th-century expectant mothers. Specialist brands, like
Mothercare in the UK, trading from the early 1960s,
A covering for the face to which it was shaped and
offered everything for the mother-to-be and signalled a
pierced opposite the eyes, nose and mouth. The lighter
lively business opportunity. Although specific clothing is
masks had, at the mouth, a bead which was held by
produced in many styles, young women often custom-
the wearer in the mouth. Masks were worn to conceal
ize fashionable clothing or just buy it in larger sizes.
identity, to protect the skin from the sun, wind and rain
See Nursing dress.
when riding, and by ladies at the theatre. A vizard or
Matildas
vizard mask was a whole mask; a loo mask was a half-
(F)
mask. “She’s mask’d and in her riding suit” (1611, Lord
Barry, Ram-Alley).
Velvet ornamentation round the hem of a dress.
(M) Also, in the 1840s, a term applied to a bunch of flowers
Occasionally worn by fashionable men, especially in worn in the hair.
Italy when attending masked balls or carnival. Matinée
Masquerade costume (F)
(F & M) Period: 1851.
Period: 18th century. A hooded pardessus made of jacconet or muslin and
There is a long tradition of wearing disguises and worn outdoors over a morning dress.
masks to celebrate festivals and great events, and Maud
in Catholic countries there were lively entertainments (F)

Maxi coat, maxi dress, maxi skirt 130
Period: 1855. A wig made up of “a mass of snake-like curls hanging

A plaid, fringed wrapper, swathed round the shoulders down”.
and waist. Melon sleeve
Maxi coat, maxi dress, maxi skirt (F)
(F & M) Period: 1809–1815.
Period: Late 1960s. An evening-dress sleeve distended and shaped like a
A term coined to describe an unusually long garment at melon, either round the shoulder or elbow length. Often
a time when mini skirts were still fashionable. Usually worn with a transparent long sleeve as an extension to
ankle-length, these garments were popular with the the wrist.
young for several years; the coats were often worn Melote
over mini dresses and the innovative French designer (M)
Pierre Cardin (b. 1922) included maxi dresses worn Period: Medieval to early 16th century.
with ankle boots in his 1969 collections. The influence Originally a sheepskin garment; later a cloak of any
of Edwardian styles, due to the work of Laura Ashley coarse fur, principally, if not solely, worn by monks or
amongst others, ensured a wide range of maxi styles. friars at their work.
Mazarin hood Mentonnières, chin stays
(F) (F)
Period: ca. 1675–1699. Period: 1820s and 1830s.
A chaperon style named after the niece of Cardinal Quillings of tulle or lace sewn to the insertion of bon-
Mazarin (1602–1661), chief minister of Louis XIV. net strings and tied under the chin, forming a white frill
M. B. waistcoat round the lower part of the face.
See Cassock vest. Mermaid’s tail
M-cut collar (F)
(M) Period: 1875–1882.
Period: 19th century. Nickname given to the train of a tie-back skirt.
A notch cut in the shape of an “M”, between the turned- Merry Widow hat
over collar and the turned-back lapel of a coat; it first (F)
m appeared in 1800, ceasing for day coats ca. 1850, but Period: 1907–1910.
still used for many evening coats until ca. 1870. A memorable example of the fashion for wide, lav-
Mecklenburg cap ishly decorated hats, the original was designed by Lucile
(F) (1863–1935), the English designer, and worn by the ac-
Period: 1760s. tress Lily Elsie (1886–1962) in the Franz Lehár operetta
A “turban roll” worn as an indoor cap, dating from the in its first London production in 1907. This style of hat
marriage of Princess Charlotte of Mecklenburg-Strelitz was black, often made of a dull straw such as chip; it
to George III in 1761. had a deep crown which was smothered in black tulle
Medici collar, medicis or feathers. It was often worn with a white or pale dress.
(F) This was an era when fashions on the stage were hugely
Period: 18th to early 20th century. influential.
A collar, generally of net or lace, upstanding round the Metal clothing
back of the neck, sloping down to nothing on the front (F, occasionally M)
of the bodice. “A broad medicis of Dresden lace” (1778, Period: 20th century onwards.
Sir N. Wraxall, Memoirs of the Court of Berlin). Metal threads were woven into fabrics or used in em-
Medici dress broidery for many centuries, and in the 20th century fab-
(F) rics such as Lurex had periods of popularity. However,
Period: 1870s. actual metal, although made into buttons, zips, etc.,
A trained princess dress with short sleeves and was rarely used as a material for clothing before the
tablier front. work of the Spanish designer Paco Rabanne (b. 1934).
Medici sleeve His work as a jeweller led him to experiment with metal
(F) discs, chains, aluminium, etc. to fabricate clothing in the
Period: 1830s. 1960s. Metal was also used within alternative styles.
A day sleeve puffed out to the elbow, thence tight to Metal eyelets
the wrist. Period: 1823 onwards.
Medusa wig Eyelet holes with metal surround for use in stays, boots,
(F) etc., in place of the stitched lace-holes; the patent dates
Period: 1800–1802. from 1823.

131 Mini dress
Micro skirt accessories; the term derives from Milan in Italy and the
(F) fact that many of these items originated in that city. By
Period: 1960s onwards. the late 17th century some informal garments were sold
A particularly short version of the mini skirt, more like alongside accessories and trimmings, such as fans,
a pelmet than a skirt. The style has been revisited in the gloves, ribbons and lace. The association with selling
early 2000s. headwear is found from the late 19th century onwards.
Midi skirt “There is no doubt that the lady milliner has raised her
(F) craft to a fine art, and that the pleasant and refined at-
Period: Late 1960s and early 1970s. mosphere of the “private upstairs show-room” gives a
A calf-length skirt, worn in its original form with high totally new tone to that most important of all dress mat-
boots. Later, this length became usual for fashionable ters, the choice of a new hat” (1904, The Lady’s Realm).
clothing. Mini dress
Milan bonnet (F)
(M) Period: ca. 1965–1970, revived in the 2000s.
Period: 1500–1550. A dress with a short skirt ending well above the knee
A cap with a soft, beret-shaped crown and rolled-up
brim, often slit at the sides. The bonnet was sometimes
slashed with decorative “pullings out” or trimmed with
aglets. “Myllaine bonetes of crimosyn sattin drawen
through with cloth of golde” (1542, Halle, Chronicle).
Black was the more usual colour.
Milan coat
Light armour; possibly mail.
Military folding hat
See Opera hat.
Military frock coat
(M) m
Worn by civilians from 1820. A frock coat without
flapped pockets, the fronts often braided. The early style
made with a Prussian collar or roll collar but without
lapels.
Military stock
(M)
Worn by civilians. A made-up neckcloth stiffened with
paste-board in the 18th century or leather in the 19th
century and tied or buckled behind. In the 18th century
it was always black for military men, white for
civilians, and was commonly made of corded silk edged
with kid. George IV abolished the white stock for civilians
and William IV attempted unsuccessfully to restore it.
Milkmaid hat
See Bergère hat.
Milkmaid skirt
(F)
Period: 1885.
A plain skirt in striped fabric of two colours with an
overskirt gathered at the waist, turned up on one side
to show the lining and drawn through a loop of cord.
Worn by day only.
Milliner
Someone who sells fancy goods and fashionable

Minimalism 132
and worn by young girls and women. At its original intro- Fingerless gloves with an open thumb, usually decora-
duction it was “much disapproved of by older people” tive; of various fabrics, often embroidered.
(1968, J. Ironside, A Fashion Alphabet).
Minimalism
Mittens were usually elbow-length and the fingers
emerged together through one opening covered along
Various movements in art, design, literature, music and
the back by a prolongation of the mitten into a pointed
philiosophy which rejected excess, reduced expendi-
flap, which usually had a decorative lining, visible when
ture, and used unadorned simplicity to obtain results.
the flap was turned back. These mittens were made of
The term was not much used in respect of clothing, but
kid, cotton, silk or – in plainer styles – worsted.
the 1920s and 1930s can be construed as minimalist.
The most obvious examples are found in the 1990s in Period: 19th century onwards.
which sobriety of tonal palette and rejection of superfi- Long or short mittens were usually of net or openwork.
cial effects appeared in the work of designers reacting In the 1830s and 1840s, short black mittens were worn
against the excesses of the 1980s. with morning dress and long mittens with evening.
Mini skirt These were revived for evening wear in the 1870s. In
See Mini dress. the 20th century, light mittens and heavier woollen ones
Mi-parti were occasionally worn.
(M) Mitten sleeve
Period: 14th and 15th centuries. (F)
A description of the manner in which a garment was Period: 1891.
divided visually into two sections, with the right side “The new mitten sleeve of lace, etc. fitting the arm
having one colour or pattern and the left a contrasting closely and reaching the knuckles; for dinner and thea-
colour or pattern. This was especially fashionable be- tre dresses.”
tween ca. 1320 and 1370, but was retained for men’s Moab
hose until the end of the century and for livery gar- (F)
ments well into the 15th century. Later, the term was Period: 1865–1870.
used in regard to heraldic colour schemes. The term
m “motley” was sometimes used, but is usually applied to
clown’s and jester’s clothing rather than to fashionable
apparel.
Mistake hat
(F)
Period: 1804.
A hat of straw or chip with a tall, flat-topped crown, the
front brim, with a blunt point, turned sharply up, the
back brim turned down. Worn on the back of the head.
Mitre head-dress
(F)
Period: ca. 1420–1450.
See heart-shaped head-dress; both were descriptive
terms applied by 19th-century authors.
Mitt
(F)
Period: ca. 1750–ca. 1870.
An abbreviation of mitten, a fingerless glove.
Mitten, metteyn, mytan, meting
(M)
A glove with a single covering for fingers and one for
the thumb. The palm was sometimes slit horizontally, to
allow the fingers to protrude without having to remove
the mitten. Often worn by countrymen for warmth.
(F)

133 Monogram buttons
A turban hat with a bowl-shaped crown; nicknamed Model

from the phrase: “Moab is my washpot”. (F)
Moabite turban Period: Mid-20th century onwards.
(F) Previously known as mannequins, the young women
Period: 1832. who were employed to wear clothes for fashion houses
A turban of crêpe arranged in multiple folds with an and for photographic spreads in magazines and
aigrette on one side. Worn tilted up off the face. newspapers became known as “models” in the period
Mob cap after ca. 1960. The aloof beauties of earlier eras were
(F) overtaken by stylish but idiosyncratic young women
Period: 18th and 19th centuries. whose personal fashion sense mattered as much as
A white indoor cap of cambric or muslin with puffed their ability to display couture clothing advantageously.
caul and frilled border. Until 1750, bonnet-shaped with By the late 1980s a new, internationally powerful group
side lappets hanging loose or tied under the chin and of young women whose ability to sell products from
called kissing-strings or bridles. clothing to cosmetics and perfume appeared; they
After 1750 the cap was usually not tied and fitted loosely were called “super models” (a term first coined in the
over the head, the frilled border surmounted by a ribbon 1940s) and were instantly recognisable by name, ap-
band. The size varied, being very large in the 1780s, pearance and international coverage of their work and
subsequently smaller. Plain 18th-century mob caps private lives.
were worn in bed and called night-caps. Although men and children model clothing, they are
See Ranelagh mob. usually differentiated as male models or child models.
Moccasins Modesty piece
(F & M) (F)
A type of shoe originally worn by North American A strip of lace or lace-edged linen pinned to the cor-
Indians, in which the leather of the uppers is wrapped set in front to cover the “pit of the bosom” in a low
around the foot from underneath; usually a soft, heel- décolletage.
less, casual shoe. Moldavian mantle
See Loafer. (F) m
Mockador, mocket, mocheter, mokadour, moctour, Period: 1854.
moketer A long mantle with a deep cape falling the full length
Period: 15th–17th century. and falling over the arms on each side to form what
A handkerchief for the nose, or a child’s bib. “For eyen were known as “elephant sleeves”.
and nose the nedethe a mokadour” (Early 15th century, Monkey jacket
Lydgate, Minor Poems “Advice to an Old Gentleman”). (M)
See Muckinder. Period: 1850s onwards.
Mod A short, unwaisted pilot coat.
(F & M) Monmouth cap
Period: Late 1950s to mid-1960s. (M)
Term applied to a group of youngsters in the UK whose Period: 1570s–1625.
appearance and tastes in clothing and music differ- A knitted cap with a tall crown and no brim or turn-
entiated them from rockers, the latter closer in style up. Worn by Welshmen, soldiers, sailors and others
to Teddy boys. These early sub-cultural movements for comfort. Made at Monmouth and also at Bewdley,
were a sign of the growing independence and buying Worcs.
power of teenagers. Mods admired both beatnik and See Bewdley cap.
American college fashions. All mods were clean and Monmouth cock
neat with short, well-cut hair. The young men wore (M)
bright-coloured, button-down, collared shirts and ties, Period: 1650–1700.
blazers and narrow trousers or Italian-style mohair A hat with a low, round crown and a broad brim which
suits, winkle-picker shoes or Hush Puppies (a trade could be “cocked”, i.e turned-up; when cocked behind
name for a soft suede laced shoe). The young women the head and given this name, this was fashionable
favoured twin sets, modest narrow skirts or ski-pants among young men, especially from the late 1660s.
and shift dresses in the summer. Their preferred out- Monogram buttons
erwear was a long, zipped parka. Although they denied (M)
being mods, at the beginning of their career in the early Period: 1870s.
1960s, the Beatles wore suits which were typically mod. Buttons of composition with owner’s monogram in

Montague curls 134
colour on a black background; fashionable for coats Period: 1843.

and waistcoats. An evening-dress bodice, tight-fitting, with a very low,
Montague curls square-cut décolletage and deeply pointed waist, front
(F) and back.
Period: 1877. Montespan hat
An evening-dress coiffure, the front hair arranged (F)
in a crescent-shaped fringe of curls gummed to the Period: 1843.
forehead. A small, round, velvet hat, the front brim turned up and
Montero, mountera, mountere, mountie cap trimmed with a plume. Worn with evening dress.
(M) Montespan pleats
A peaked cap with flaps which could be let down each Period: 1859–ca. 1870.
side and tied or buttoned under the chin. “…a montero Large, flat, double or treble box pleats in series, sewn
or close hood wherewith travellers preserve their face to the waistband of a skirt made of heavy cloth.
and heads from frost biting and weather heating in sum- Montespan sleeve
mer” (1611, Cotgrave). (F)
Montespan corsage Period: 1830.
(F) A day sleeve, the upper half full, caught in to a band
at the elbow, then falling in a vandyked ruffle over the
upper forearm.
Mont-la-haut
(F)
Same as the commode. “Montla-Haut, a certain wier
that raises the head-dress by degrees or stories” (1694,
The Ladies’ Dictionary).
Montpensier mantle
m (F)
Period: 1847.
A mantle falling low behind with the fronts descending
to a point, but slit up each side towards the shoulders,
leaving the arms free.
Moon boot
(F & M)
The Italian firm Tecnica produced the first moon boots
and licensed the name in the early 1970s. Inspired by
the footwear worn by astronauts on moon walks, they
designed a boot for cold, snowy, wet weather. It had a
deep sole, a heavily insulated lining, and was produced
in bright colours and edged with fur. They were already
popular for après-ski wear in the mid-1970s and many
versions have been produced since.
Moppet
A doll dressed in the latest French fashion and sent over
to England to serve as a miniature model for dressmak-
ers to show to customers.
Moravian work
A kind of cotton embroidery known later, ca. 1850, as
broderie anglaise. Originating from Moravian refugees
expelled from Bohemia near the end of the 18th century.
Morning coat
(M)

135 Moulds, mowlds
Period: 19th century onwards. Mother and daughter dresses

Originally a riding coat or Newmarket coat. The fronts (F)
sloped off from the bottom button near the waist, and Period: Early 20th century.
the skirt at the back had a vent up to the waist-level with A term describing adult and child versions of fashiona-
two hip-buttons; a turned-down collar and short lapels. ble styles of dress. Made popular by the French fashion
Usually single-breasted; pockets in skirt lining, but after designer Jeanne Lanvin (1867–1946), amongst others.
1850 pockets in pleats; also flapped hip-pockets and Mother Hubbard cloak
one outside on the left breast. (F)
Period: 1880s.
Period: 1860–1880.
A three-quarter-length cloak of plush, velvet, brocade,
Commonly called a shooting coat, single- or double-
satin or cashmere, lined and quilted; fitting round the
breasted, with a ticket pocket above the flapped pocket
neck with a high collar and there tied; gauging over the
on the right.
shoulders with loose sleeves. After 1882 the side seams
In the second half of 19th century the morning coat
had vents allowing the back to be gathered up with a
tended to replace its rival, the frock coat, for formal
ribbon bow, to be draped over the bustle.
wear, especially when the fashionable waist level was
Mother-of-pearl buttons
low.
Period: 1770–1800.
Period: 20th century. The hard, opalescent layer which forms inside certain
Increasingly worn for special occasions of a formal shells was used to make large buttons used on outer
nature. garments worn by both sexes.
(F) Period: 1800 onwards.
Period: 1895. Small mother-of-pearl buttons were used on under-
A tailor-made version of the male morning coat clothes from ca. 1800; on men’s shirts ca. 1820. Such
adopted by women as a development of the day buttons were also used as decoration on accessories.
jacket; worn over a waistcoat with masculine collar Motoring dress
and necktie. (F & M)
Morning gown Period: ca. 1900–1930s. m
(M) Described as a “passing craze” in 1900, the owner-
Period: 18th century to ca. 1830s. ship and/or driving of early motor cars was seen as an
A long, loose coat tied at the waist with a sash or girdle outdoor hobby or sporting activity requiring protective
and worn indoors as a form of négligée. clothing. Both men and women drove cars or were pas-
See Nightgown, Dressing-gown, Banian. sengers and there was relatively little difference in their
Morning walking coat clothing. Long, fur-lined, leather coats or heavy cloth
See Riding coat. coats were worn in winter, with caps and goggles for
Mortar men and wide, veiled hats or hoods with goggles for
(M) women. In the summer dust coats of linen or alpaca
Period: 17th century. were still combined with sensible head-coverings and
A cap resembling a mortar in shape. “I”ll go to him with goggles. As open-top cars became a choice rather than
a mortar” (1623, Middleton and Rowley, The Spanish standard, the clothing reduced in weight and quantity;
Gipsy). however, leather motor coats retained their popularity
Also, as “mortar-board”, an academic cap with a rigid, into the 1930s. By the immediate post-World War II pe-
square top. riod, thigh-length overcoats, “jeep coats”, became the
Moschettos precursors of the car coats of the 1950s and later. In the
(M) later 20th century only driving gloves provide a link with
Period: Early 19th century. the specialized garments of the early days of motoring.
Similar to the pantaloons of the period, but made to fit Mouche
over the boots like gaiters. (F, occasionally M)
Moscow wrapper Period: ca. 1595 to end of 18th century.
(M) A black patch worn as an ornament on the face.
Period: 1874. Moulds, mowlds
A loose overcoat hanging full, with pagoda sleeves, (M)
fly-front fastening up to the neck, with a narrow, Period: 1550–1600.
turned-down collar of astrakhan fur which also trimmed Drawers stuffed with horsehair, etc., to produce the
all the edges. fashionable bombasted shape, over which the ballooned

Mourning attire 136
breeches were worn. “For black cotton to make a pair

of mowldes 2/. For heare for them 12d.”; “To lyne a pair
of vellet breeches to draw upon mowldes…” (1569,
Petre Accounts, Essex Record Office).
Mourning attire
(F & M)
Black was correct for all classes. “In clothes black
dropped all with tears” (ca. 1386, Chaucer, Knight’s
Tale).
Black was usual, but in court circles white was permis-
sible and was commonly worn by royal widows.
Purple was worn by royalty, but black was usual for
other social groups.
Various forms of full, half and limited mourning were de-
vised for women, ranging from complete black to pale
mauve and grey; the impact of Queen Victoria’s widow-
hood was felt throughout fashionable circles, but after
her death in 1901 the rules gradually relaxed, despite
the losses of both world wars.
Mourning band
(M)
m Period: 17th century.
A scarf-like hat-band of black cypress worn by those
following the hearse. “The other men that follow the
Herse have…hatt bandes of black sipres hanging down
behynde called Trawerbandes, that is, mourning bands” bereaved subsequently for varying periods.
(ca. 1618, Fynes Moryson, Itinerary). Mourning handkerchief
This custom survived until ca. 1880, the trailing hat- (F & M)
bands of male mourners being white when the de- Period: 18th and 19th centuries.
ceased was a virgin. The black hat-band of the top hat See Handkerchief.
was deepened during the period of mourning, some- Mourning knot
times covering the sides nearly to the top, the depth (M)
indicating the degree of mourning; a tradition surviving Period: 18th century.
to the end of the 19th century. A bunch of black ribbon attached to an armlet worn on
The mourning arm-band, of black cloth worn round the left arm. “Officers to wear…a mourning knot on the
the left upper arm, originally a military style, came to be left arm” (1708, British Apollo).
adopted by civilian men ca. 1820 and gradually became Mourning posy
a “correct” symbol of mourning, the width of the band (F & M)
regulated by the relationship to the deceased. Three to Period: 17th century.
four inches was not unusual. The custom survived into A bunch of rosemary carried by mourners and finally
the 21st century. cast upon the coffin.
Mourning garland Mourning ribbons
(F & M) (M)
A garland of willow or a hat-band of willow worn by Black ribbon worn on the hat.
such “who have lost their love” in death or desertion. Mourning scarf
Mourning gloves (M)
(F & M) Period: 17th and 18th centuries.
Period: 18th and 19th centuries. A scarf of armozeen or lawn, up to 3¼ yards long; given,
Black kid gloves, worn by all at funerals and by the with hat-bands, to the principal mourners at a funeral.

137 Mules, moiles, moyles, mowles
Mourning tire (M)

(F) Period: ca. 1600–ca. 1800.
Period: 17th century. “Lost – a large sabble tip Man’s Muff” (1695, London
A mourning veil. Gazette). Less usual.
See Love and clothing. Muff bracelet
Mousquetaire cuff (F)
(F) Period: ca. 1650–1700.
Period: 1873. A small muff worn round the wrist.
A large, turned-back cuff on a day sleeve. Muffetees
Mousquetaire gloves (F & M)
Period: 1890. Small wrist muffs made in pairs, worn for warmth or to
Gloves with gauntlets embroidered and scalloped. protect the wrist ruffles when playing cards.
Mousquetaire hat Also, small muffs closed at one end and worn over the
(F) hands for warmth; some with a separate compartment
Period: 1857–1860. for the thumb. “Pray buy my mother a pair of black
A brown straw hat, mushroom-shaped, with a pendant silk French muftees for the hands…they must be with
edging of black lace all round the brim. thumbs to them.” (1748, Purefoy Letters).
Mousquetaire mantle In the 19th century they could be a coarse kind of mit-
(F) ten, “either of leather or of knitted worsted, worn by old
Period: 1847. men” (1808–1818, Jamieson).
A black velvet mantle edged with braid, with short, Revived in 1877 as a wrist muff for women, called
loose sleeves, outside pockets and quilted satin lining. “muffatee”.
Mousquetaire sleeve Muffin hat
(F) (M)
Period: 1853, revived 1873. Period: 1860s.
A full sleeve with a turned-back cuff cut into deep points. A round hat with a flat crown surrounded by a narrow,
Moustache, mustache, mustachio, mouchado upright brim; made of cloth, for country wear.
m
Period: 16th century onwards. Muffler
“A mostache is the berde of the upper lyppe” (1551, W. (F)
Thomas, trans. of Barbard’s Travels in Persia). Period: 1530s–1660s.
Very seldom worn in the 18th century; considered in A square of fabric folded diagonally and worn over the
the 19th century a military appendage until the Crimean mouth and chin and sometimes the nose, to protect
War (1853–1856) encouraged civilians to adopt it and from cold air and sometimes as a disguise.
versions have been worn throughout the 20th century See Chin clout.
and beyond.
Muckinder, muckender, muckiter, muckinger (F & M)
Period: Early 15th to early 19th century. Period: 16th century onwards.
A handkerchief for wiping the nose and eyes. “Wipe A scarf worn round the neck for warmth.
your nose…where’s your muckinder your grand-mother Muff’s cloak
gave you?” (1607, Marston, What you will). (M)
“Be of good comfort; take my muckinder and dry thine Period: Late 16th and early 17th centuries.
eyes” (1633, B. Jonson, Tale of a Tub). A sleeved German cloak, the same as the Dutch cloak;
Also a child’s bib or a table napkin. “muff” also being a derogatory term for a foreigner, es-
See Mockador. pecially German or Swiss.
Muff Muff string
(F) The ribbon suspending the muff from the neck; occa-
Period: ca. 1550 onwards. sionally used.
A covering for both hands as a protection against cold, Mules, moiles, moyles, mowles
though also used as an elegant accessory. Tubular (F & M)
or flat, varying greatly in size; made of fur, feathers, Period: 16th century onwards.
fine fabrics, and padded within. In the 18th century a A light indoor shoe with only a front section, either flat-
woman’s muff and tippet were usually made to match. soled or high-heeled. “A slipper without heel-piece or
A pocket for a card-case and purse was introduced in quarter.”
ladies’ muffs of the 1880s. See Pantofles.

Muller-cut-down 138
Muller-cut-down Period: 1870s and 1880s.

(M) A mushroom-shaped straw hat plentifully trimmed over
Period: 1870s. the small crown with ribbon, flowers or, in the 1880s,
The popular name for a hat resembling a top a bird.
hat cut down to half its height; named after the Mushroom sleeve
murderer in 1864 whose cut-down hat led to his (F)
identification. Period: 1894.
Mushroom hat A short sleeve for evening dress; pleated round the arm-
(F) hole and edged with a lace frill.
N
Nabchet, nab-cheat Napron
Period: 16th and 17th centuries. Period: ca. 1300–1450.
Slang for hat or cap. Term denoting an apron, taken from the Old French
Napkin naperon, a diminutive of nape or nappe, a tablecloth.
Period: 16th–18th century. From ca. 1460 “appurn” or apron became the usual
A handkerchief for wiping the nose; often a regional name.
term. Other meanings include a piece of fabric used as National Standard Dress
a table napkin, a neckerchief and a small towel. (F)
Napkin-cap Period: 1918
(M) This was an experiment to introduce a simple, multi-
Period: 18th century. purpose dress at a time of shortages. It did not need
A plain night-cap or house-cap to cover the bald head hooks and eyes or a metal belt buckle and was
n when the wig was removed. “He then took off his bag intended to be made of silk so that it could be worn
(i.e. wig), coat and waistcoat…and after some trouble as “outdoor, housegown, rest gown, teagown, dinner
put on a napkin-cap” (1746, H. Walpole, Letters). gown, evening dress and nightgown” (1918, quoted in
Napkin hook Cunnington, English Women’s Clothing in the Present
(F) Century). A paper pattern offered three variants, all of
Period: 17th century. which look feasible for the home dressmaker. This idea
A hook for suspending the handkerchief from the may have influenced utility dress in World War II.
waistband. A common form of gift or “fairing” from Neapolitan bonnet
young men to girls. (F)
Napoleon necktie Period: 1800.
(M) A bonnet of leghorn trimmed with straw flowers and
Period: ca. 1818. straw-coloured ribbons fastened to the crown and tied
A somewhat narrow, violet-coloured necktie surround- loosely on the bosom.
ing the back of the neck, the ends brought forward and Nebula head-dress
crossed in front without tying, and then fastened to the (F)
braces or carried under the arms and tied on the back. Period: 1350–1420.
This style was said to have been worn by Napoleon A descriptive term used by 19th-century writers for a
on his return from Elba in 1815. By ca. 1830 this was woman’s head-dress.
becoming known as the Corsican necktie. See Goffered veil.
Napoleons Neckatee
(M) Period: Mid-18th century.
Period: 1850s. An unusual term for a neckerchief.
New name for long military boots reaching above the Neck button
knee with a scoop out behind to allow flexion. Worn by (M)
civilians on horseback. The name was a compliment to Period: Mid-17th century.
the Prince, later Napoleon III (1808–1873). An ornamental button worn at the neck of the

139 Nelson hat
fashionable shorter doublet. This button, with a loop, Neckline

closed the doublet at the top while below it was often (F)
left open to reveal the shirt. Period: Early 20th century onwards.
Neck-chain Term used in conjunction with other descriptions
(M) (high, low, boat-shaped, etc.) for the area between the
Period: Medieval to mid-17th century. neck and décolletage of a blouse, dress or similar.
A gold or gilded brass chain worn as an adornment by “Necklines always make headlines” (1968, J. Ironside,
men. Sometimes worn by medieval travellers as port- A Fashion Alphabet).
able wealth; a few links cut from it could serve as money. Necktie
In the 17th century it was usually called a jack chain. (M)
A term coming into use about 1830, but not entirely dis-
Chains, especially gold ones, became fashionable for
placing the earlier name cravat. A band of varying width
some men, such as sportsmen, performers, etc.
and fabric wound round the base of the shirt collar.
Neckcloth
Neck-wear
(M)
(M)
Period: ca. 1660 to mid-19th century.
A general term for any kind of cravat or neckwear
An American term for a necktie and in general usage by
swathed round the neck, as distinct from a collar.
the late 20th century.
Prior to 1660 the term neckcloth indicated a woman’s
Négligée, négligé
neckerchief.
(F & M)
Necked bonnet
(M)
A term used for describing someone dressed in an infor-
Period: ca. 1500–1550.
mal manner, both in and out of doors, and also a term
A cap with a deep flap fitting round the neck at the
for a loose female gown and a male informal garment
back. Double or single, that is lined or unlined.
worn in domestic settings.
Neckerchief, neckercher, neck-kerchief
(F)
Period: Late 14th to late 19th century.
Usually a term describing a women’s light dressing-
Any square or strip of linen or other material folded
round the neck. “On his (a child’s) shoulder about his
gown of flimsy or revealing fabrics. n
Secondary usage includes a type of male wig of the
neck a kercheff fyne must be” (ca. 1460, Russell, Boke
1750s devised in Paris.
of Nurture).
Also, a mourning girdle of jet with a nine-inch pendant
The term “neckercher” was regional usage in the 18th
end; worn by women as part of public mourning at the
and 19th centuries.
death of Princess Charlotte in 1818.
See Kerchief.
Nehru jacket
(F & M) (M, occasionally F)
Period: 19th century. Period: 1960s onwards.
The term occasionally applied to a large silk cravat. The style of jacket, based on a longer indigenous gar-
Neck handkerchief ment, worn by the Indian politician Jawaharlal Nehru
(M) (1889–1964); this was a long-sleeved, hip-length, front-
Period: 18th and 19th centuries. buttoned, linen or cotton jacket with a high, round col-
Synonym for cravat or necktie. “To buy Cravats or lar, which successfully synthesized traditional clothing
Neck- Handkerchiefs” (1712, Steele, The Spectator). for Indian men with a quasi-European style. It became
Neckinger fashionable in the late 1960s for both sexes in western
(F) countries and continues to be worn in India.
Period: 16th–19th century. Nelson
A corrupt form of neckercher, used regionally. (F)
Necklace Period: 1819–1820.
(F) A bustle worn to enhance the effect of the Grecian
Period: 16th century onwards. bend stance of the time.
A string of beads, gemstones, metal links or similar See Frisk.
worn around the neck as a decoration. Nelson hat
See Neck-chain. (F)
Also, in the 17th and 18th centuries, a ribbon or lace Period: 1895.
band worn around the neck. A straw hat, the brim sharply turned up, front and back,

Neoclassical dress 140
with a plume in front and ribbon bows at the peaks each level and often worn open. The skirts were short with
side. rounded corners; sleeves with cuffs; often with flapped
Neoclassical dress hip-pockets. By 1850 it was generally called a cuta-
(F & M) way coat, and by 1870 it was merging into the morn-
Period: Late 18th and early 19th centuries. ing coat.
Rejection of the highly decorative rococo forms in Newmarket jacket
favour of simplicity and regularity of design. Informed (F)
by archaeological excavation and renewed interest in Period: 1891.
classical art, the clothing of this period offered a narrow A close-fitting jacket, single- or double-breasted, made
silhouette and an interpretation of the appearance of hip-length; with a turn-over collar and silk-faced lapels
certain aspects of the dress of classical antiquity. cut on masculine lines. The characteristic Newmarket
Nether integuments feature was flapped pockets (real or sham) on the
See Unmentionables. hips; close sleeves ending in a cuff or buttoned slit.
Nether stocks Often part of a tailor-made costume of tweed. For day
(M) wear.
Period: ca. 1515 to late 17th century. Newmarket overcoat
The lower or stocking portion of hose, the upper por- (M)
tion being variously called the breech, upper stocks Period: 1881.
and, later, trunk-hose. Resembling a single-breasted frock overcoat cut short
The term was sometimes used for women’s stockings in the waist, very long in the skirts. Velvet collar and cuffs
at the end of the 16th century. common; usually made of homespun or shepherd’s
New Age plaid.
Period: Late 20th and early 21st centuries.
Specifically the Age of Aquarius; this, in astrological (F)
terms, is supposed to introduce improved spiritual Period: 1889.
awareness and collective understanding. Ecological A tailor-made, single- or double-breasted coat, closed
methods, an eclectic simplicity, and a stronger ethical to the waist, the long skirts left open to reach nearly to
approach to the origins and production of clothing are the ground. Flapped pockets on the hips; close sleeves.
aspects of this approach, as is recycling. New Age trav- Velvet collar, lapels and cuffs. Made of heavy cloth for
n ellers typified this practicality, but it is a diverse move- winter wear and still worn in the early 20th century.
ment in constant flux. Newmarket top frock
See Ethnic dress, Hippie style, Grunge. (M)
Newgate fringe Period: 1895.
(M) An overcoat resembling a frock coat with a broad vel-
Period: 19th century. vet collar; pockets on the waist seam; skirts to 4 inches
Colloquial term for a fringe of beard under the jaw. below the knees. Made of a rough cheviot, the body
New Look lined with silk or satin, the skirts with check fabric.
(F) Newmarket vest
Period: 1947. (M)
Term applied by an American journalist to the “Corolle” Period: 1894.
fashions introduced by the fashion designer Christian A waistcoat of a plaid or check pattern cloth and cut
Dior (1905–1957) in that year. The ultra-feminine sil- to button high; made with or without flapped pockets.
houette which emphasized the bosom, a narrow waist Worn especially by sportsmen.
and offered long, full skirts (containing up to 20 yards of New Romantic
fabric) provided an antidote to the privations of World (F & M)
War II and looked back to the neo-Victorian styles of Period: Late 1970s to mid-1980s.
the late 1930s. A term applied to someone associated with the fashion
Newmarket coat and music sub-cultural movement of this period, which
(M) had begun as a reaction against punk styles and resus-
Period: 1838–ca. 1900. citated the glam rock styles of the early-to-mid-1970s.
Previously called a riding coat and from 1750–1800 Colourful hair, distinctive make-up, and androgynous
called a Newmarket coat which was a riding coat (see but consciously glamorous clothing were epitomized
frock). by Boy George and the Pirate and New Romanticism
The Newmarket coat was a tail coat, single- or double- collections of the British designer Vivienne Westwood
breasted, the fronts sloping away from above the waist (b. 1941).

141 Night rail, night rayle
Nifels, nyefles
(F)
Period: 1450–1500.
A woman’s veil.
Night-cap
(M)
A form of skull-cap constructed from four conical sec-
tions of fabric with a close, upturned brim, often decora-
tive; a very common form from the 16th century and
worn indoors for comfort, replacing the wig, when that
was in fashion.
Also a plain washable cap worn in bed from the earliest
time. In the 19th century it was often called a “jelly-bag”
from its shape, usually of knitted silk with a tassel on
the top.
See Biggin.
(F)
A mob cap tied under the chin and worn in bed.
Night-cap wig
(M)
A bob-wig with roll curls circling the back of the head
from cheek to cheek.
Night-clothes
A loose gown or long coat, sometimes fur-lined, cut to
(M)
the contemporary fashion, worn as négligée indoors
and informally out of doors for morning visits, in the 17th
Until the 16th century men slept naked or in a day-shirt;
subsequently a night-shirt, varying in quality, was worn
and 18th centuries. n
See Banian, Indian nightgown, Morning gown.
in bed. Nobles in the 16th century wore embroidered
shirts or “wrought night-shirts”. By the 19th century the (F)
night-shirt resembled a day-shirt with a loose, turned- An unboned, comfortable but often very elaborate
down collar, or a loose, ankle-length nightgown was dress, worn indoors and out, and sometimes on for-
worn. mal occasions as at weddings. Also called a “Morning
Gown”, although worn at any part of the day. Similar to
(F)
and probably the precursor of the mantua.
Informal morning or evening attire. “My lady Castlemaine Period: 19th century onwards.
who looked pretty in her night-clothes.” (1667, Pepys’ A loose gown of cotton, linen or silk, worn in bed only;
Diary) often known as a “night dress”.
Like men, until the 16th century women slept naked or Night-kercher
in day-shifts; subsequently in a night-chemise. (F)
See Nightgown. Period: 16th century.
Night coif A neckerchief worn at night.
(F) Night-mask
A woman’s coif worn as négligée or in bed. The coif Period: 17th century.
was often embroidered and generally worn with a fore- “Here be fine night-masks, plaster’d well within, To sup-
head cloth. “A night coyf of cameryck cutworke and ple wrinkles and to smooth the skin” (1627, M. Drayton,
spangils with a forehead cloth” (1577–1578, Nichols, The Muses’ Elysium).
Progress of Queen Elizabeth). See Ceruse.
Nightgown Night rail, night rayle
Period: 16th to late 18th century. (F)
(M) Period: 16th to late 19th century.

Night-shift 142
A cape of lawn, holland, silk or satin falling to the waist or a belt of self-material. In 1894 a yoke was often added,
hips; worn before dressing or after undressing. “When the box pleats starting from the yoke. Commonly made
we was packing your few traps and your Mis’ess’s night of Harris tweeds and homespuns.
rail and dressing things” (1891, T. Hardy, Tess of the Norfolk shirt
d’Urbervilles). (M)
Night-shift Period: 1866–1880.
(F) The forerunner of the Norfolk jacket. A short lounging
Period: Late 17th century onwards. jacket with box pleat down the centre of the back and
A chemise worn in bed only; a night dress or gown. down each forepart; collar and wristbands made in the
Night-shirt style of a shirt. Flap pockets in the front skirts; belt of
(M, later F) same cloth; always worn buttoned up. Of rough tweeds
Period: 16th century onwards. for country wear.
A shirt worn in bed only. Occasionally worn in the 20th Norma corsage
and 21st centuries by women as well as men. (F)
See Pyjama. Period: 1844.
Night slippers An evening bodice with a loose fold in the centre, caught
Period: Late 16th century onwards. in with a gold ornament.
Slippers worn in the bedroom. From the 20th century Nosegay
more usually known as “bedroom slippers”. Period: 15th century onwards.
Niqab A small bunch of sweet-smelling flowers or herbs,
(F) the latter as an antidote to infectious diseases. In the
One of the three elements of dress that can be worn by 16th and 17th centuries they were worn in the hat at
Muslim women to shield themselves from the gaze of weddings. “A nosegay bound with laces in his hat,
strangers. This is a black face veil, a square or rectangle Bridelaces, Sir, and his hat all green” (1599, Henry
of fabric with a narow slit to allow the eyes to be used, Porter, The Two Angry Women of Abingdon).
though in some circumstances this is covered by a Notch
decorative mesh. If worn with the jilbab, hijab and with (M)
the hands covered, this constitutes the full veil. Period: 19th century onwards.
Nithsdale The term for the gap cut out between the collar of a
n (F) coat or waistcoat collar and the lapel. It varied in shape,
Period: 1715–1720. a mere slit being called by tailors a “light”; the “M-notch”
A long, hooded riding cloak. “It is called a Nithsdale was shaped like the letter M; a rectangular cut back was
since Fame adorned a Countess with that name” (1719, called a “step”.
D”Urfey, Pills to purge Melancholy). Nouch
The Countess of Nithsdale (1680–1749) had rescued See Ouch.
her husband, a supporter of the Jacobite rebellion, from Nursing dress
the Tower by disguising him in her cloak and hood in (F)
1715. Period: Early 19th century.
Nivernois hat A dress constructed so that the wearer could suckle
(M) her infant without having to remove the bodice when
Period: 1760s. this was fastened up the back by hooks and eyes; over
A tricorne hat with broad, spreading brim rolled over each breast a small slit opening, closed by a button,
a flat crown; known as the “Nivernois cock”. “He wears was concealed under a robin or pleated folds of the
this large umbrella-like hat. This is the Nivernois.” (1765, bodice fabric. Such dresses were in use between ca.
London Magazine) 1820 and 1850.
Also called a “waterproof hat” because of its umbrella- Nycette, niced
like protection. (F)
Norfolk jacket Period: Late 15th and early 16th centuries.
(M, sometimes F) A light wrapper for the neck.
Period: 1880 onwards. See Kerchief.
A modification of the Norfolk shirt. A lounge jacket of Nylons
mid-thigh length, made with a box pleat to each fore- (F)
part and a central box pleat behind, large bellows pock- Period: 1930 onwards.
ets on the hips and a vertical slit pocket in the left breast; Shorthand for nylon stockings.

143 Open robe
O
Oatland village hat connotations of being cheap and nasty in terms of fabric
(F) and fit until the 20th century.
Period: 1800. Off-the-shoulder
A day hat, the brim curved up in front and behind, the (F)
crown dome-shaped with a ribbon round it. Of straw, Period: 20th century onwards.
twist or leghorn. Named after the country house of the A style of neckline which leaves the neck, shoulders and
Duchess of York. upper arms uncovered; often used for formal evening
Obi dresses.
Period: Late 19th century onwards. Oilets
A long sash worn around the waist to secure a garment Period: 18th and early 19th centuries.
in Japan, e.g. a kimono. The style became well known The early term for eyelets or lacing holes.
in the west in the 19th century and was referenced by Oker, hogger, hoker, coker
20th-century fashion designers. (M)
Obi hat Period: 16th century.
(F) “Boots for ploughmen called Okers” (1552, Hulcot).
Period: 1804. Oldenburg bonnet
A straw or chip hat for walking; the high crown with (F)
flat top, a narrow brim rolled back in front; tied under Period: 1814.
the chin with ribbon strings passing over the brim from A very large bonnet with wide, projecting brim in front
the crown which was also trimmed round with ribbon. and a flat crown draped with ostrich feathers; ribbon ties
Named after a character in a pantomime. under the chin. Named after the Duchess of Oldenburg,
Oblong hoop, square hoop sister of Tsar Alexander I and, with him, a visitor to the
(F) Peace celebrations of 1814.
Period: 1740s–1760s. Olive button
An undergarment variously constructed, projecting out Period: Mid-18th century onwards.
horizontally from the waist on each side, the front and A long, oval button covered with silk.
back being flattened to give enormous breadth to the Olivet, olivette
hips. Some were hinged, allowing the wearer to fold the Period: Mid-18th century onwards. o
overskirt under the arms when passing through a too- An olive-shaped button of wood covered with silk or
narrow doorway. It was required for court dress and in braid and used to fasten a brandenburg.
a modified form continued until 1820. See Frog-button.
Octagon tie Ondina crinoline
(M) (F)
Period: 1860s to early 20th century. Period: 1860s.
A made-up scarf, the front arranged in four tabs above A cage crinoline with the hoops arranged in “wave-like
the tie-pin with a neck-band fastened behind by a hook bands”.
and eyelet hole. Op Art
Oes, owes Period: Mid-1960s onwards.
(F, rarely M) A movement which used bold, abstract designs, often in
Period: 16th and 17th centuries. strongly contrasting colours such as black and white. It
Small rings or eyelets sewn to the material of a garment had a considerable impact on fabric design and clothing
to form decorative designs. “Vaile of net lawne embroi- in the late 1960s and in subsequent revivals ca. 2000.
dered with Oes” (1616, Chapman, Masque of the Inns Open robe
of Court). (F)
See Spangles. Period: 19th century.
Off-the-peg A style of dress in which the skirt is open in front from the
(F & M) waist down, revealing a decorative underskirt or pet-
Period: 1850 onwards. ticoat. It was chiefly fashionable, for day and evening,
Clothing that could be bought from shop stock during the 1830s and 1840s.
rather than being made-to-measure. Often carried Although this form of construction was used from the

Opera cloak 144
16th century onwards, it does not appear to have been Orange-blossom wreath
called an “open robe” until the 19th century. See Wedding veil.
Opera cloak Orientalism
(F, sometimes M) Period: 1600 onwards.
Period: Early 19th century onwards. The impact upon western dress and fashions of the
A full-length evening cloak, often of a rich fabric. clothing and customs of oriental nations across many
Opera hat centuries; Turkish, Indian, Chinese and Japanese fab-
(M) rics and forms of dress influenced western ideas of
Period: ca. 1750–1800. design and construction.
A small, flat, three-cornered hat made for carrying under Orphrey, orfrey, orfray, orfries, orphrieis
the arm and also called a chapeau bras. Period: 13th century onwards.
Embroidery with gold thread. From the early 13th cen-
Period: 1800–1830.
tury the term was applied to narrow bands of gold em-
A crescent-shaped hat with a soft crown which could
broidery decorating the borders of garments, especially
be compressed between the crescent-shaped side
ecclesiastical vestments. Later it came to mean narrow
brims, and carried under the arm, as the chapeau bras.
strips of any kind of embroidery, such as orphreys of
Also called a military folding hat or cocked hat. After
blue, red and green, also plain velvet.
1830, except for full dress: the opera hat was the cir-
Orrelet, orilyet
cumfolding hat and later the gibus.
(F)
Period: ca. 1550–1600.
Adapted from a French term oreillet which described the
ear guards of a helmet, these were the side pieces of a
woman’s coif, covering the ears; also called “cheeks
and ears”.
Osbaldiston tie, barrel knot
(M)
Period: 1830s and 1840s.
A necktie tied with the centre knot in the form of a
barrel.
Ouch, nouch
o A jewelled clasp or buckle, or a collection of jewels.
See Pontificals.
Ourle, orle
A border of fur. “Orle” is the later form.
Out-coat
(M)
An overcoat for outdoor wear.
Outfit
(F & M)
A set of clothing designed or selected to be worn to-
gether, and often including accessories such as jewel-
lery, shoes, etc.
Oval beaver hat
(M)
Period: 1817.
A hat made on an oval block, an improvement on the
round block previously used, which required a “hat
screw” to stretch it to the shape of the head.
Overalls
(M)

145 Paddock coat
Loose trousers of white cord or leather, worn for rid- Period: 1860s.
ing; adapted by civilians from those worn by the cavalry “Oxonian shoes which cover the instep and are closed
in early 19th century. “To a Baragon Stable Jacket & by being buttoned instead of being stringed” (1862,
overalls £1:13” (1840, domestic bill). Mayhew Bros., London Life and London Poor).
Oxford gloves
A garment which protected the clothing of workers, Period: Mid-16th to mid-17th century.
e.g., a smock or long coat of coarse, washable fabric, Gloves often scented with the Earl of Oxford’s
or trousers with a bib and straps across the shoulders. perfume.
Overcoat Oxford shoe
(M & later F) (M)
Period: 18th century onwards. Period: Late 19th century onwards.
A coat worn out of doors over an indoor suit, or over a A shoe which laces at the front, with the vamp stitched
dress by women after ca. 1780. on top of the facings which carry the laces.
See Greatcoat. See Oxonian shoe.
Overskirt Oxford tie
(F) (F & M)
Period: Mid-19th century onwards. Period: 1890s.
An extra skirt worn over the skirts of a dress, often of A narrow, straight necktie, having the same width from
a lighter fabric, shorter or open at the front or sides; end to end. Worn by men with a lounge suit and by
decorative or protective. women with a morning blouse.
Overslop Oxonian boots, collegians
(M) (M)
Period: ca. 950 to late 14th century. Period: ca. 1830–1850.
Term for a loose overgarment; also a stole, cassock or A short boot, later black-japanned, having a wedge-
surplice. shaped piece cut out from each side at the top to en-
Overstocks able the boot to be pulled on easily.
See Stocks. Oxonian jacket, Oxford coatee
Over-vest (M)
(F) Period: 1850s and 1860s.
Period: Late 20th century onwards. A “real Oxford bang-tail coatee, bright blue with only two
Another item of leisure wear developed originally to be buttons and button-holes and all sorts of jolly pockets
worn over a sports bra, but now worn as an informal in original places” (1855, F. Smedley, Harry Coverdale’s
sleeveless alternative to a T-shirt. Courtship). p
Oxford bags See Jumper.
(M) Oxonian shoe
Period: 1920s. (M)
A mainly British style of excessively wide-legged trou- Period: 1848.
sers worn by some students at Oxford University. “Laces up in front with three or four holes. The vamp
Oxford button-overs comes well above the joint [i.e. ankle]. Seam across the
(M) instep” (Sparkes-Hall).
P
Padded shoulders Paddock coat
(F & M) (M)
Period: 18th century onwards. Period: 1892 onwards.
The use of padding or pads to extend the shoulder line A long overcoat without a seam at the waist, made
in width or height in blouses, coats and jackets. double- or single-breasted with a fly-front fastening.
See Power dressing. A seam descended from the arm-hole to the top of the

Page bonnet 146
flapped pocket on the hip, to give better fit, in contrast Pale

to the old-style paletot, otherwise resembling it in that Period: Late 14th to early 16th century.
there was a side-body. This was revived in 1893 and A vertical stripe or one of a series of stripes of contrast-
was then called by some the “new paletot’. ing colours.
Both styles had deep side pleats concealing a back “But what art thou that sayest this tale That warest on
vent; pockets were plentiful. thy hose a pale” (ca. 1384, Chaucer, House of Fame).
Page bonnet See Mi-parti.
(F) Paletot
Period: 1874. (M)
Identical with the Charlotte Corday bonnet. Period: 1830s–ca. 1900.
Page boy A French term used to describe a short greatcoat
(F) made without a seam at the waist, and often having a
Period: 1920s onwards. whole back, but always side seams; no side pleats in
A haircut which emulated the style worn by pages in many versions. The back vent, if present, was very short.
Renaissance paintings; usually chin-length, curving
(F)
around the face, with a deep fringe over the forehead.
Period: 1839 to end of 19th century.
Pages
A three-quarter-length cloak hanging in stiff pleats from
See Dress clips.
the shoulders and having a short, stiff cape; the arm-
Pagoda parasol
holes guarded with flaps. By 1843 it had three capes, a
(F)
velvet collar and loose sleeves.
A parasol with the cover shaped in an ogee curve up Period: 1860–1890.
the stick; when expanded it was said to resemble the The “short paletot” or yachting jacket was worn as an
roof of a pagoda. outdoor jacket.
Pagoda sleeve
Period: 1865–1884.
(F)
The “long paletot” was usually a figure-fitting outdoor
Period: 1849–1860s.
coat reaching below the knees, with tight sleeves
A sleeve with one seam on the inner side and cut so as
and often trimmed with lace; in the 1870s some were
to expand widely at the elbow where it was caught up
sleeveless and made with a Watteau pleat or in the
at the bend, but falling on the outer side nearly to the
casaque shape.
wrist. Some were made with a slit up in front, which by
1857 extended almost the whole length. By 1859 the Period: Early 20th century.
name was being replaced by funnel sleeve. Worn with Term used to describe a long, fitted overcoat.
engageantes. Paletot-cloak
p
(M)
A long, narrow sleeve opening about six inches above A short cloak scarcely covering the buttocks, fastened
the wrist with a small under sleeve or detachable short in front and single- or double-breasted with arm-hole
sleeve. slits; no sleeves.
Palatine Paletot-mantle
(F) (F)
Period: 1840s. Period: 1867.
A neck tippet with long, flat ends reaching in front be- A three-quarter-length cloak with a cape and hanging
low the waist. sleeves.
See Pallatine. Paletot-redingote
Palatine royal, victorine (F)
(F) Period: 1867.
Period: 1851. An outdoor long coat cut to fit the figure, without a seam
A fur tippet with a quilted hood and short ends in at the waist; made with revers at the top and sometimes
front. with circular capes. Buttoned all down the front.
Palazzo pants Paletot-sac
(F) (M)
Period: 1960s. Period: 1840s and 1850s.
Loose trousers with wide legs, usually for informal A short, straight paletot, single- or double-breasted,
wear; “palazzo pyjamas” were a two-piece variant. and often having a hood instead of a collar.

147 Panes
Palisade Period: 1830s onwards.

(F) A hat made from the plaited fibres of the toquilla leaf,
Period: ca. 1690–1710. which originated in Ecuador and became popular in
A wire frame for supporting the high fontange coiffure. Europe for summer wear. Twentieth-century versions
“Palisade, a wire sustaining the Hair next the Dutchess include travelling styles which can be rolled and placed
or first knot” (1690, J. Evelyn, The Fop Dictionary). into luggage, and the original fibre is often replaced by
See Commode, Mont-la-haut. substitutes of plaited straw.
Palla Panel skirt
(F) (F)
Period: ca. 100 BCE to ca. 300 CE. Period: 1894.
A loose outer garment or wrap, long and worn out-of- A day skirt consisting of an overskirt two inches shorter
doors; like the male toga, it could be drawn-up over than the underskirt and open on the left side to expose
the head. a contrasting decorative panel.
Later the term was used for an altar-cloth or chalice Panes
cover. (M, occasionally F)
Pallatine Period: 1500–ca. 1660.
(F)
Period: ca. 1680 to early 18th century.
A sable shoulder wrap or tippet. “That which used to
be called a “sable tippet” but that name is changed to
one that is supposed to be finer, because newer and à
la mode de France” (1694, Ladies’ Dictionary).
Pallium
(M)
Period: Greco-Roman.
A large, rectangular cloak or mantle, similar to a hima-
tion and almost certainly made of wool.
The term was later applied to a church vestment.
Palmerston wrapper
(M)
Period: 1853–1855.
A single-breasted sac overcoat, the fronts hanging
loose and wrapped across. Sleeves wide at the hands;
no cuffs; wide collar and lapels, faced up to the edge p
of the button stand and with four button-holes; side-
flapped pockets. Named after the British politician Lord
Palmerston (1784–1865).
Paltock, paltok, paultock
(M)
A gipon or doublet to which the hose were tied.
Pamela bonnet
(F)
Period: 1845–1855.
A small straw bonnet, the narrow brim open round the
face and sloping back to be continuous with the crown,
flat behind, and having a small curtain. Trimmed with rib-
bons and sometimes flowers. Named after the epony-
mous heroine of Samuel Richardson’s novel of 1741.
Pamela hat
(F)
Period: 1845.
A small gipsy hat of coarse straw.
Panama hat
(M)

Panier 148
A decoration produced by slashing the material into short side-slits, strapped under the foot and known as
long, ribbon-like strips or by using ribbon lengths set tights, ca. 1840.
close and parallel, joined above and below. Through the
(F)
gaps part of the shirt or sleeves might be pulled out,
Period: 1812–ca. 1840s.
or a contrasting coloured lining might be drawn out.
An undergarment in the form of long, straight-legged
For instance, a “gown of crimson velvet with French
drawers; a term not often used before 1820. In the
sleeves lined with tynsell” (1523, Inventory of Dame
1830s often called trousers. “With short dresses those
Agnes Hungerford). This device was also common with
who have not handsome legs generally wear panta-
trunk-hose.
loons” (1822).
Panier
Pantaloons appearing below the skirt went out of fash-
(F)
ion before 1840, except for children.
See Pantalettes.
The French term for side hoops or false hips.The word
Pantaloon-trousers
was not used in England in the 18th century, hoop be-
(M)
ing preferred.
Period: ca. 1815–ca. 1830.
In the late 19th and early 20th century it described a
A hybrid garment – tight-fitting, but moderately loose
drapery style of the skirt or overskirt when bunched
from the calf down, and without side-slits. The bottoms
upon the hips, and could be spelt as “pannier”.
were cut square or with the fronts hollowed out over
Panier anglais
the insteps.
(F)
Panteen collar
(F)
The French name for the hoop petticoat; a term rarely
Period: 1880s.
used in England.
A high stand-fall collar, common with ladies’ tailor-
Pannier crinoline
made jackets and coats.
(F)
Period: 1870s. (M)
Thomson’s Pannier Crinoline combined a cage crino- Period: 19th century.
line and a bustle, the upper portion extending round A white, turned-down collar worn by the clergy until
the back and sides. replaced by the stand collar and the Prussian collar
Pannier dress in 1860–1870; the style favoured by evangelical and
(F) nonconformist ministers.
Period: 1868. Pantie girdle, panty girdle
A day dress with a double skirt, the upper bunched out (F)
round the back and sides by means of a draw-string be- Period: 1960s.
p
low, the underskirt trained, and trimmed with a flounce. A combination of the lightweight, elasticated, unboned
Pantalettes girdle and panties, of varying length and designed to be
(F) worn with tights.
Period: ca. 1812–1840s. Panties, pants
The feminine version of pantaloons. An undergarment (F & M)
of long, straight-legged, white drawers reaching to be- Period: 20th century onwards.
low the calf and there trimmed with lace or tucks. Visible Term for short underpants.
below the skirt, with children, until ca. 1850; a mode Pants is also an American term for trousers; an ab-
surviving into the 1840s for ladies’ riding costume. breviation of the earlier pantaloons.
Pantaloons Pantihose, pantyhose
(M) (F)
Period: 1660–1680. Period: 1960s onwards.
The same as petticoat breeches, “…the pantaloons An American term for women’s tights.
which are a kind of Hermaphrodite and of either sex” Pantile
(1661, J. Evelyn, Tyrannus or the Mode). “A paire of new (F & M)
fashion’d rideing panteloons” (1662, Sir Miles Stapleton, Period: 1640s–1665.
Household Books). A popular name for the sugarloaf hat. There was a
19th-century slang term “tile”, meaning hat.
Period: 1790–ca. 1850. Pantofles, pantables, pantacles, pantobles, pantibles
Close-fitting tights shaped to the leg and ending just (F & M)
below the calf until 1817; then at the ankles, usually with Period: Late 15th to mid-17th century.

149 Pardessus
Over-shoes in the form of mules. Very common from Period: 1860–1900.

1570. By 1867 “the pagoda shape has entirely disappeared;
Pants suit handles are longer; covers in stripes, brocade and
(F) satin”. In the 1880s a domed shape was usual, with
Period: Late 20th century onwards. linings in bright colours; handles with a large crystal or
An American term for a trouser suit. china knobs; ribbon bows near the point and handle
Paper dress appeared in 1886; 1888 saw sticks “as long as alpen-
(F) stocks” with knobs as large as billiard balls. By 1890
Period: 1960s. there were covers of chiffon or crêpe-de-chine with
A dress not strictly of paper but of bonded or non-woven deep flounces or puffed all over; handles of Dresden
fibres, often synthetic; Vilene is a typical example. Such china were fashionable in 1896, and in 1899 covers of
garments were cheap and disposable, but improved fancy silk in broad, coloured stripes were popular.
versions were flame-proof, did not tear, and could be
washed for a few times before disintegrating.
Highly decorative parasols were fashionable until ca.
Paper pattern
1914. Japanese paper sunshades and short-handled
parasols suitable for motoring signalled a simpler style
The template for many styles and sizes of garment;
for the post-World War I period, and gradually the com-
pinned to fabric, cut-out and sewn; this allowed domes-
bination of sunglasses with a wide-brimmed hat mostly
tic dressmaking to develop into a sophisticated form
replaced parasols.
from the 1860s onwards.
Parchment calves
See Butterick.
(M)
Paper underwear
Period: 1750–1800.
(F)
Parchment shapes worn inside the stockings to improve
Period: 1960s.
the shape of the legs.
A temporary novelty, supposedly offering disposable
See False calves.
panties and slips for holiday wear.
Pardessus
Papillotte
(F)
(F & M)
Generic name for any outdoor garment of half or three-
A screw of paper used to make a curl of hair.
quarter length, with sleeves and shaped into the waist;
Papillotte comb
often with rounded cape or pelerine; trimmed with lace
(F)
or velvet.
Period: 1828.
A decorative comb of tortoiseshell, three or four inches p
long, used to raise the hair at the sides.
Paquebot capote
(F)
Period: 1830s.
The same as the Bibi capote.The inside of the brim
was trimmed with ribbon and blonde lace.
Parachute hat
See Balloon hat.
Parasol
(F)
Period: ca. 1800–ca. 1860.
A light, ornamental umbrella carried by women as a
shield against the sun. The pagoda shape was usual;
some, however, were small and hinged so that the cover
could be turned upright to act as a fan; see Fan para-
sol. The telescopic stick of steel appeared by 1811; the
small parasol with a folding stick for use in the carriage
from ca. 1838 on. From that time the parasol became
more elegant, with carved ivory handles in the 1830s
and 1840s and fringed borders, the covers of coloured
silk and lace, black Maltese lace being fashionable in
the 1860s.

Pardessus redingote 150
Pardessus redingote measurement for her neck” (1533, Letters and Papers,
(M) Henry VIII).
Period: 1850s onwards. See Detachable sleeves.
The French name for the frock coat. Parure
Pareo, pareu, parou (F)
(F, occasionally M) Period: Late 18th century onwards.
Period: 1960s onwards. A set of matching jewellery usually worn together. The
Originally the description of a wraparound garment set might include a bracelet, a brooch, a necklace and
made of bark cloth and worn in French Polynesia and ear-rings; an optional extra might be a tiara. A “demi-
other Pacific islands with French connections. Later, a parure” was two matched pieces, e.g. ear-rings and
sarong or, for men, a loincloth made of brightly printed necklace.
cotton and adopted for beachwear beyond the original Pashmina
islands. (F, occasionally M)
Parka Period: Late 1990s onwards.
(M, later F) An especially lightweight cashmere shawl. The term
Period: Late 19th century onwards. pashm is a Persian word denoting the finest underbelly
The origins of the word are found in Russian and de- fibres of Himalayan mountain goats, and the word “pa-
scribe a hooded, thigh-length garment similar to an shmina” was known in the UK in the mid-19th century
anorak but front-fastening, and often with a fur lining. as both the woven fabric and a shawl made from it.
This type of garment is windproof and used for outdoor Modern versions, often with a warp of silk and a weft
activities, including winter sports, and it is frequently is- of cashmere, became popular in the late 1990s and are
sued to military personnel. It became the favourite out- produced in many colours; some are embroidered and
door wear of the Mods, who found their parkas in army cheaper copies use cotton or viscose.
surplus stores, opting for those which were longer and Pass
loosely cut; these they customized with a variety of (F & M)
badges. Many firms began to produce parkas from the Period: 17th century.
1960s onwards in a variety of colours and finishes, and The front of a man’s or woman’s hat.
the modern range is huge. Passe
Parrock (F)
(M) Period: 1864.
Period: 15th century. The bridge of flowers or trimming under the brim of a
A loose cloak with arm-holes. “Parrock or Caban” (ca. bonnet.
1440, Promptorium Parvulorum). Passementerie
Parti-coloured hose See Glossary of Fabrics and Materials.
p
(M) Paste
Period: Mid-14th to mid-15th century. Period: Mid-17th century onwards.
Hose in the form of footed, long stockings reaching A hard, vitreous composition similar to glass, used for
above the fork as tights, the legs coloured differently making imitation gemstones.
or striped. “Their hose are of two colours or pied with Patches
more” (ca. 1413, Eulogium, Anon.). (F)
See Mi-parti. Period: 1590s to late 18th century.
Partlet, patlet Small spots of black velvet or silk, variously shaped and
(M) applied with mastic as ornaments on the face. At some
Period: 1500–1550. periods, e.g. the early 18th century, the arrangement of
A sleeveless jacket or merely a covering for the upper the patches on the face served to indicate the wearer’s
part of the chest and neck left exposed by a low-cut political party.
doublet, then fashionable. Partlets were often very
(M)
decorative. “A straight sleeveless jacket made like a
partlett” (1523, Letters and Papers, Henry VIII).
The wearing of patches by men was rare.
(F) Patch pocket
Period: 16th and 17th centuries. Period: 19th century onwards.
A fill-in, like a chemisette for a low décolletage and A pocket formed from a piece of fabric sewn onto a gar-
made with a high collar from the 1530s. “He can- ment, usually square or rectangular and not dissimilar to
not make a standing collar for a partlet without the patches used for repairing worn clothing.

151 Pea jacket, pilot coat
Patent lace very fashionable in the 15th and 18th centuries; until
See Glossary of Laces. the 17th century the term was synonymous with clogs.
Patent-leather boots From ca. 1630 pattens were raised on iron rings: “The
(M) women leave in the passage their pattins, that is a kind
Period: 1870s onwards. of wooden shoes which stand on a high iron ring. Into
Ankle-length, buttoned boots with patent-leather up- these wooden shoes they thrust their ordinary leather
pers, worn for day and also evening dress. In the 20th or stuff shoes when they go out” (1748, Pehr Kalm’s
century, when boots were no longer worn, patent- Account of his Visit to England, Stockholm, 1753. Trans.
leather evening shoes replaced them. J. Lucas, 1892).
Patrol jacket Countrywomen continued to use pattens until the mid-
(M) 19th century.
Period: 1878. Patti jets
A close-fitting, hip-length jacket, single-breasted, (F)
closed by five buttons; with a Prussian collar; cross Period: 1869.
pocket on each hip and on the left breast. Of military cut Balls of polished jet hanging from a ribbon necklace,
and worn with tight knee breeches for bicycling on the with similar ear-rings; for morning wear. Jet, a form of
high “penny farthing” machine. polished lignite or fossilized coal, had been used for
many centuries but was especially prized in the second
(F) half of the 19th century.
Period: 1889. See Jet buttons.
A close-fitting, hip-length jacket, the back without Pautener
a centre seam, the front trimmed across with military (M)
braiding; tight sleeves with close cuffs and a stand col- Period: Medieval to 17th century.
lar. A military style inspired by a military campaign in The bag hanging from the girdle.
Egypt. Pea jacket, pilot coat
Pattens (M)
(F & M) Period: 1830s onwards.
Period: 14th to mid-19th century. Worn either as an overcoat or as a short, closed coat,
Over-shoes consisting of wooden soles, secured by and made of pilot cloth or mohair. Double-breasted with
leather straps and worn with boots or shoes to raise the wide lapels and velvet collar, the skirts closed behind.
wearer above the dirt when walking. The shape varied As an overcoat, made loose and sack-like, the corners
according to the period. Usually for country wear, but cut square, and ending above the knees.

Peaked shoe 152
In the 1850s it was given huge buttons and often a Peeper, peepers
short back vent. From ca. 1860 it became known as a (F & M)
reefer and both terms associate the coat with its naval Period: Late 17th century and 18th century.
use, when sailors and officers wore shorter and simpler, A term applied in the singular to a spy-glass or a looking
navy, wool versions differentiated by the buttons, plain glass, and in the plural as slang for a pair of spectacles.
or brass. Its 20th-century popularity owes much to “Peeper, a spying glass” (1785, F. Grose, Dictionary of
army surplus stores. However, as a design classic, it the Vulgar Tongue).
is now made in other colours and cloths. Peep-toe
Peaked shoe (F)
See Piked shoe. Period: Mid-1930s onwards.
Pearls A term used to describe shoes designed to reveal one
(F, occasionally M) or more toes.
Period: Medieval onwards. Peg-top skirt
Individual or strings of pearls decorated garments and (F)
formed items of jewellery. A pearl is the smooth, hard, Period: 1950s onwards.
silvery white seed found within an oyster, formed around A skirt shaped literally like a wooden peg, with a narrow
an irritant such as sand within the shell. Cultured pearls waist, fuller hips and narrowness at the hem.
were introduced by the Japanese in 1914. Seed pearls, Peg-top sleeves
real or of coated glass, were used in embroidery. (M)
Peasant skirt Period: 1857–1864.
(F) Sleeves cut wide above and narrowing towards the
Period: 1885. hand; a modified revival of the gigot sleeve of the
A full, round tennis skirt made with two or three wide 1820s.
tucks and a fall of lace. Peg-top trousers, Zouave trousers
Peasant styles (M)
(F, sometimes M) Period: 1857–1865.
Period: 20th century onwards. Trousers with the legs cut wide at the hips, a low crotch,
The folk dress or regional styles worn in many European and sloping inwards to a close fit at the ankles. For day
countries across several centuries were adopted/ wear only and never a universal fashion. A modified
adapted for use within fashionable circles to indicate a revival occurred in 1892.
simpler approach to clothing. Colourful head scarves, In the 20th century this style was occasionally revived in
embroidered blouses with full sleeves, dirndl skirts or France and elsewhere in Europe.
complete outfits, lederhosen (southern German leather Peigne giraffe
trousers), and Tyrolean hats were all worn at various See Giraffe comb.
p
times. Peigne Josephine
Peascod-bellied doublet (F)
(M) Period: 1842.
Period: ca. 1570s–1600. A high comb surmounted by small balls, often gilt; worn
A term used by Bulwer in 1653 describing the fashion for at the back of the head with evening dress.
padding the front of the doublet at the point of the waist Peignoir
to produce a bulge overhanging the girdle. Originally a (F)
Dutch style. Also called long-bellied doublet. Period: Late 18th century onwards.
Pectoll A loose wrapper of light fabric, worn as a day négligée
(M) or informal morning wear. The bodice was unboned and
Period: 16th century. in 1840 made with bishop sleeves. “She…let down
The breast of a shirt. her peignoir from her shoulder” (September 1780,
Pedal pushers Gentleman’s & London Magazine).
(F) Pelerine
Close-fitting trousers ending at mid-calf, often of a Period: 1740 to end of 18th century.
sturdy fabric. Designed for riding a bicycle; the length A short cape with long, pendant ends in front, often
ensuring that trousers did not catch on the pedals. worn crossed over the bosom, passed round the waist,
Pediment head-dress to be tied behind.
(F)
A 19th-century term for the 16th-century English hood. Period: 19th century.

153 Pendicle
A cape-like collar, but from 1825 it reverted to the style

of the 18th century; it was often made of cambric or
muslin, often embroidered or trimmed with lace.
In the early years of the century – “Pelerines falling
completely over the shoulders are becoming very fash-
ionable” (1903, quoted in Cunnington, English Women’s
Clothing in the Present Century).
Pelisse, pellice
(M)
A fur-lined cloak or mantle, usually waist-length, as an
element in the uniform worn by Hussar regiments.
(F)
A three-quarter-length cloak with shoulder-cape or
hood and arm-hole slits. Lined and trimmed with silk,
satin or fur. “A pellice of rich brocade lined with sables”
(1718, Letters of Lady Mary Wortley Montagu).
Period: 1800–1810.
Three-quarter-length with or without sleeves; subse-
quently ankle-length, sleeved and figure-fitting, often
having one or more shoulder capes.
Period: 1880s.
A long winter mantle, often of velvet, silk or satin, gath-
ered on the shoulders and having large, loose sleeves.
Throughout the 19th century a pelisse for infants in arms
was a long, caped cloak, generally of cream-coloured
cashmere, though bright colours (blue or scarlet) were
also made.
Pelisse-mantle
(F) p
Period: 1838–1845.
A three-quarter to full-length cloak with a cape reaching
the waist and draped round the arms to form hanging
sleeves. In the 1840s this mantle was drawn-in at the
waist behind.
Pelisse-robe A long-waisted, double-breasted overcoat reaching
(F) the calf; wide lapels, two rows of four buttons, vertical
Period: 1817–1850. breast pocket, two flapped side pockets; easy sleeves
A day dress in the form of a pelisse fastened all down with turned-back cuffs.
the front with ribbon bows or concealed hooks and Penang lawyer
eyes. After ca. 1840 it became known as a redingote. (M)
Pelisson Period: 19th century.
(F & M) A walking-stick with a bulbous head, made from stem of
Period: 14th to early 16th century. a palm from Penang.
A furred over-gown or super tunic; identical with a Pencil skirt
pilch. (F)
Pellard Period: 1930s onwards.
See Houppelande. A narrow skirt, completely straight from hip to knee or
Pembroke paletot below, according to length.
(M) Pendicle
Period: 1853–1855. (M)

Pentes 154
Period: Late 15th to 17th century. Drapery of decorative fabric, pleated into the waistband
A pendant ornament; a drop ear-ring of the style when behind and there short, but descending in ripples to the
only one was worn by men. hem towards the front, and caught in along the whole
Pentes length of the side seams of the front breadth, which is
(F) left uncovered.
Period: 1886. Peplum rotonde
Pyramidal panels of silk or velvet, in graduated stripes, (F)
forming a full-length panel of an underskirt, with the Period: 1871.
overskirt or tunic draped so as to expose it. A waist-length, circular cloak with back vent and fringed
Peplos borders.
(F) Perdita chemise
Period: ca. 480 BCE to ca. 300 BCE. (F)
A garment constructed from a long, rectangular section Period: 1783.
of linen or wool, later of cotton or silk. It was folded A day dress with a close-fitting bodice, a V-neck and a
vertically and passed round the body, and distinguished deep falling collar, single or double. The gown closed in
from the chiton by an overfold of fabric over the bust front from bust to hem by buttons or ribbon ties, and
and back, held by pins or brooches at the top of the long, tight sleeves buttoned at the wrist. A broad sash
shoulders, and belted at the waist or below the bust. at the waist tied behind and flowing down the back of
Female peploi were ankle-length for women unless de- the skirt.
picted worn by goddesses or mythological characters, Perfume
when they were knee-length. In an annual ritual a richly Period: 16th century onwards.
embroidered example was presented to the statue of Originally fragrant fumes or vapour, later a term applied
Athena in Athens. to an aromatic liquid which can be applied to the body
Peplum or its clothing. Natural ingredients and synthetic ones
(F) are used; the best-known early synthetic one is Chanel
Period: 1866, revived in 1890s. No. 5. Also known as “fragrance” or “scent”.
A short tunic or overskirt, cut away front and back, and See Jessamy gloves.
hanging in points at the sides. For day dress. Periwig
See Wig.
Period: 20th century onwards. Permanent wave
An overskirt cut away to hang in points; an extended (F, rarely M)
basque to give a partial overskirt effect. Period: 20th century onwards.
Peplum basque A process, using lotions, curling devices and heat,
(F) which transforms straight hair into curls and/or waves.
p
Period: 1866. See Marcel wave.
A peplum-shaped basque attached to a waist belt and Peruke
worn with a day or evening bodice. See Wig.
Peplum bodice Peruvian hat
(F) (F)
Period: 1879. Period: Early 19th century.
An evening bodice with long side panels forming A hat made of plaited strands of the leaves of the Cuban
paniers. palm. “Fraser’s Patent Peruvian Hats…not injured by
Peplum dolman rain” (1816).
(F) Petal collar
Period: 1872. (F)
A dolman with long points on the sides. Period: After 1950.
Peplum jupon A collar constructed from overlapping ovals of fabric
(F) emulating the look of petals.
Period: 1866. Petenlair, pet-en-l’air, French jacket
A gored under-petticoat with three steels round the bot- (F)
tom and a deep, pleated flounce, replacing the cage Period: ca. 1745–1770s.
crinoline. A French fashion which appeared earlier and was
Peplum overskirt adopted in other countries before it became fashion-
(F) able in Britain. It was a thigh-length, or sometimes
Period: 1894. knee-length, jacket-bodice with sack-back, short elbow

155 Photography and fashion
sleeves, and often a stomacher front. Worn with a plain Period: 16th to end of 18th century.
skirt, called a petticoat. Usually of inferior material and tied to the body of the
“Inspir’d by thee, the skilful engineer Lopp’d half the dress by laces or points. Often made of white flannel,
sack and form’d the pet-en-l’air” (1751, “Hymn to but in the 18th century also of cambric; worn under the
Fashion”, The Gentleman’s Magazine). hoop and sometimes called a dickey.
Peter Pan collar
(F)
The petticoat gradually became more elaborate and in
the 1840s several were worn, the under most usually
A neat, turn-down collar inspired by the play and book
of flannel. In the 1860s white cotton petticoats were
by J. M. Barrie. “Collarless bodices in daytime are only
often bordered with broderie anglaise. By the 1890s
becoming to the very young…as also are the Peter Pan
petticoats were often of silk or satin, lavishly flounced,
and Claudine collars” (1911, The Woman’s Book).
frilled, and bordered with ribbon and lace, producing a
Petersham Cossacks, Petersham trousers
“seductive frou-frou” sound, in walking.
(M)
Period: 1817–1818. Period: 20th century onwards.
An excessively loose form of Cossacks, spread- Petticoats were made in various styles and could be full-
ing out widely round the ankles and over the foot, or or half-length. Artificial fibres were used to create imita-
drawn in leaving a flounce round the ankle. Named tion silks and satins, but generally the line was sleek,
after the Regency dandy, Charles, Viscount Petersham and by the end of the century petticoats were not an
(1780–1851). essential undergarment, though bra slips were a useful
Petersham frock coat combination of brassière and petticoat.
(M) Petticoat bodice
Period: 1830s. (F)
A frock coat made double-breasted with a broad vel- Period: 1815 onwards.
vet collar, lapels and cuffs, and large, flapped pockets A petticoat with a sleeveless bodice to it, joined with a
aslant on the hips. No side bodies. seam at the waist, by gores or gathers, thus contrasting
Petersham great coat with the princess petticoat. At first usually made with
(M) a low stomacher front; after 1825 buttoned up behind.
Period: 1830s. In the 1890s the term was applied to a bodice covering
A great coat made with a short shoulder-cape. the stays.
Petit bord See Camisole.
(F) Petticoat breeches
Period: 1835–1850. (M)
A form of head-wear for evening dress; at first a small- Period: 1660s–1670s. p
crowned hat with a halo brim, trimmed with ribbon and Breeches immensely wide in the leg and pleated or
aigrettes. In the 1840s it was much smaller, becoming a gathered on to a waistband, falling like a divided skirt
toque hat, usually of velvet, with narrow upturned brim. to the knees or just above. Some had a lining forming
The petit bord was always worn at the back of the head, baggy under-breeches gathered into a band above the
often with a sideways tilt. knee. Always trimmed with ribbon loops at the waist
Petticoat and usually also down the outer side of the legs.
(M) See Fancies, Rhinegraves, Pantaloons.
Period: ca. 1450–ca. 1600, but rare after 1520. Petticoat breeches continued to be worn as the livery of
An under-doublet, usually padded and worn for running footmen until the mid-18th century.
warmth; subsequently called a waistcoat. “In wynter Pewter buttons
next your shert use you to wear a pettycott of scarlet”
(1577, Andrew Borde, Regyment).
Hollow pewter buttons were patented in 1683. They
(F) were an inexpensive coat-button worn by the working
Period: 16th–19th century. classes in the 18th century. Pewter was an alloy of tin
Before the 19th century, the term “petticoat” was ap- and lead, or sometimes copper, and was a deep grey
plied to the skirt of a dress, being part of the gown colour.
and not an undergarment. It could be of a contrasting Photography and fashion
or matching fabric, and sometimes was quilted or Period: Late 1830s onwards.
decorated with embroidery, braid, etc. However, as an The process of capturing an accurate likeness with a
undergarment it was often called an “under-petticoat”, camera had a swift and long-lasting impact on recording
until the term acquired its modern meaning. personal appearance. Many more people could afford a

Phrygian cap 156
every type of fashionable garment. Succeeding genera-

tions of fashion photographers include Lord Snowdon,
David Bailey, Terence Donovan and Mario Testino, all of
whom add to the sophisticated record of fashionable
glamour in newspapers, journals, on TV and in film.
Phrygian cap
(M)
Period: 9th to end of 12th century.
A descriptive term used from the 18th century as ap-
plied to a pointed cap with the apex turned over slightly
towards the front. A common form of headwear in
the classical era and also in early medieval times, it is
now associated with the cap of liberty worn during the
French Revolution.
Physical wig
(M)
Period: ca. 1750–1800.
Worn by the learned professions, replacing the full-
bottomed wig. It resembled a large form of the longer
form of the bob-wig, swept back from the forehead,
with or without a centre parting, and standing out in a
“bush” round the back of the head, often hanging below
the nape of the neck. “What wags call a lion or a pom-
pey” (1761, Gentleman’s Magazine).
Picards
(F)
“New shoes of the French fashion” (J. Evelyn, Ladies’
Dictionary).
Piccadilly collar
(M)
A shallow stand collar separate from the shirt, fastened
to it by a button at the back of the neck and a stud in
p
front. But in 1895 “a deep stand-fall collar cut so as to
leave free passage for the band of the scarf”.
Piccadilly weepers
(M)
visit to a photographic studio than have an artist draw
or paint how they looked. Although there were early at-
Long, combed-out whiskers.
tempts at artistic photography, it is the millions of photo-
Pickadil, pickardil, piccadilly
graphs taken by amateurs and generalist professionals
(M)
that provide a detailed visual survey of clothing worn by
different social groups, at various times of year and in
A tabbed or scalloped border, as a form of decoration;
many countries and contexts. These offer rich evidence
commonly used for doublet skirts, said to be “wrought
of non-idealized appearance across more than 150
in pickadils”.
years. As the process became less cumbersome, illus-
trating fashion by photography became feasible. Early (F & M)
and influential practitioners included Baron de Meyer Period: Late 16th century to ca. 1630.
(1868–1946), George Hoyningen-Huene (1900–1968), The term was now transferred to a tabbed and stiffened
Cecil Beaton (1904–1980) and Richard Avedon (1923– support for the back of a ruff or collar (“band”). “How
2004). Vogue was the first magazine in which fashion his band jumpeth with his pecadilly” (1617, Henry
photography was the norm rather than the exception, Fitzgeffery, Notes from Blackfryers).
and de Meyer was an early contributor. By the 1920s Pickdevant, pique devant
fashion photographers were recording mannequins, (M)
couturiers and elite women from around the world in Period: 1570s–1600.

157 Pinafore dress
A short, pointed beard, usually worn with a brushed-up A toupee with one or two stiff, horizontal roll curls
moustache. projecting above the ears, with the foretop and sides
Picture hat smooth and plain. Worn with various queues.
(F) See Aile de pigeon.
Period: 1890s onwards. Pigtail wig
A large, wide-brimmed hat of straw or light material, (M)
brightly coloured and trimmed with strongly contrasting Period: 18th century.
colours. Named after Gainsborough’s 1787 portrait of A wig with a long queue spirally bound or interwoven
the Duchess of Devonshire. In the first half of the 20th with black ribbon and generally tied above and below
century this type of hat was often trimmed with ribbons with black ribbon bows.
and artificial flowers and worn in the summer at garden Piked shoe, peaked shoe
parties, racing events, etc. (F & M)
Piedmont gown, robe à la Piémontèse Period: 14th and 15th centuries, mainly ca. 1370–1410
(F) and 1460–1480.
Period: ca. 1775. Shoes with long spear-like points extending beyond the
A variation of the sack-back gown, in which the box toes; the same shape applied to pattens of the period.
pleats were detached from the back of the bodice so as See Copped shoes, Cracowes.
to form a bridge from the shoulders to the hips, where Pilch, pilche
the pleats again merged into the overskirt. (F & M)
Pierrot Period: 14th to early 16th century.
(F) A close-fitting over-gown lined with fur and worn by
Period: 1780s–1790s. both sexes in winter and by the clergy for warmth in
A close-fitting, low-necked jacket-bodice with short cold churches.
basques. Generally worn with a flounced, matching skirt
petticoat; for day wear. Period: Late 17th century onwards.
Pierrot cape An infant garment or wrapper worn over a napkin, “now
(F) used for flannel cloth to wrap about the lower part of
Period: 1892. young children” (1694, Ladies’ Dictionary).
A three-quarter-length cloak with shoulder-cape and Pillbox
satin Pierrot ruff. (F)
Pierrot collar Period: 1950s onwards.
(F) A hat in the form of the small, cylindrical box used for
Period: 1880s onwards. holding pills. Made fashionable by Jacqueline Kennedy
A soft, floppy ruff in the style associated with the Onassis (1929–1994) when her husband was President p
theatrical character with his loose white costume and of the USA in the early 1960s.
whitened face. Pierrot and Pierette (the female version Pillion
of the character) costumes were popular disguises for (M)
fancy dress. Period: Late 14th to mid-16th century.
Pierrot ruff A round hat or cap, mainly worn by ecclesiastics and
(F) scholars.
Period: 1892. Pilot coat
A ruff bordered with fur, on capes for outdoor wear. See Pea jacket.
Pifferaro bonnet Pinafore
Period: 1877. A child’s washable covering of the front of the frock to
A felt bonnet with a blunt-pointed crown and narrow protect it from becoming soiled; similar to an apron.
brim slightly turned up; feather trimming. Pinafore costume
Pifferaro hat (F)
(F) Period: 1879.
Period: 1877. A tennis dress with a tunic having a bib-pinafore front
A hat with a short, chimney-pot crown trimmed with an and waistband, worn over a princess dress with a
aigrette in front. kilted skirt; the tunic made of fancy material such as
Pigeon-winged toupee Pompadour sateen.
(M) Pinafore dress
Period: 1750s and 1760s. (F)

Pinchbeck buttons 158
Period: 20th century onwards. 16th century often worn with a protective over-shoe.
A sleeveless dress, originally with a bib front but later “A pumpe or pinson to weare in pantofles” (1599,
with various styles of opening, but usually worn over a Minsheu). In the 17th century the term was being re-
blouse or sweater. The “pinafore gown” was introduced placed by pump.
in 1906, but pinafore dresses became popular in the Piped seams, piping
1930s. (F)
Pinchbeck buttons Period: 1820s onwards.
Period: From 1770 onwards. Ornamentation by means of narrow cord enclosed in
The metal for these buttons was an alloy of copper and pipe-like folds along the seams of a garment. A con-
zinc, invented by Christopher Pinchbeck, an English struction occurring first ca. 1822 in muslin dresses and
watchmaker ca. 1700. Much used to simulate more becoming a very general fashion in the 1840s; imitated
expensive gilt buttons. in men’s coats and waistcoats by a narrow edging of
Pinking, pouncing cord.
Period: Late 15th–17th century. Pipes
A form of decoration consisting of small holes or very (M)
short slits cut or punched in the material or in the fin- Period: 17th and 18th centuries.
ished garment, or on shoes, and arranged so as to form Small rolls of pipe clay used, when heated, for tightening
a pattern. the curls of wigs.
“For one thousand and a halfe pynkes for a kyrtell…” See Roulettes.
(1580, Egerton MS). Pipkin, taffeta pipkin
“This pair of shooes…pinckt, with letters for thy name” (F)
(1600, Dekker, The Gentle Craft). Period: ca. 1565–1600.
A small hat with a flat crown drawn in and pleated into a
narrow, flat brim; usually having a narrow, jewelled hat-
Pinking, in the modern sense of the word, means an
band and feather trimming.
unhemmed border cut into minute scallops or angles.
Piquets
Pinking shears were developed for this purpose.
(F)
Pinner
Period: 1878.
(F)
Ornamental sprays decorating evening lace caps worn
by mature women.
The lappet of an indoor cap, the lappets being often
Plackard, placart, placcard, placcate
pinned up. From ca. 1680s the term transferred to the
(M)
indoor cap itself. “A lady’s headdress with long flaps
Period: Late 15th to mid-16th century.
hanging down the sides of the cheeks…. Some term
A stomacher or chest-piece covering the V- or U-shaped
p this sort of long-eared Quoif by the name of a Pinner”
gap of the low-fronted doublet or jacket.
(1688, R. Holme, Armory).
In the 18th century the lappets were often omitted, the (F)
pinner being a flat, circular cap with a frill. Period: Mid-14th century to ca. 1540.
The front panel or stomacher portion of a side-less
Period: 17th century. surcoat, often embroidered or trimmed with fur. Also a
The term was sometimes used for a tucker, but more stomacher to wear with a gown or kirtle.
usually for an apron with a bib, a pinafore, and this Placket
usage remains. (F)
Pins Period: 16th century onwards.
Period: Medieval onwards. A short opening or slit near the top of a woman’s skirt or
A thin, usually cylindrical length of metal with a sharp petticoat. In the 19th century “the opening at the back
point and round, wider head for fastening clothing. A of a skirt or petticoat extending from the waist down-
type with the heads hammered on round the end of wards, designed to enlarge the aperture made at the
the shank were used until ca. 1830, when they were waistband to allow for passing the skirt over the head
replaced by the pin with head and shank in one. and shoulders” (1882, Dictionary of Needlework).
See Safety pin. In the 20th century generally found at the back or side
Pinson, pinsnet, pinsonet waist of a skirt or dress; also found from the neck of a
(F & M) bodice. Usually concealed by a right-over-left fastening.
Period: 14th to end of 16th century. Plaid
A light, indoor shoe, the earlier ones often furred. In the (F & M)

159 Pocket
A long piece of twilled woollen cloth usually woven with Plimsolls

a chequered or tartan design in a variety of colour ways; (F & M)
worn as the outer or top layer of Highland Dress. Period: Mid-19th century onwards.
See Arisaid, Kilt. A rubber-soled, canvas sports shoe.
Plain bow stock See Pump.
(M) Pluderhose
Period: 1830s. (M)
A straight-sided stock of black silk with a bow in front. Period: 1550–1600.
Plastron A German and Swiss form of trunk-hose characterized
(F) by broad panes and wide gaps bulging with silk linings
Period: 19th and early 20th century. often overhanging the panes below.
Taken from the French term for a breast plate, this de- Plug hat
scribed the front panel of a bodice of a different colour (M)
and material from the rest of the bodice. Period: ca. 1830s onwards.
Plated buttons American term for a top hat.
(M) Plummet
The term usually denoted buttons that were silver-plated A drop ear-ring. “To clog the ear with plummets” (1617,
as distinct from gold-plated, known as “gilt”. Until ca. H. Fitzgeffery, Satyres).
1750 the surface of silver was obtained by French plat- See Pendicle.
ing, later by Sheffield plating. Very fashionable for use Plumpers
on men’s coats. (F)
Platform soles Period: Late 17th to early 20th century.
(F) Small balls or pads of various materials to plump out the
Period: From 1940 onwards. cheeks of those with few teeth.
A thick, built-up sole of cork, rubber or composition, “Certain very thin, round and light balls (of cork) to
covered with leather. plump out and fill up the cavities of the cheeks” (1690,
Platoff cap J. Evelyn, The Fop’s Dictionary).
(F) “Mrs. Button who wears cork plumpers in each cheek
Period: 1814. and never hazards more than six words for fear of shew-
An evening cap of pale pink satin, the front scalloped; ing them” (1780, Mrs Cowley, The Belle’s Stratagem).
trimmed with a row of pearls and a pearl tassel from the “Having been upset [carriage accident] Rosabella lost
crown. Named after the Cossack General Matvei Platov her plumpers” (1825, Harriette Wilson, Paris Lions and
(modern spelling) who attended the Peace celebrations London Tigers). p
in London in 1814. Plus fours
Playsuit (M, occasionally F)
Period: 1930s onwards. A variant of knickerbockers made especially long and
A style of beachwear comprising a pair of shorts at- wide; the name derived from the extra four inches of
tached to a bodice or a pair of shorts with matching fabric which created the overhang.
shirt. Plymouth cloak
Pleat (M)
Period: 16th century onwards. Period: 17th century.
A fold of cloth or drapery held in place along one edge A slang term for a cudgel or cane. “With Plymouth
by ironing or other pressure, or stitched into place along cloaks in our hands” (1677, Aphra Behn, The Rover).
part or all of an edge. Pochette
Pleated shirt, plaited shirt (F)
Period: 1806–1870s. A flat, oblong handbag like an envelope; without han-
At first a day shirt with narrow, vertical pleats down the dles or with a strap-handle on the back through which
bosom and no frill, the front closed by three buttons. the hand was placed. Also produced in versions for men
From 1840 also worn with evening dress, the front being after ca. 1975.
closed by ornamental studs. Pocket
Pleated trousers (M)
See Cossacks. Period: 15th to mid-16th century.

Pocket book 160
A small pouch independent of the garment and used for front of the waist; a few years later this watch-pocket
carrying money, etc. was transferred to the waistband. A patch-pocket
placed low down on the back of the skirt of princess
and polonaise dresses in 1876 was a fashion welcomed
A small pouch built into trunk-hose, into breeches
by pick-pockets. A novelty of 1899 was a pocket for
from the end of the 16th century, and into coats from the
the handkerchief placed in the lining of the skirt or in the
early 17th century, e.g.: “The keys of my counting-house
border of the petticoat just above the hem.
are in the left pocket of my coat” (1633, W. Rowley, A
Match at Midnight, Act 3). Period: 20th century onwards.
Pockets were often omitted if they spoiled the line of
a garment, but full skirts, coats, jackets, etc. offered
Pockets were protected by flaps from ca. 1690. and options for pockets inserted into side seams or on the
were placed in waistcoats from the 18th century. outside of a garment.
See named varieties: Bellows pocket, Breast pocket, Pocket book
Caddie, Cross pocket, Fob pocket, Hip-pocket, Long (M)
pocket, Salt-box pocket. Period: Late 17th century onwards.
Descriptive terms need interpretation, for instance a A folding case or wallet carried in the pocket to contain
hip-pocket has to be distinguished from a “pocket on papers or money; now mostly American usage.
the hips”, the former being in the back of the trousers,
the latter being on the outside of a skirted coat over the (F)
hip region. Period: Early 19th century onwards.
A “pocket in the pleats”, i.e. at the back of the skirt of a A purse or small handbag. A term chiefly used in
coat with opening under a pleat, has to be distinguished America.
from a “pocket in the skirt”, with its opening in the lining Pocket handkerchief
of the skirt. (F & M)
A “slash pocket” had a slit opening on the surface of a Period: 16th century onwards.
coat, the edges of the slit usually strengthened by welt- Elegant handkerchiefs made from cotton, linen or silk,
ing. A “pocket in the seam” of a skirted coat meant a edged with lace or embroidered, were often carried
horizontal slit (not welted) in the waist seam, placed at in the hand rather than concealed in a pocket. Men’s
the side; a common form of ticket pocket. handkerchiefs were always larger than women’s, and in
the 19th century were often coloured for day-time use.
Period: 20th century onwards. Mourning handkerchiefs might be entirely black during
Various styles were associated with particular garments, the Regency period; later they were white with a black
but the range was a wide one and visible, as with breast border, its depth depending on the degree of mourning.
and patch pockets, and hidden, such as poacher’s See Handkerchief, Mockador.
p pockets, ticket and watch pockets and similar. Pocket hoop
(F) (F)
Period: 18th century. Period: ca. 1720s, also 1770s.
“Hoops of the smallest size, commonly called Pocket-
The pocket was a separate article in the form of a small,
Hoops”, were mentioned in the regulations at Bath
flat bag or a pair of such bags attached together by
Assembly Rooms, and again when the size of hoops
a tape. “I keep in my pocket, ty’ed about my middle
was beginning to be reduced. For instance, undress
next to my smock” (1701, J. Swift, Mrs Harris’ Petition).
fashions for July 1774: “Light brown night gowns and
These pockets, tied on round the waist under the
coats (i.e. petticoats) with small pocket hoops…” (The
dress, were reached through the placket hole. They
Lady’s Magazine).
were frequently ornamented with coloured needlework
Pointed sleeves
patterns.
See Raglan sleeves.
Period: 19th century. Points
For the first twenty years of the century these tied-on (M)
pockets ceased to be worn, being replaced by the in- Period: 15th to mid-17th century.
dispensable or reticule carried in the hand. However, Silk or leather ties tipped with aglets and either func-
the tied-on pair of pockets continued to be used when tional or decorative. Functional points attached hose,
travelling and became known as “railway pockets”. trunk-hose or breeches to the doublet; until ca. 1630
A built-in pocket in the skirt, accessible through a pocket they attached detachable sleeves to the doublet, and
hole at the back, became usual ca. 1840, when a watch fastened the front of the doublet or jerkin. As decora-
pocket was added, hidden in the folds of the bodice in tion they were used in bunches or separate bows to

161 Polonaise, polonese
adorn male or female garments in the 16th and 17th Pokys sleeves
centuries. See Bagpipe sleeves.
Poke Policeman’s cape
(F & M) (F)
Period: ca. 1300 onwards. Period: 1895.
A pouch or sack-like bag, now often a paper bag. In A cape cut in one piece from a circle.
the 16th and 17th centuries the term was synonymous Polish boots
with pocket. (F)
Poke bonnet, poking bonnet Period: 1860s.
(F) Tall boots with pendant tassels and high, coloured heels.
Period: 1799 to end of 19th century. Polish greatcoat
A bonnet with an open brim projecting forward over the (M)
face. The term was applied to a large variety of styles, Period: 1810.
the “poke” often very slight. A long, close-fitting coat, the collar, cuffs and lapels of
Poking sticks Russian lambskin; closed by loops and frogs. Worn
Period: 16th century. with evening dress.
Sticks of wood or bone, heated, for setting the pleats of Polish jacket
a ruff. By 1574 some were made of steel. (F)
Period: 1846.
A waist-length jacket with masculine revers and collar.
Sleeves square and slit open to the elbow along the in-
ner side. Made of cashmere, lined with quilted satin, and
worn at the seaside or in the country.
Polish mantle
(F)
Period: 1835.
A knee-length mantle with pelerine cape; of satin
edged with fur.
Polka
(F)
Period: 1844.
A short, shaped mantle or jacket with loose sleeves;
made of cashmere or velvet lined with silk. An outdoor
garment, a variety of the casaweck. p
Polo coat
(F & M)
A loose coat worn at sporting events such as polo
matches; usually of camel hair. Polo cloth was a loose,
woven mix of camel hair and wool and appeared at
much the same time. The American firm of Brooks
Brother (founded 1818) introduced a polo coat of white
cloth for wearing over riding clothes in 1910; later it was
made of camel hair.
Polo collar
(M, later F)
Period: ca. 1899.
A starched, white, stand-fall collar, the fronts sloping
apart.
American usage; similar to polo neck.
Polonaise, polonese
(F)
Period: 1750s.
A small, hooded cloak.

Polonaise pardessus 162
Period: 1770s–1870s. as “pomanders”, e.g. “make a pomander under this

A dress with an overskirt bunched up behind and com- maner…” (1542, A. Boorde, Dyetary of Helth).
pletely uncovering the underskirt, which was usually Pomanders were occasionally carried by fops.
ankle-length or sometimes trained. Pomatum
(F & M)
The term was occasionally used to describe a style of
Originally a term for an ointment for face and hands but
tunic or overdress.
gradually the usage shifted to a scented ointment for
(M) the hair. Also described as a “pomade”; both meanings
Period: 1773. indicate that an original ingredient was apples.
A “Polonese Frock” was worn by gentlemen. Pompadour
(F)
Period: 1830s. Period: 18th century.
The name “Polonaise” was commonly used for a mili- See Pompon.
tary style redingote, usually of blue cloth, as worn by
civilians. Period: 1870s to early 20th century.
Polonaise pardessus A pad over which the natural hair was rolled back from
(F) the forehead, or an artificial piece simulating the same
Period: 1840s. style.
A short, half-length pardessus buttoned down the (M)
chest and then sloping away from the midline to reveal Period: 1880s onwards.
the dress. Some with a short, square pelerine cape. An American term descriptive of a hair style with the hair
Polo neck swept back from the forehead without a parting.
(F & M) Pompadour bodice
A high, round, turned-over collar on a dress or jumper. Period: 1870s.
Polonia, Polony heel A day bodice with a square opening over the bosom and
(F & M) tight elbow sleeves finished with deep frills. Common
Period: 17th century. with polonaises.
The high heel of boot or shoe which became fashion- Pompadour heel, French heel
able in that century, causing the wearer to stagger in (F)
walking. “Mounted Polonially till he reels…” (1617, H. Period: 1750s–1760s.
Fitzgeffery, Notes from Black Fryers). A high, slender heel, waisted and curving to a small
Polo shirt base.
p (M, later F) Pompadour pardessus
Period: Late 19th century onwards. (F)
A sports shirt, originally of white, woven cotton with a Period: 1850s.
turn-over collar, two or three buttons to the neck, and A pardessus of coloured silk, fringed, with demi-long
short sleeves. Later variants included many different sleeves; often hanging loose and fastened at the neck
colours, longer sleeves, and a manufacturer’s logo on only. For summer wear.
the chest. Pompadour polonaise
Polverino (F)
(F) Period: 1872.
Period: 1846. A polonaise of black foulard figured with large, brightly
A large, wrapping, silk cloak, unlined, with or without coloured flowers; worn with a plain skirt.
a hood. Pompeian silk sash
Pomander (F)
(F) Period: 1860s.
Period: ca. 1500–1690s. A wide, black, silk sash woven with mythological sub-
A receptacle made of goldsmith’s work, containing jects; worn with a summer dress, generally a white
perfume or ingredients thought to protect against jacket, bodice and coloured skirt.
infection. The form was usually a circular, flat box or Pompey
ball-shaped, with perforations. The pomander was sus- See Physical wig.
pended from the girdle in front. A variety of recipes for Pompon, pompom
the contents were in use and these were loosely known (F)

163 Port cannons
Period: 1740s–1790s. An artistic movement which used imagery and themes

An ornament constructed from many elements, includ- taken from modern popular culture and the output of
ing ribbons, placed on the hair or cap. “The ornament mass media, transforming it into clear, brightly coloured
worn by ladies in the middle of the forepart of their head- images akin to photography. Two of its most celebrated
dress. Their figures, size and composition are various exponents were the English artist Peter Blake (b. 1932)
such as butterflies, feathers, tinsel, cockscomb, lace, and the American Andy Warhol (1928–1987). Their ideas
etc.” (1748, The London Magazine). and images filtered into fabric design, onto T-shirts and
The word was short for Pompadour, which was some- into mainstream fashion. Some critics see their work as
times used. a precursor to the impact of minimalism on fashion in
the 1990s.
Period: Later 19th century onwards.
Pop music
A round, fluffy ball of wool or similar tufted trimming for
a hat, coat or other article of clothing.
As with Pop Art, the shortened term “pop” stands for
Poncho
popular, and although popular music has a long history
(M)
(folk song, spirituals, jazz, crooners, etc.), it was only in
Period: 1850s.
1952 that Top Twenty charts were introduced in the UK,
A double-breasted, cape-like overcoat with very wide
signalling the growing importance of recording stars in
pagoda sleeves; also called a talma. Not the same as
the lives of young people, at much the same time
the talma cloak or talma mantle.
as they had money to spend on clothing that was aimed
(F) at them. The clothing worn by American, British and
Period: 1860s. international artists influenced the young people of the
A loose, three-quarter-length cloak, buttoned from 1950s onwards in the way that clothing worn by film
neck to hem; with a small stand collar; full sleeves stars had influenced their parents. Individuals like Elvis
contracted at the wrist, the sleeves covered by a cape. Presley, groups like the Beatles and the Rolling Stones,
Tamla Motown stars, and boy and girl bands were de-
(F & M)
fined by their appearance and widely copied.
Popover
A blanket-shaped, sturdy garment with a slit in the cen-
(F)
tre to pass the head through. Originally South American,
but absorbed into casual dress via the USA.
An American term for loose, casual items of clothing
Pontificals
easily slipped on and off. It often described a type of
(M)
wraparound dress or tunic. “Sunbound popover, to
be paired with pants,…loosely string-tied and loosely
Brooches, clasps or buckles, often ornamental; though
kimono-sleeved” (1968, New York Times, 3 December
more often rings. “A peyre of ouches otherwise call’d p
edition).
pontificalles of silver and gilt” (1508, Will of Joan
Pop socks
Hampton, Somerset Wills).
(F)
See Ouch.
Ponyet, poynet
An English term for nylons or thicker socks, elasticated
(M)
at their upper edge which reached the knees. They
became fashionable at the time of the first mini skirts
The fore sleeve of a doublet and made of a different
and have remained popular for use under trousers or
material. “Doublet…with foresleeves of velvet called in
longer skirts. The American term for them is descriptive
those days poynettings of a doublet” (1555, T. Marshe,
– “knee-highs”.
Institution of a Gentleman).
Porcelain buttons
Period: 17th century. Period: Late 18th century.
“Little bodkins” (1611, T. Cotgrave), worn with decora- Patented in 1785 these were a fashionable ornament on
tive points. gentlemen’s coats and waistcoats.
Poodle cut Pork-pie hat
(F) (F)
Period: Mid-20th century. Period: 1860s.
A tightly curled, short hair style, cut to resemble the ap- A hat with a low, flat crown of straw or velvet, with a
pearance of a French poodle. narrow brim turned up close all round.
Pop Art Port cannons
Period: 1950s onwards. See Cannons.

Porte-jupe pompadour 164
Porte-jupe pompadour A loose, wrap-over garment, ankle-length, or shorter

(F) when the term “jacket” was used, worn to protect the
Period: 1860s. clothes while the wig was being powdered.
A belt with eight suspenders, worn under the dress and Power dressing
used for hitching up the skirt when walking. (F)
Portmantua Period: 1980s.
See Cloak bag. A term applied to the appearance of business women
Portuguese farthingale in tailored suits with wide padded shoulders, high-
(F) heeled shoes, sleek make-up and back-combed hair.
Period: ca. 1662, briefly. Revived in 2009.
A farthingale flattened front and back with considerable Pregnant stay
lateral expanse; a fashion brought over by Catherine of (F)
Braganza on her marriage to Charles II, but not adopted Period: 1811.
in England, the farthingale having ceased to be fashion- A corset enveloping the body from the shoulders to be-
able from ca. 1630. low the hips and elaborately boned, “so as to compress
Postboy hat and reduce to the shape desired the natural prominence
(F) of the female figure in a state of fruitfulness”.
Period: 1885. See Maternity wear.
A small straw hat with a high, flat crown and a narrow Preppie, preppy
brim sloping down all round. A plume of feathers in (F & M)
front. Worn perched on the top of the head. Period: Mid-20th century onwards.
Pot hat The term, derived from “preparatory”, is descriptive
See Top hat. of conservative, wealthy, young American students
Pouch whose choice of clothing is neat and classic. Young
(M) men in crisp shirts, corduroy slacks or chinos, blaz-
Period: 12th to early 16th century. ers or seersucker jackets worn with loafers; young
A bag or wallet slung from the girdle or attached to the women in pleated skirts or kilts, white blouses with
belt of a gentleman, and generally worn with a knife or frilly collars, Fair Isle sweaters, cashmere cardigans
dagger stuck through the supporting strap. and simple leather shoes were typical of the tastes of
Pouf this group.
(F) “The pair of loafers my sons refuse to own because
Period: Late 18th century. they”re too preppy” (1978, New York Times, 6 May).
An elaborate form of head-dress. See Ivy League.
Prêt-à-porter
p
Period: Late 19th century onwards. The French term for ready-to-wear.
A pad or roll of hair, false or natural, to bulk out a hair Prince of Wales’ jacket
style. (M)
Also, a dressmaking term defining an element which has Period: 1868.
fabric gathered-up to create an effect, such as a “pouf A loose version of the reefer, with three pairs of buttons
sleeve”. The French designer Christian Lacroix (b. 1951) instead of four.
produced a puff-ball-shaped, short skirt described as Prince Rupert
“le pouf” soon after setting up his own label in 1987. (F)
Poulain, poulaine, pullayne Period: 1896.
(F & M) A long, figure-fitting coat of velvet or plush, worn with a
Period: 1395–1410, 1460–1480. blouse and skirt.
A French term for piked shoes; a term rarely used in Princess dress
England. (F)
See Cracowes. Period: 1840s to mid-20th century.
Pouncing Also known as Agnes Sorel, Fourreau and Gabrielle
See Pinking. dress. A dress made without a seam at the waist, the
Pourpoint bodice and skirt being cut in one and the skirt gored. A
See Gipon. style popularly associated with the Princess of Wales,
Powdering jacket, powdering gown, powdering later Queen Alexandra, when it was very fashionable ca.
dress 1878–1880.
(M) In the 20th century the style was often known as a prin-
Period: 18th century. cess line dress.

165 Pug hood
Prince’s sleeve Period: End of 18th century.

(M) Thought to have been a winter wrap. “Gentlemen begin
Period: 1830s. to throw off their furs and prudents” (1774, Westminster
A sleeve with a pointed gore inserted into the seam at Magazine).
the wrist. Prussian collar
Princess line (M)
(F) Period: 19th and early 20th centuries.
Period: 20th century onwards. A high, turn-over or stand-fall coat collar, usually rather
Derived from the 19th century princess dress, this shallow, with the ends nearly meeting in front.
describes a style which follows the natural outline of the Psychedelic
body, with darts providing the shape but without a seam Period: 1960s.
at the waist; the skirt usually wider than that of a sheath A term applied to the brilliant colours and combinations
dress. of clothing which were a tangible expression of the state
Princess petticoat, princess slip of mind of those experimenting with hallucinatory drugs.
(F) See Hippie style.
Period: 1840s onwards. Pudding sleeve, puddle sleeve
A petticoat worn as an undergarment with a bodice (M)
made in one with the skirt, without a seam at the waist. Period: 18th century.
Popular in the 1870s, when it was buttoned down the A large, loose sleeve, especially of a clergyman’s gown.
back. In 1882 it was buttoned down the front with box “About each arm a pudding sleeve” (1709, J. Swift,
pleats behind, which were made to stand out like a Baucis and Philemon); “Recd, for altering a puddle
bustle by means of tapes attached to side seams un- sleve gown into a master sleve…” (1755, Domestic bills,
derneath and tied together. Suffolk Record Office).
In the 20th century a petticoat and bodice in one piece Puff
became known as a slip. (M)
Princess polonaise Period: 19th and early 20th centuries.
(F) A gore of thin fabric filling in a V-shaped gap made in
Period: 1870s. back of the waistband of breeches or trousers; the sides
A polonaise dress made in the princess style. The of the gap having lacing holes and a lace so that they
French term was petit casaque. can be drawn in to fit, producing a “puff” between.
Princess robe Puffa
(F) (F & M)
A day dress made in the princess style without a seam A proprietary name for a quilted garment with a soft, p
at the waist, the skirt very gored. Trimmed all down the downy filling. This British firm originally produced jack-
front with buttons and descending lines of ribbon on ets and reversible gilets, but now provides an extended
each side. The sleeves to below the elbows, open and range of garments for equestrian and fashion wear. The
worn with engageantes. A style rare at that date. term is often used to describe any type of similar, quilted
Protective clothing coat or jacket.
(F & M) Puffs, pullings out
Period: 20th century onwards. Period: ca. 1500–1650s.
Too important to be influenced by fashionable dictates, The effect produced by the drawing out of material,
protective clothing, i.e. garments, accessories and al- whether shirt or bright-coloured lining, through slashes
lied equipment that ensure physical wellbeing, improved or panes; a purely decorative device.
considerably as a result of man-made fabrics, space See Panes.
exploration, and a culture in which health and safety Puff sleeves
became paramount in some, but not all, countries. The (F)
earliest, pre-20th-century protective clothing was de- Period: 20th century onwards.
signed for warfare, and later, although primitive, for fire- A short sleeve which is especially full at the shoulder,
fighting and surviving in alien environments. Lightweight the fabric often gathered into a band. Originally worn
body armour and flame-retardant fabrics are part of a by young girls.
continuum which, in domestic situations, encompasses Pug hood
PVC aprons, rubber gloves and waterproof coats, which (F)
benefited from innovations in protective wear. Period: 18th century.
Prudent The same as a short hood; a soft, limp hood made
(M) with pleats radiating from a central point at the back of

Pullings out 166
the head; with or without a cape. Usually black with a Purfle

coloured lining turned back to frame the face; tied under Period: ca. 1400–18th century.
the chin with ribbon matching the lining when present. A decorative border or trimming for a garment; it might
See Long hood. be embroidered, have a deep fringe or a fur edge.
Pullings out Purfled
See Puffs. Period: 16th century.
Pullover Edged or bordered with trimming.
(F & M) Puritan bonnet
A garment for the upper body, usually knitted, without Period: 1893.
fastenings, and pulled over the head. A small, flat bonnet without a crown, being oval or tri-
See Jumper, Sweater. angular with the point in front; trimmed with lace or an
Pultney cap aigret.
(F) Purl
Period: Mainly 1760s. Period: 16th and 17th centuries.
A day indoor cap wired up in two curves with a dip in the A pleat or fold of a ruff. “I have seen him sit discontented
centre over the forehead. Two optional short lappets a whole play, because one of the purls of his band was
behind. fallen out of his reach to order again” (1618, N. Field,
Pumps Amends for Ladies).
(F & M) Also, a kind of silk, gold, silver or metal lace for edging
Period: Second half of 16th century onwards. clothing or accessories.
Shoes with thin soles and soft uppers, generally of Purse
Spanish leather, and flat heels. “Pumps are shooes with Period: Medieval onwards.
single soles and no heels” (1688, R. Holme, Armory). At first a pouch, but from 14th century a small bag with-
Dancing pumps were worn by children. out metal attachments, for carrying money, and capable
of being cut free; the cutting of purses by thieves was
(M)
mentioned in 1362.
Throughout the centuries the shape changed and in the
Pumps with short quarters and low sides, trimmed with
18th century the knitted “stocking purse” was popular.
a ribbon bow until ca. 1890; subsequently the tie was
In the 19th century metal fastenings became gen-
omitted. Worn with full evening dress into the 20th cen-
eral, and from the middle of that century the “sovereign
tury, until replaced by shoes.
purse”, a metal, tubular container with internal springs,
(F) holding sovereigns at one end and half-sovereigns at
Period: 20th century onwards. the other, was fashionable. In the 20th century purses
p
Term used for plimsolls; also, in America, for women’s were made from many different fabrics and in many
court shoes. sizes and shapes, but leather became usual, often with
Punge several internal compartments to carry coins, notes,
(M) credit cards, etc.
Period: Medieval. Pussy-cat bonnet
A purse. (F)
Punk fashions Period: 1814–1818.
(F & M) A bonnet made of catskin, fashionable in those years.
An alternative way of dressing espoused by disaf- (M)
fected and unemployed British young people in the mid- Also slang for a cheap variety of male silk hat.
1970s, this movement was taken up by mainstream Pygostole
designers. Improvised “deconstruction” was an aspect (M)
of the look – black plastic bin liners became garments, Period: 1860s and 1870s.
lavatory chains, safety pins and razor blades parodied A long form of surtout, worn with the “mark of the
jewellery, hair was gelled and coloured, and cosmetics beast” waistcoat.
were dark and ghoulish. As with many other sub-cultural “The least irreverent of names for the peculiar M.B.
groups, the clever re-use of second-hand and surplus- coats worn by Tractarian curates.”
store clothing, often dyed and customized, offered See Cassock vest.
financially hard-pressed youngsters a punk look. Punk Pyjama, pyjama suit
and Goth styles are closely allied. (M & F)

167 Quilted petticoat
Period: 1880s onwards. sleeping outfit for both sexes or lounging pyjamas for
Originally loose cotton or silk trousers, tied at the waist women. The latter were worn for evening and casual
and worn by both sexes in Asian and Middle Eastern day-wear from the late 1920s onwards.
countries. By the last quarter of the 19th century allied Pyramids
to a loose top, often a jacket-style, the word denoted a (F)
sleeping suit made in various colours and often striped; Period: 1858.
displacing the night-shirt. “The doom of the sleeping Day-skirt trimmings of triangular panels, the base below;
shirt is written. Those possessed of any ought to pre- the panels were of different colour and material from the
serve them carefully so that they can show to succeed- dress and were sometimes alternating in two colours.
ing generations the wonderfully and fearfully made gar- Pyramid style
ments their forefathers slept in…. The pyjama sleeping (F)
suit is to take its place…of oriental origin, of silks, etc., Period: 1845.
generally striped” (1897, Tailor & Cutter). A day-skirt trimming of a series of horizontal bands of
In the 20th century the term was used in conjunction a fabric such as velvet, diminishing in width from below
with others, but usually described either the traditional upwards.
Q
Quadrille head Period: 17th century.
(F) The term, from the Spanish word for “body”, used to
Period: Late 18th century. denote a man without a cloak or upper garment; i.e. in
A fashionable style of cap. “The ladies now wear the lap- body clothing only.
pets to their gauze heads worked with aces of spades, “By my cloak and rapier, it fits not a gentleman of my
hearts, diamonds and clubs, and call them Quadrille rank to walk the streets in querpo” (1647, Beaumont
Heads” (1792, Northampton Mercury). and Fletcher, Love’s Curl).
Quail-pipe boot See Upper garment.
(M) Querpo hood
Period: Late 14th to early 17th century. (F)
A high boot of soft leather which, when worn, fell into Period: 17th century.
folds down the leg and was considered very fashion- A plain, soft hood.
able. Possibly the, “High shoes that are wrinkled like a Queue
quail-pipe” (ca. 1400, Chaucer, Romaunt of the Rose). (M) q
“A gallant that hides his small-timbered legs with a quail- Period: Late 17th century onwards.
pipe boot” (1602, T. Middleton, Blurt, Master-Constable). The pendant tail of a wig.
Quaker cap Quilling
See Joan. Period: 19th century onwards.
Quaker hat Small, round pleats made in lace, tulle or ribbon lightly
(M) sewn down, the edge of the trimming remaining in open,
Period: 18th century. flute-like folds. Used for trimming dresses.
A three-cornered tricorne hat with a fairly tall crown Quilted petticoat
and an open cock. In the 19th century this was replaced (F)
by a wide-brimmed, round hat with a low, flat crown. Period: 1710–1750.
Quartered cap Rare before or after. Worn as the skirt of a gown
(M) having an overskirt when the petticoat was exposed
Period: Mid-18th to mid-19th century. in front, but essentially part of the dress and not an
Worn by boys, a cap with flat, circular crown, the ma- undergarment.
terial divided into segments; on a stiff head-band with
or without a small visor. “Boys Satin Quarter’d Caps” Period: Early 18th century and after 1850.
(1757, Norwich Mercury). An undergarment used in the 18th century to distend the
Querpo, cuerpo skirt and in the 19th century mainly for warmth; made of
(M) satin or alpaca lined with wadding or eiderdown.

Quilting 168
Quilting Quizzing glass

Lines of running stitches made in any material threefold (F & M)
in thickness, i.e. the outer or right side of good mate- Period: 18th and early 19th centuries.
rial, the under often of wadding, and the third a lining. A monocle dangling from a neck-chain – a very fash-
The stitches made diagonally to form diamonds or a ionable accessory; in the 1820s dandies often had the
fanciful design, very common in the 18th century, but glass fixed into the head of their canes.
also later. Quoif, quafe
r See Coif.
R
Rabagas bonnet Radical chic
(F) (F & M)
Period: 1872. Period: 1970s onwards.
A small high-crowned bonnet with a narrow brim The styles of dress associated with the fashionable
turned up all round; the crown trimmed with feath- adoption of radical, left-wing ideas and views. Slogan
ers, flowers or ribbon cascading down behind; tied T-shirts, recycled clothing and fair trade goods
under the chin with a large ribbon bow. Named for emerged from this movement.
the French dramatist Sardou’s political satire of that Raglan boot
name. (M)

169 Rational dress
Period: Late 1850s. tied on with tapes round the waist. When worn with a
A boot of soft black leather reaching to mid-thigh and crinoline dress this was designed to protect valuables
worn when hunting. Named after Lord Raglan (1788– from pickpockets.
1855), the Crimean War general. Raincoat
Raglan cape (F & M)
Period: 1857 to early 20th century. A coat which is waterproof or water resistant made from
A loose sac-like overcoat, single-breasted, often fly- natural or synthetic fabrics; of various weights, as thick
fronted; no vents. Distinguished by the cut of the sleeves as a lined winter coat or as light as a thin plastic coat.
at their insertion, first called pointed sleeves and later, See Mackintosh.
Raglan sleeves. The sleeves of the Raglan cape were Ramillies wig
very wide at the hand; the pockets without flaps. Often (M)
made of waterproofed fabric. Period: 18th century.
Raglan covert coat Worn by officers of the Guards and those civilians af-
(M) fecting a military air. A wig with a long queue diminish-
Period: 1897. ing in size, of plaited hair tied with black ribbon bows
A covert coat with Raglan sleeves. above and below or sometimes only below. From 1780
Raglan overcoat the plait was sometimes turned up and bound by a rib-
(M) bon tie at the nape of the neck or looped up high and
Period: 1898. secured by a comb to the back of the wig.
A revival of the poncho of the 1850s but with Raglan Rampoor-chuddar
sleeves; full and long; side vents with two buttons. Fly (F)
front fastening; generally of waterproof material, replac- Period: 19th century.
ing the mackintosh. A fine twilled woollen shawl from India; in various
Raglan sleeve colours especially red and white. Fashionable in the
Period: 1857 onwards. second half of the century.
Instead of being inserted into a round arm-hole the Ranelagh mob
sleeve was carried up into a point on the outer seam (F)
which ran up to join the collar seam, eliminating a sepa- Period: 1760s.
rate shoulder seam, thus preventing the entry of rain. A gauze or fine mignonette bobbin lace handkerchief
See Pointed sleeve. folded diagonally, worn over the head, the point behind;
Rah-rah skirt, Ra-ra skirt tied under the chin, the two ends then turned back and
(F) pinned behind and allowed to hang down the neck.
Period: 1960s onwards. Copied from the silk handkerchiefs which market-wom-
A short frilly, layered skirt worn by cheerleaders. Popular en tied over their ears. A fashionable form of undress.
among young women as a new variant of a mini skirt Ranelagh or Rattlesnake tippet
in the 1980s and subsequently. (F)
Rail, Rayle Period: ca. 1775.
(F) A lightweight lace tippet. Made “of fine blond stuck with r
Period: Late 15th to late 17th century. flowers” (1775, Lady’s Magazine).
A neckerchief folded and worn shawl-wise round the Rasta style
neck. “The gathered piece of cloth which women throw (F & M)
about their necks when they dress them, is called a Rail” Period: 1930s onwards.
(1678, Phillips Dictionary). The colours of red, yellow, green and black became
See Head rail, Night rail. the symbol of the Rastafarian movement which began
Railroad trousers in Jamaica in the mid-1930s. A well known advocate
(M) several decades later was the singer Bob Marley (1945–
Period: ca. 1837–1850. 81). Along with long hair woven into dreadlocks an
The name given to trousers with vertical stripes, and enduringly distinctive aspect of this style is the knitted
soon applied also to trousers with horizontal and verti- cap or beret in circles of the symbolic colours. T-shirts,
cal stripes. baseball caps, trainers, luggage etc. are also deco-
Railway pockets rated in the familiar colours.
(F) Rational dress
Flat bags with a side opening worn under the dress and Period: ca. 1880–1900.

Rationals 170
One of several attempts to offer greater comfort and for making the close-fitting bodice. By 1865 some
ease of movement to women encased in corsets and ready-made morning dresses of fabrics such as ging-
layers of bulky garments. The notable successes were ham or mohair, were being advertised but so long as the
in the adoption of knickerbockers for cycling and tight-fitting bodice remained fashionable it was impos-
more practical blouses and simple skirts or suits for sible to be “in the fashion” without personal fittings by a
travel and business. dressmaker. However throughout the second half of the
Rationals century considerable progress was made towards per-
(F) suading women of the qualities of ready-made dresses,
Period: 1890s onwards. though many might have agreed with the opinion that,
A popular name for the knickerbockers worn by young “Dresses bought ready made in shops are apt to exhibit
women when bicycling. a distressing similarity” (ca. 1875, How to Dress Well on
See Bloomers. a Shilling a Day).
Rationing
(F & M)
The simplicity of dresses from the post-World War I pe-
riod onwards and the growth of department and chain
During World War I there was informal rationing of
stores and mail order catalogues enabled ready-made
clothing and fabrics, due to shortages. In World War II
dresses to be purchased by all members of society.
rationing was systematic in both Britain and the USA
Ready-to-wear
with economical items of clothing designed and points
(F & M)
allocated to many garments.
See Clothes rationing, National Standard dress, Utility
The English term for prèt-â-porter; the inexpensive
scheme.
collections designed by fashion houses throughout the
Rattan
world. However, the term is often applied to all ready-
made clothing.
A cane made from an East Indian palm.
See Diffusion lines.
Ready-made clothes
Rebato
(M)
(F)
Period: ca.1580–1635.
From the 1660s onwards such garments as cloaks,
A white collar wired to stand up round the neck of a low-
nightgowns and riding habits could be bought in
necked bodice to which it was pinned. “Three rebateres
London. Suits, ready-made, for the working classes
of whight loome worke. Rebating wiers” (1589, Essex
were being advertised by the middle of the 18th cen-
Record Office).
tury, e.g.: “Mens and Boys ready made broad and
In the 17th century the term was transferred to the wired
narrow Cloth Cloathes, Ratteen and Frieze Suits…
support of a collar or ruff. “These great ruffes which are
Fustian Cloaths of all Sorts, Everlasting Waistcoats and
borne up with supporters and rebatoes” (1631, Dent,
Breeches, Velvet and Shag Waistcoats and Breeches,
The Plaine Man’s Pathway to Heaven).
Russia Drab Frocks of all sizes, Fearnought and Duffle
Redingote
Coats and Waistcoats…” (1758, May 13 Advertisement,
r (M)
Norwich Mercury).
Period: 1830.
In the 19th and 20th centuries the range widened as
Also called a polonaise, this was a greatcoat in military
homemade garments became less and less common
style, of blue cloth buttoned across with silk frogs; slop-
and the term was gradually supplanted by the term
ing flapped pockets on the hips and a fur collar.
ready-to-wear which applied to clothing for men and
women, though ready-made is still used for men’s suits. (F)
Ready-made dresses Period: ca.1790–1820
(F) A light overcoat fastening across the bosom. (The bride)
Period: 18th century. “was all over Lace and then put on a plain gown and a
Ready-made dresses for the working classes were silver Redingote for her journey” (1799, The Jerningham
being advertised in muslin, calico and gingham, when Letters, ed. E. Castle, 1896).
those materials were popular at the close of the 18th
Period: 1820, commonest from 1835 to 1860s.
century.
A variation of the pelisse-robe, a gown derived from
Period: 19th century. the pelisse; close-fitting and fastened down the front
For the middle classes the custom began, in the 1840s, to the hem. In the 1840s the skirt was often en tablier
of buying the skirt ready-made with material sufficient and by 1848 the name had replaced pelisse-robe. By

171 Reversible clothing
then the bodice and skirt were sometimes separate Regatta shirt
garments but previously the distinguishing features of (M)
the redingote were that it should have the appearance Period: ca. 1840.
of being a front-opening dress and be close fitting, with A striped shirt of cambric or Oxford shirting for informal
lapels. outdoor wear in the summer. The front without pleats
or frill.
Period: 1890–ca. 1914. Regency hat
The name was applied to an outdoor coat with fitted (F)
back and semi-fitting front. Period: ca. 1810.
Redingote dress A fur hat with turned-up brim and a gold hat-band.
(F) Reister clok, Reiter cloak
Period: 1869. (M)
A day dress in the princess style with a double-breast- Period: 1570s–1670s.
ed bodice having velvet revers or open over a waistcoat A full knee-length cloak sometimes with a flat square
buttoned up to the neck. falling collar; sometimes caped.
Reed hat See French cloak.
(F) Religious petticoat
Period: 1879. (F)
A hat of woven reeds capable of assuming any shape; Period: 17th century.
worn for tennis or when bathing. Petticoats, in the sense of skirts, embroidered with re-
Reefer ligious stories by Puritan women. “She works religious
(M) petticoats…” (1631, Jasper Mayne, The City Match).
Period: 1860 onwards. Resort wear
A very short double-breasted jacket with three or four (F)
pairs of buttons, low collar and short lapels; no back Period: 20th century.
seam but short vents in the side seams; the fronts cut An American term for the range of clothing worn for
square. Sometimes worn as an overcoat; in the 1890s it holidays at fashionable resorts; including beach wear,
was only fashionable when so worn. swim wear etc.
See Pilot coat, Pea jacket, Yachting jacket. Reticule, Ridicule
Reefer jacket (F)
(F) Period: ca.1800–1820s.
Period: 1890s. A lady’s handbag, commonly lozenge-shaped or
An outdoor double-breasted jacket of blue serge, re- circular, of velvet, satin, silk, red morocco or made of
sembling the male garment. coloured beads and drawn in with a running string. It
Re-enactment costume contained a handkerchief, purse, scent-bottle, etc., and
(F & M) was much used in the absence of dress pockets in this
Period: 1960s onwards. period.
Groups and societies who organize and promote certain See Indispensible.
historical periods by, for instance, fighting battles wear- Retro r
ing garments that are carefully researched and made as Period: Late 20th century.
similar as possible to surviving originals in private and Looking back at earlier styles of dress, though usually
public collections. An important movement in Europe, within living memory, and incorporating actual items of
North America and the UK which has contributed clothing and forms of presentation into current fashions.
considerable practical knowledge to dyeing, spinning, See Vintage.
weaving and making clothing following archival evi- Revers
dence. The American Civil War, the Napoleonic wars in Period: 14th century onwards.
Europe and the English Civil War of the 17th century are Initially the term meant facings or borderings to a gar-
especially well represented and such groups are used ment, generally of fur. Subsequently the term meant the
by film and TV companies and add a degree of authen- turned-back edge of coat, waistcoat or bodice. From
ticity with their scrupulous copying of past fashions and the 20th century onwards it often meant the lapel.
military kit. Galleries, heritage centres, museums and Reversible clothing
stately homes use re-enactors as practical educators; Period: 19th century onwards.
such groups and individuals often discuss how the An item of clothing, often a coat or jacket which can
clothing is made, how it feels, its impact on movement be turned inside out and worn displaying a different
and so forth. colour or fabric. Discussing housebreakers’ night-time

Rhinegraves 172
Riband, Ribbon
The border of a garment.
A narrow band of silk or decorative fabric used on cloth-
ing and accessories.
Ridicule
See Reticule.
Riding boots
In many forms and styles across the centuries but
usually of sturdy leather and usually knee-length, some-
times higher.
Riding coat
(M)
Period: 1825–1870s.
A term applied to a short-skirted coat, the fronts slant-
ing away from the waist level, with pockets in the pleats;
later, flapped pockets on the hips were added. The cor-
ners of the skirts were rounded. The slope away from
the midline in front steadily increased, starting above the
waist level, producing a series having distinctive names:
Period: 1830s.
Also called a Morning walking coat but by 1838 be-
coming known as the Newmarket coat.
Period: 1850–1870.
Known in the 1850s as a cutaway coat but in the
1860s evolving into the shooting coat.
Period: 1870s.
It now became “the morning coat” the latest adap-
tation of the old Newmarket Riding coat” (The Tailor &
Cutter).
The term riding coat is often applied to long, knee-
length or longer waterproof coats such as Drizabone.
r Riding coat dress
(F)
Period: 1785–ca.1800.
A dress resembling a greatcoat with deep collar and
large lapels; buttoned all down the front and slightly
trained; long tight sleeves.
behaviour a journalist wrote, “On such occasions they See Greatcoat dress.
often wear “reversibles”, or coats which may be worn Riding dress-coat
inside out; one side being of a bright, the other of a dark (M)
colour” (1863, Cornhill Magazine). Period: 1800s–1860s.
Rhinegraves A coat with cut-ins at the waist, resembling a shortened
See Petticoat breeches. tail-coat with corners rounded. Worn for riding in town.
Rhinestone Riding dress frock coat
Period: Late 19th century onwards. (M)
An imitation diamond of glass or paste originally used in Period: 1820s.
the theatre but taken up by mainstream jewellers; it was A frock coat with deep collar and large lapels; for wear-
especially popular in the first half of the 20th century. ing on horseback in town.

173 Riveling, Rilling
Riding habit
(F)
An outfit specially designed for women riding side-
saddle on horseback. It consisted of coat and waistcoat
modelled on the male garments, together with a skirt,
called a petticoat, made without a train, until 1780 when
a train was added. The riding coat dress was also
worn.
At first the riding habit was a gown resembling the rid-
ing coat dress and often trimmed with brandenburgs;
subsequently it was made in the redingote style, and
by 1840 a jacket and long trained skirt became the
usual style. By 1860 the skirt was now cut so as to fit
over the pommel and in the 1870s trousers were worn
under the habit skirt. Around 1890 skirts began to be
made without trains.
Early in the century apron skirts were worn over
breeches and, for riding astride divided skirts were usual
or ankle-length coats over breeches. By 1920 jackets
and breeches without skirts were depicted in fashion
magazines and by 1930 breeches and boots or jodh-
purs had almost superseded the traditional riding habit
amongst the young.
Riding hat
(F & M)
The concept of a style of hat specifically worn for riding
is associated with horse racing which required jockeys
to shield their eyes from bright light and keep their hair
away from the face. A soft-crowned peaked cap was
worn in the late 17th century but it was more usual for
both sexes to wear three cornered hats in the 18th cen-
tury. In the 19th century shortened versions of the top
hat, with a veil for women, were popular and only in the
20th century did it become usual for a hard-crowned
version of the jockey cap with a narrow brim to be worn r
by men and, later, by women. Normally an item of jewellery worn on one or more
See Jockey cap. fingers. Often connected with rites of passage, engage-
Riding hoop ment, marriage and so forth when initials or a simple
(F) message is inscribed within the ring, but also used to
Period: 1720s. indicate role (bishop), status (signet ring) or wealth when
A small hoop sometimes worn on horseback. “Riding precious stones of considerable size are set in precious
habits £4:17:0. Riding Hoop-petty-coats, two, 17/–” metal. Costume jewellery includes rings made from
(1723, Blundell’s Diary and Letters). glass, plastic and other non-precious materials. Rings
Rigoletto mantle have also been worn on the toes and inserted into the
(F) nose and other areas of the body.
Period: 1835. See Body piercing.
A knee-length mantle with pelerine cape; of satin edged Riveling, Rilling
with fur. (F & M)
Ring Period: 12th–14th century.
(F & M) A shoe of raw hide with the hair on the outside.
Period: Medieval onwards. See Brogues.

Robe 174
Robe Robin front

(M) (F)
Period: Medieval. Period: 19th century.
From the French meaning a gown; a term which came A bodice trimmed with robings descending from
to be used for ceremonial wear. A secondary meaning the shoulders to meet at the waist, forming a deep
was of a loose outer garment later a more usual term for V-point.
a dressing gown. Rockers
See Gown. (F & M)
Period: 1960s.
(F)
The antithesis of Mods but always listed with them
due to the stand-offs between both groups in the early
A rare term unless describing a French style of dress.
1960s. Although they were keen fans of rock music
Period: 19th century. they were much less interested in fashion than the
Descriptive of a woman’s dress consisting of an under- Mods. Rockers, male and female, had long hair, scruffy
dress or skirt with an over-dress; the skirt being open jeans and leather jackets as a tribute to their devotion
in front and usually long behind, but the term was also to powerful motor bikes and their idol Marlon Brando
loosely used for a gown. (1924–2004) in The Wild One (1954). In many respects,
The term was sometimes used for an outdoor garment Rockers are the precursors of later biker groups, tough,
or pelisse which developed into the pelisse-robe. leatherclad and indifferent to fashion.
Robe de chambre Rocket, Rochet, Roket, Roget
(F & M) (F & M)
Period: Early 18th century onwards. Period: 14th and 15th centuries.
A style of dressing gown often made from a luxurious A woman’s gown, usually of white linen. Also worn by
fabric. the clergy.
Robe de soir
French term for evening dress. A cloak of any colour. “A scant cloak without a cape”
Robe de style (1688, R. Holme, Armory).
(F) Roguelo dress
Period: 1920s. (F)
French term for the style of dress with a longer, fuller Period: 1807.
skirt which contrasted with the narrow chemise outline A bodice close fitting in front and trimmed with rob-
preferred for much of that decade. ings, but the back loose like a sack; a low collar with a
Robe à l’Anglaise triangular cape.
(F) Roll
A fitted gown especially popular in Britain. It had various Period: 15th century.
styles of bodice including the stomacher front, the but- The circular pad of the chaperon when the hood is
r toned front (compère) which was a false waistcoat sewn converted into a cap or hat. The roll was often of a dif-
to the inner lining of the bodice, and the closed front. ferent colour, e.g.: “a hode of skarlet with a rolle of purpill
In the 1770s it assumed a hybrid form combining the felwet…item, 1 gret rollyd cappe of sangweyn greyred”
fitted bodice back of the mantua with the back pleats (1459, Fastolfe Inventory).
of the sack but these were so reduced in size that they Roll, Rolls, Rowles
became seams. The fourreau back was also found in (F)
the 1770s but in the 1780s there was a division at the Period: 16th and 17th centuries.
waist. Pads over which the front hair was turned to raise it from
Robe à la Piémontèse the forehead. “The heare of a woman that is laied over
See Piedmont gown. her foreheade, gentyl women did lately calle them their
Robin, Robings rolles” (1548, Elyot, Dictionary).
(F) Roll collar
Period: 18th and 19th centuries. Period: 19th century onwards.
Broad flat trimmings decorating a gown round the neck The turn-over of a coat or waistcoat collar rolled in a
and down the front of the bodice, and sometimes con- curve and without a notch between it and the lapel.
tinued down the borders of an open over-skirt to the After ca.1840 the name persisted for such a collar al-
hem. though it was laid flat.

175 Round-eared cap
Roll farthingale A knee-length cloak with a single or double cape-collar,

See Bum roll. and buttoned down the front; a back vent for wearing
Rollio on horseback. “Lost, Blue Cloak or Roculo with brass
Period: 19th century. buttons” (1744, Boston News Letter).
A trimming of material rolled into a very narrow tubular Rosebery collar
shape. (M)
See Rouleaux. Period: 1894.
Roll-on A white linen detachable collar, standing nearly three
(F) inches high behind, the points in front rounded off.
Period: 1930s onwards. Named after the British Prime Minister Lord Rosebery
A lightweight elasticated corset without fastenings. (1847–1929).
Roll-up breeches Roses
(M) (F & M)
Period: Late 17th to mid-18th century. Period: ca. 1610–1680.
Breeches worn with roll-up stockings and therefore but- Large decorative rosettes of ribbon or lace, often jew-
toned and not buckled at the knee. “Roule up breeches elled or spangled, mainly for shoes but also used on
made buttoned downe the sides” (1679, The Isham garters and hat-bands.
Accounts). Rotonde
Rollups, Rollers, Roll-up stockings, Rolling stock- (F)
ings or hose Period: 1850s.
(M) A short circular mantle, generally of the same fabric as
Period: Late 17th to mid-18th century. the dress.
Long stockings drawn up over the knee of knee-breech- See Talma mantle.
es and then turned over in a broad flat roll. (Stolen) “½ Rouleaux
doz. pair of Roll stockins and 18 pair of short stockins” (F)
(1697, London Gazette). Period: 19th century onwards.
Roman dress Lengths of material loosely puffed into a tubular shape,
Period: 100 BCE to ca. 300 CE. and used for trimmings of dresses, especially the bot-
Clothing worn by citizens of Rome and its empire. tom of skirts, in the 1820s. Used intermittently at later
Derived from classical Greek garments they allowed periods as a decorative feature on various articles of
fluidity of movement with their simple, practical shapes clothing but usually made as long narrow tubes of fabric
and constructions. cut on the cross.
See Tunica, Toga, Palla, Pallium, Stola. Roulettes
Roman T-beard See Pipes, Bilboquets.
See Hammercut beard. Round dress or gown
Romantic dress (F)
(F & M) Period: Late 18th to mid-19th century.
Period: Early 19th century. A term indicating a dress with joined bodice and skirt,
At a time when there were distinctive qualities identifi- the latter closed all round rather than open in front to r
able in art, literature, music which were opposed to the expose an underskirt. In the 18th century it was oc-
tenets of classicism, the softening of outlines, the revival casionally made with a slight train. During the 19th
of late medieval and renaissance edges and decora- century there was no train; the term actually meant a
tive elements were found in clothing, especially that of dress without a train.
women. Round-eared cap
See Medici collar, Vandyking. (F)
Romper suit Period: 1730s–1760s.
(F & M) A white indoor cap curving round the face to the level
Period: 20th century onwards. of the ears or below. The front border with a single or
Colloquially called rompers and descriptive of a child’s double frill, generally with a small ruffle and “pinch” in
all-in-one outfit for play. Also, an informal garment worn the centre. The back of the cap without a frill and drawn
by young women. Used by the army as slang for all or together by a running string. The back of the cap was
part of battle dress. shallow, exposing much of the back hair.
Roquelaure, Roculo, Roccelo, Rocklo Side lappets were optional, and single or double, at-
(M) tached to the lower borders of the front frills. Single
Period: 1700–1750. lappets were often pinned up to the crown or loosely

Round hat 176
tied under the chin, a style common with servants. From Period: 1870s and 1880s.
ca.1745 the frill at the sides widened and was starched A hat with a high crown and brim turned up on one side;
and later wired to stand away from the face as “vast many variations were made.
winkers”. At the same time the top of the cap narrowed Ruche, Rouche
with a small V-shaped pleat in the centre – “a pinched Period: Early 19th century onwards
cap”, and lappets became less usual. The fabrics used Usually a narrow frill of a gathered or pleated lightweight
included cambric, lace, gauze, and net, often with a fabric such as gauze or lace to trim a garment or
bright silk lining; there were optional trimmings of rib- accessory.
bons, feathers or small artificial flowers. Occasionally Rucksack
called a coif. (F & M)
Round hat Period: Late 19th century onwards.
(M) A bag carried on the back and held by two straps over
An informal hat which began to replace the tricorne in the shoulders; made from various materials including
the 1770s. canvas and leather. Originally used for hiking and walk-
Round hose ing, later for other uses.
(M) Ruff
Period: 1550s–1610. (F & M)
A form of trunk-hose padded and distended to resem- Period: 1560s–1640s.
ble the shape of an onion. A circular collar of cambric, lawn or similar fabric, in the
See French hose and Trunk-hose. form of a starched and goffered frill radiating from the
Roundlet neck; at first attached to the shirt collar band but by
(M) 1570 it had become a separate article. It was usually
Period: 17th century closed all round for men, but also worn by both sexes
A term for the roll of the chaperon of the 15th century. with a gap under the chin.
Roxalane bodice The tubular folds were known as sets and formed by
(F) moulding them by means of setting sticks. Ruffs were
Period: 1829 onwards. tied with tasselled band-strings.
A low-necked bodice trimmed with broad bands of Named varieties included the falling ruff worn ca.
pleated folds across the top, sloping down to the centre 1615–1640. This was gathered without being set
and there meeting at an angle. The bodice always had a into formal pleats, and was sewn to a high neckband
central bone down to the waist. from which it fell down to the shoulders. The short
Roxalane sleeve ruff was a small version favoured by Puritans during
(F) the early 17th century. The oval ruff, worn ca.1625–
Period: 1829 onwards. 1650 was a female fashion only. It comprised a “large
A bouffant sleeve for evening dress; puffed out above closed Ruff set in formal tubular pleats spreading
and below the elbow and there confined just above the laterally over the shoulders”; it was often worn with
bend by a fringed band. Worn with or without a man- a beaver hat with a spreading brim. During the 17th
chette of white blonde lace. century women’s ruffs sometimes had a small neck-
r Roxburgh muff frill of gauze or lace added to the inner border of the
(F) ruff.
Period: 1816
A swansdown muff caught in by a series of bands of Period: 18th century onwards.
white satin. Revived on a small scale for women from the 1740s–
Royal George stock 1830, and again from 1874–1900. Also occasional use
(M) in the 20th century.
Period: 1820s–1830s. Ruffled shirt
A stock of black Genoa velvet and satin, the satin slop- (M)
ing down across the velvet and tied in a bow in front. Period: 18th to mid-19th century.
Rubens bonnet A shirt with a goffered frill down the chest; worn for day
(F) and evening dress but from ca.1840 becoming gradu-
Period: 1872. ally limited to evening only. The frill, which projected
A small bonnet with brim turned up on one side; trimmed forward, varied in width up to three inches.
above with a bow and a feather. Ruffles
Rubens hat (F & M)
(F) Period: ca. 1550 to late 17th century.

177 Sack-back jacket
A somewhat rare term in the 16th century but syn- Running clothes
onymous with hand ruff, attached to the shirt sleeve. (M)
“Very unseemly ruffles at their hands” (1571, MS. Letter, Period: Late 17th to mid-18th century.
Library of Corpus Christi College). The clothing worn by a Running Footman; a type of
livery. “Francis Robinson, running footman…running
(M) clothes…drawers, stockings, pumps, cap, sash, and
Period: 17th to early 19th centuries, later 20th century. petticoat-breeches” (1720, Wages, Duke of Somerset’s
The frilled front of men’s shirts. Servants, Gentleman’s Magazine, lxi).
Russian blouse
(F)
(F)
Period: ca.1690–ca. 1800.
Period: 1890s.
Deep flounces of lace or cambric, worn with elbow-
A loose tunic-bodice falling to the knees in front and a
length sleeves; often multiple with scalloped edges.
little longer behind, and confined at the waist by a belt.
Period: 1800 onwards. Revived in the 20th century.
A frilled edge to a collar, cuffs and a decorative finish to Russian fur hat
other garments. (F & M)
Rullion Period: 20th century.
Period: 17th century. Also called a Cossack or Zhivago hat, both terms indic-
A shoe made of undressed hide, possibly Scottish in ative of the original inspiration and its popularity outside
origin. Russia. A fur hat, often of astrakhan or a thick, dense
Rump, Rump-furbelow, False rump fur, with no brim and a medium height crown.
(F) Russian jacket
A small crescent-shaped hip pad placed beneath the Period: 1865.
dress at either the back or sides; very prominent be- A short sleeveless jacket worn over a sleeved waistcoat.
tween 1770 and 1790 but later, if worn, very small. Russian vest
See Cork rump. See Garibaldi bodice.
S
Sabot sleeve its popularity in the first half of the 18th century as ma-
(F) ternity wear.
Period: 19th century. In its fashionable form in the early 18th century, it had
A variation of the bouffant; a single or double puffed- loose, unstitched pleats at front and back, and the front
out extension above the elbow, worn with evening dress was stitched from waist to hem or left open revealing a
from 1827 to 1836 and for day wear from 1836 to 1840, petticoat. s
then becoming the Victoria sleeve. In the 1730s the pleats became more structured, set
Sac, sack, sacque into two double box pleats and the bodice was fit-
(F) ted closer to the body. By the 1750s the sack, worn
Period: 16th to late 17th century. as an open robe, had almost replaced the mantua
A loose gown, possibly for country wear. “Frumpton’s as the preferred style for formal dress. During the
wench in the frieze sack…at the milking time” (1599, 1770s it became unfashionable, but was retained
George Peele, Sir Clyomon). for certain court events. From 1770s the box pleats
were sometimes sewn down to the waist, as in the
Period: Late 17th and 18th centuries. robe à l’Anglaise or cut loose as in the robe à la
“My wife this day put on first her French gown call’d a Piémontèse.
Sac” (1669, Pepys’ Diary). Sack-back jacket
This was an informal gown and in its earliest form it (F)
hung loose at both back and front, descending from Period: 1896.
shoulder to hem in a pyramid shape. This style retained A short, loose jacket, often edged with fur.

Sack dress 178
Sack dress The Danish safety pin, with wide protective sheath cov-
(F) ering the point, came into use and was subsequently
Period: 1960 onwards. made in various sizes and types of metal.
A loose, short dress, often shaped into a narrower Sailor blouse
hemline. Designed by the Spanish couturier Cristóbal (F)
Balenciaga (1895–1972), it was copied by other design- Period: 1890s.
ers and makers. Worn by school-girls; a white linen blouse with blue cuffs
Sac overcoat and turned-over collar, imitating that worn in the Navy.
(M) Sailor collar
Period: 1840s to ca. 1875. (F)
A loose overcoat reaching nearly to the knees; with four Period: Late 19th century onwards.
button-holes in front; cross-pockets with narrow welts The wide, flat collar derived from sailors’ uniforms ap-
also at the front. Its large sleeves were also wide at the peared on coats, jackets, blouses, etc. and was espe-
wrist. Made with a whole back having a short slit at the cially popular during World War I and World War II.
bottom. The edges bound or double-stitched. In the Sailor hat
1860s it buttoned high; a very narrow collar and lapels (F)
with three or four button-holes in front; pockets were Period: 1860s.
optional. Some styles had velvet collar, lapels and cuffs. A crinoline hat with low, flat crown and wide, drooping
Safari jacket, safari suit brim; ribbon and feather trimming.
(M, later F)
Period: 1880s.
A straw boater with slight variations in depth of crown
Clothing created for cross-country expeditions in the
and width of brim.
19th century, especially in East Africa. Suitable clothing
for Europeans had to be both sturdy and lightweight
(M)
and included a pith-helmet-style hat or solar topi, the
Period: 1880s.
former made from dried pith, the latter an Indian term
A popular form of headgear for small boys; a straw hat
for any European hat protecting the head from the sun.
with wide, évasé brim and ribbon round the base of the
Other items included a shirt, jacket and trousers of
crown, often embroidered with the fanciful name of a
sturdy cotton, often pale coloured, boots and puttees,
ship.
strips of protective leather or fabric wrapped around
Sailor’s reef knot tie
the legs. The style of jacket with its belt, vented back,
(M)
pleated outside pockets with flaps and buttoned front
was not dissimilar to the Norfolk jacket. The appar-
A popular form of tying the necktie, the central knot pre-
ently glamorous locations used in 20th-century films
senting vertical borders at the sides, the ends flowing
as a backdrop to these rugged garments ensured that
loosely, often with a gap between. Most fashionable in
versions of such styles inspired fashion designers.
the 1890s and rivalling the four-in-hand tie. Made with
Safeguard
square and with pointed ends in the 20th century.
(F)
Sailor suit
Period: Early 16th to late 18th century.
(M)
An overskirt worn when travelling on horseback or rid-
Period: ca. 1870.
s ing, to protect from dirt or cold. Occasionally in the form
A popular style of dress for small boys, comprising at
of a large apron. Usually worn with a cloak or a jupe.
first a sailor’s blouse worn with either a baggy pair of
Also a term for infant bands, “A safe-guard, a sort of
knickerbockers or Danish trousers with open bot-
swathing band for a young child” (1706, Phillip’s World
toms and reaching just below the knees.
of Words, ed. J. Kersey).
See Foot-mantle. Period: ca. 1880 onwards.
The suit developed a wide, turn-over, white collar and
Period: 1745–1790.
the knickerbockers acquired closer-fitting legs. An alter-
In the West of England known as a seggard but with
native form was Jack Tar trousers with bell bottoms
its earlier use.
of ankle length. Usual accessories were a lanyard and
(M) boatswain’s whistle. Made of blue serge trimmed with
A coloured stuff apron, also protective; worn by bakers, braid and worn with a sailor hat.
etc. Sailor trousers
Safety pin (F)

179 Sautoir
Trousers designed to fasten in the traditional naval man- A loose, single-breasted sac overcoat, the collar cut
ner, with a fall front which buttons at the top and sides. square, without lapels; full, bell-shaped sleeves “which
Salopettes are not used but allowed to fall loosely”. Fastened by a
(M, later F) cord and tassel in front.
Period: 20th century onwards. Sari, saree
The French term for workmen’s overalls with a high (F)
waist, bib-style front, and shoulder straps which, when A length of cotton or silk arranged around the body and
adapted to fit closely around the ankles, became a passed across one shoulder; the principal item of dress
favoured item of ski-wear in the post-1950 period. of Hindu women.
Waterproof versions were recommended to beginners. Sarong
Salt-box pocket (F, occasionally M)
(M) A Malay term meaning “sheath” and descriptive of a
Period: ca. 1790. long strip of cloth worn around the waist or under the
A popular name for the rectangular, flapped waistcoat arm-pits. Traditional dress for Malay and Javanese of
pocket which had replaced the scalloped flap. both sexes, but appropriated for beachwear by western
Sandal women and, rarely, men from the mid-20th century
(M) onwards.
Period: Medieval to 16th century. Sarpe, serpe
A term applied to an item of footwear consisting of a (M)
sole attached by straps variously arranged over the foot. Period: 15th century.
A decorative collar worn round the neck and lying on the
shoulders, as distinguished from a chain.
Worn by monastic orders and pilgrims.
Sash
(F & M) (F & M)
Period: 1920s onwards. Period: 16th century onwards.
Various forms of lightweight and more substantial san- A band or scarf of soft material, the ends tied but not
dals were introduced for beachwear and, eventually for buckled or otherwise fastened; worn round the waist or
general summer use. over the shoulder for ornamental purpose.
See Birkenstock sandals.
(M)
Sandal-shoes, sandal-slippers
(F)
Sashes were used as part of uniform and in non-military
Period: 1790 to end of 19th century.
contexts with informal dress.
Thin-soled slippers cut low over the foot, with flat heels;
See Burdash.
tied on by criss-cross ribbons over the instep and round
the ankle. For indoor and evening wear. (F)
Sanitary ball dress Period: 16th century onwards.
(F) Worn with négligé garments until the 18th century, when
Period: 1890. sashes were worn with dresses and varied in width.
A ball dress with an under-bodice of cream or pink kid Subsequently they appeared from time-to-time, of vari-
to protect the chest against the influenza epidemic of ous styles and fabrics.
that year. Sashoon, sashune s
Sansflectum crinoline (M)
Period: 1860. A leather pad worn on the leg and inside a boot. “Stuffed
A washable cage crinoline, the hoops covered with or quilted leather to be bound about the small of the leg
gutta-percha and others fitted with a detachable of such as have long heels, to thicken the leg, that the
flounce. boot may sit straight and be without wrinkles” (1688, R.
Santon, sautoir Holme, Armory).
(F) Saucer-collar
Period: 1820s. (F)
A coloured silk cravat often worn with a small ruff Period: 1898.
which it served to support. The high, splayed-out collar worn on fashionable day
Sardinian sac dresses.
(M) Sautoir
Period: 1856. (F)

Saxon embroidery 180
Period: 20th century onwards. Scarf

A long necklace of pearls or a long gold chain set with (F & M)
gemstones. Period: Mid-16th century onwards.
See Santon. A narrow strip of fabric worn for warmth or show round
Saxon embroidery the neck and/or over the shoulders. Sometimes in the
See English work. 16th and 17th centuries worn by men like a baldrick.
S-B However, the term increasingly became applied to a
(M) scarf as understood in the 20th century.
Period: 19th century. See Muffler.
Tailor’s term for single-breasted, as descriptive of a (M)
coat or waistcoat. Period: 1830 to early 20th century.
S-bend A very large cravat spreading over the shirt-front and
(F) usually held in place by a decorative tie-pin. By the end
Period: Late 1890s and early 1900s. of the 19th century the term was being applied within
A term applied to the curving silhouette created by the the trade to any pendant necktie with ends much wider
corsetry of the time. than the middle.
Scabilonians, scavilones Scarf drapery
(M) (F)
Period: 1550–1600. Period: 1870s.
Apparently a new fashion of drawers, possibly of Trimming consisting of fabric draped across the front
Muscovite origin. “Nayler put off hys nether stockes of a skirt, the fold or “scarf” trimmed with flounces, frills
and so bare foote and bare legged save his silke and ribbons variously arranged.
scavilones to the ankles – came in” (1571, Holinshed’s Scarf veil
Chronicle). See Veil.
See Barrel hose. Scholl’s
Scalings, scaling hose (F & M)
Period: 1550–1600. The original Dr Scholl’s exercise sandal was introduced
Possibly a new fashion in knee-breeches resembling in 1959 and became a world-wide favourite. It had a
Venetians. “For a lace to drewe his skalinge hose beechwood base for the foot, with an adjustable leather
together benethe the knee” (1566, Sir Philip Sidney’s strap across the foot and a rubber sole. It offered sup-
Accounts). port and exercise and was one of many footwear
Scallop products and treatments devised by Chicago-born Dr
An ornamental border indented with segments of a William Scholl, through a career which started in 1904
circle so as to resemble the edge of a scallop shell. and only ended with his death in 1968.
Scalpette Scissoring
(F) See Slashing.
Period: 1876. Scoop neckline
“A false front of invisible net to which luxuriant tresses (F)
are attached.” Worn across the front of the crown of the Period: 1950s onwards.
s head to cover thinning hair; an American invention. A rounded, low-cut neckline on any female garment,
Scanties either revealing flesh or another garment, such as a
(F) blouse beneath a jumper when the latter has a scoop
Period: 1920s onwards. neckline.
A term for particularly short panties. Scotch farthingale
Scarborough hat (F)
(F) Period: Late 16th and early 17th centuries.
Period: 1862. Apparently similar to a wheel farthingale. “A Scottish
A hat with a deep, turned-up brim in front, sloping to a farthingale…prithee fit, fit it…. Is this a right Scot? Does
point behind; much worn at that time, though consid- it clip close and bear up round?” (1605, Marston and
ered by many to be “rather vulgar”. Chapman, Eastward Hoe).
Scarborough Ulster Scratch bob, scratch wig
(M) (M)
Period: 1892. Period: 1740–1800.
An Ulster with a cape and a hood but without sleeves. A bob-wig, sometimes with one curl, covering only the

181 See-through clothing
back part of the head, the natural hair being brushed of charity shops added a new dimension to this trade.
up over it in front. “The one-curled Scratch” (1764, The See-through clothing
Oxford Sausage). (M)
Scrip Period: 1930s.
Period: Medieval. Male swim suits without upper sections covering the
A pouch or wallet. chest caused comment in the 1930s but gradually
Scrunchie became accepted.
(F)
(F)
An American method of holding the hair in a pony tail or
The American designer Rudi Gernreich (1922–1985)
similar style drawn away from the face. An elasticated
introduced a topless swim suit for women which caused
band is covered by a loose, encircling layer of fabric;
considerable scandal in 1964, but by 1968 Yves Saint
sometimes decorative effects involving beads or flowers
Laurent (1936–2008) had included a see-through blouse
are used. The first appearance was in the late 1980s
in his collections. In later decades, transparent fabrics
and the style spread swiftly.
Scye
(M)
Tailoring term for the curved lower segment of the arm-
hole of a coat.
Sea cap
(M)
Probably similar to a Monmouth cap.
Sea coat
(M)
Period: Late 15th to end of 17th century.
A lined and hooded coat mostly worn by seamen.
Sea-gown
(Possibly M)
A wrap worn at sea.
Sealskin coat
(F)
Period: 1880s.
Especially fashionable at that time, it was a coat full at
the back and, from ca. 1882 to 1888, trimmed with a
broad, flat bow over the bustle.
Seamstress, sempstress
(F)
Period: 16th century onwards. s
A woman who does plain sewing, as opposed to pro-
viding the more complex skills required within the cut-
ting and making of garments. “To the Old Exchange,
and there, of my pretty seamstress, bought four bands”
(1665, Pepys’ Diary, 8 April).
Second-hand clothing
(F & M)
Clothing was constantly recycled and remade, and
throughout history it seems likely that alongside clothing
handed over to family and friends and remodelled, there
was always a thriving market in dealing in such clothing.
Certainly in the 1830s, in the UK, second-hand clothiers
had to be licensed. In the 20th century the development

Seggard 182
and increasingly skimpy clothing became acceptable in Sewing machine

Europe and North America. Period: ca. 1790 onwards.
Seggard After many experiments in Europe and North America,
See Safeguard. using various stitches, I. M. Singer patented his lock-
Seint stitch machine in 1851 and his firm soon dominated the
(F & M) international market. This machine revolutionized do-
Period: Medieval. mestic and professional making of clothing, and many
A girdle. competitors invented or refined the original concept, but
See Ceint. Singer and sewing machine became synonymous from
Selvage the mid-19th century onwards until challenged by other
Period: 14th century onwards. makers in the 20th century.
The edge of a piece of fabric so woven as to prevent Shade
unravelling. (F)
Semicircled farthingale, demi-circled farthingale Period: ca. 1750 to early 19th century.
(F) A transparent section of net, gauze or lace worn to
Period: ca. 1580–1620. shade the bosom of a very low-necked gown. The
See French farthingale. shade sometimes had a small, attached ruff at the neck.
Sempstress bonnet A fashion which was at its height in the 1750s.
(F) Shadow
Period: 1812. (F)
A bonnet tied on with very long, broad ribbon strings Period: ca. 1580–1640.
crossed under the chin and then brought up to the sum- Similar to a bongrace but not part of a hood. Made of
mit of the crown and there tied in a bow. velvet, linen or lawn edged with lace. “A French shadow
Señorita of velvet to defend them from the sunne” (1617, Fynes
(F) Moryson, Itinerary).
Period: 1860s. Shag-ruff
A short muslin jacket shaped like a bolero, with elbow (F)
sleeves, worn over a dinner dress. Period: 17th century.
Sequin A ruff with a shaggy or irregular outline.
Period: 1880s onwards. Shakespere collar
From the Italian term zecchino meaning a gold coin, the (M)
sequin was similar to the pierced metal spangles of an Period: 1860s onwards.
earlier period which were sewn to clothing and acces- A shallow turn-over collar, the points projecting down-
sories. From the 20th century they were usually made of wards onto the shirt-front.
light composition, often plastic, and produced in many Shakespere vest
colours and several sizes and shapes. (M)
Serge Period: 1876–1877.
Period: 19th century. A waistcoat, single- or double-breasted, of which the
Term used to describe a kind of over-sewing often used turn-over collar had wide points directed downwards,
on the raw edges of seams to prevent unravelling of the with a notch to a short, narrow lapel.
s cloth. Shalwar kameez
See Glossary of Fabrics and Materials. (F & M)
Serpent, dragon Period: 1820s onwards.
(F) “Shalwar” comes from Persian and refers to the loose
Period: 18th century. trousers worn by both sexes in certain south Asian
A long, hanging lock of hair rolled back upon itself. countries. The “kameez” is the knee-length shift with
“These serpents or dragons are seldom worn but at long sleeves worn with the trousers. This combination
Court balls or by actresses on the stage” (1768, G. was known in Europe for several centuries before it
Bickham, The Ladies’ Toilet). became a well-known inspiration to designers.
Sets Shamew
See Ruff. See Chammer.
Settee Sham hanging sleeves
(F) See Hanging sleeves.
Period: Late 17th century. Shams
The double lappets of a woman’s indoor cap. See Half-shirt.

183 Shawl
Shaving hat by men as a protection in travelling by coach in the first

(M) half of the 19th century. It was made of wool, silk or
Period: Early 18th century. cotton in mixtures or plain; the designs woven, printed
A hat made of finely plaited wood-shavings instead of or embroidered. From the 20th century synthetic fabrics
straw (1723, “Elizabeth Robinson, Shaving Hatmaker”, of various compositions were also used.
London Gazette). Well-known types included cashmere shawls, originally
Shawl made in Kashmir from the hair of the mountain goat
(F & occasionally M) and imported into Europe in the late 18th century. They
Period: Mid-18th to 20th century. were being made in England by 1818 and in Edinburgh
A square or oblong wrap to cover the shoulders and of Australian wool in 1826. French shawls imitating
upper part of the body, made in various sizes and fab- Kashmir patterns, in silk warp and woollen weft were
rics. Used by women chiefly as an indoor accessory; produced from 1804. After 1815 they were often of

Shawl collar 184
flowered silk with deep borders; up to 2½ yards square. Shell

Norwich shawls, introduced in 1803, were woven with (F)
a silk warp and woollen weft in “fill-over” patterns; they Period: 18th century.
were often a yard square. Paisley shawls, made in A loosely knotted curl of hair forming a bow.
Scotland, appeared from 1808, made of silk or cotton
warps and woollen or cotton wefts, or wholly of silk.
A lightweight, closely fitted top, worn beneath a jacket.
By 1830 they often used “Botany worsted”, Australian
Shell suit
wool. They were very fashionable in the 1840s and
(F & M)
1850s, in the pine cone or buta pattern. “Reversible
Paisley shawls”, with the same pattern on both sides,
A brightly coloured variant of a track suit worn in place
were introduced in 1860. The size of fashionable shawls
of trousers and shirts by men and women who preferred
increased with the expanding size of the skirt, reaching
comfort to style.
in the crinoline period up to 12 feet long.
Shift
See Rampoor-chuddar.
(F)
Although popular in the early decades of the century, The term which gradually replaced the term smock
shawls were replaced by cardigans and light jackets for the undergarment known in the 19th century as a
until the revival of interest in Paisley in the 1960s and chemise. It was worn next to the skin and made of
the introduction of the feather-light pashmina in the homespun, linen or cotton.
1990s. Shift dress
Shawl collar (F)
(M) Period: 1960s onwards.
Period: 1820s onwards. A simple dress which skimmed the contours of the body
A term denoting a broad turn-over collar of a coat or rather than emphasized them; often short-skirted and
waistcoat, continuous with the lapels and without sleeveless.
notches. After 1850 the name was gradually replaced See Mini dress.
by the roll collar. Shingle
In the 20th century shawl collars were found on gar- (F)
ments designed and worn by both men and women. Period: 1920s.
Shawl waistcoat A short, tapered hair style cut so that all the ends are
(M) exposed like roof shingles.
Period: 19th century. Ship-tire
A term denoting either a waistcoat made with a shawl (F)
collar or a waistcoat of fabric having a shawl design. Period: Late 16th and early 17th centuries.
Waistcoats made from actual shawls were rare. Term denoting a high style of coiffure. “Thou hast the
Sheath dress right-arched beauty of the brow, that becomes the
(F) ship-tire” (1598, W. Shakespeare, The Merry Wives of
Period: 1920s onwards. Windsor).
A tightly fitting dress which closely hugged the curves Shirring
of the body. A style popularized by American films and Period: 20th century onwards.
s their glamorous stars of the golden age of the cinema. Rows of gathers similar to gauging. From around 1940
Sheepskin coat, sheepskin jacket very fine elastic thread was often used to create this
(F & M) effect.
Period: 20th century onwards. Shirt
Although sheepskins had been used from the earliest (M)
times as cloaks, etc. the fleece was often worn outside. Period: Early Medieval onwards.
However, the idea of making structured garments like The garment worn next to the skin until the introduc-
jackets and coats from cleaned and processed skins, tion of the vest ca. 1840. A neckband appeared in the
with the skin outside and the fleece inside, developed in 14th century and an upright collar in the 15th. Side
several parts of the world in the 19th century. They were vents were added in the 16th century and from then
less expensive than many fur coats and suited to travel, onwards such parts of the shirt as were exposed to view
early motoring and other outdoor activities. As became variously decorated with embroidery, pleating,
fashionable clothing, they became popular in the 1960s frills and lace. Coloured shirts for day wear were intro-
and an embroidered Afghan variant was brought back duced in the 19th century and detachable collars were
by hippies from their travels. replaced by attached collars of same or contrasting

185 Shotten-bellied doublet
colour. 20th-century shirts came in all colours, weights A semi-tubular implement with curved sides, of metal or
and styles and short-sleeved shirts were worn in hot horn, and in the 20th century of plastic, used to assist
weather. the foot to slip into a tight boot or shoe. “A showing horn
See Aquatic shirt, Arrow shirts, Corazza, Hawaiian of iron” (1576, City of Exeter Records).
shirt, Historical shirt, Pleated shirt, Ruffled shirt; also Shoe-laces
Chitterlings, Half shirt. Period: 19th century onwards.
Laces for tying the sides of the uppers together; usually
(F)
of braided mohair, but ribbons were used for women’s
Period: 1890s.
shoes. In the 20th century cotton or nylon cord replaced
A name applied to the summer blouse worn by women.
the earlier materials.
Period: 20th century onwards. Shoe-rose
The term describing the female version of the male shirt, See Roses.
though female versions might have darts at the bust, in Shoe-strings
all other respects, apart from buttoning, they mirrored Period: 17th to mid-19th century.
the male cut. Ties for securing shoes; the strings commonly of ribbon.
Shirt-drawers “But he does not get his shoe-strings ironed” (1825,
(M) Harriette Wilson, Paris Lions and London Tigers).
Period: 1890. Shoe-tie necktie
The shirt extended to reach the middle of the calf “and (M)
the slits are in the centre of front and back instead of at Period: 1850s.
the side; the shirt thus dresses the leg”. Thus drawers A very narrow necktie “not half so broad as a watch-
as a separate garment were not required. ribbon”, tied in a bow in front or passed through a ring,
Shirt dress, shirtwaist dress the ends dangling.
(F) See Byron tie.
Period: 1930s onwards. Shooting coat
A style of dress with front-buttoned bodice, collar and (M)
revers which looked like an elongated shirt; a practical Period: 1860s–1880s.
style which has become a classic garment. The name commonly given at that period to the morn-
Shirt pin ing coat.
(M) Short-coat
Period: 19th century. Period: 16th–19th century.
“A shirt pin made of jeweller’s gold wire” (1825, T. Hook, The term for the clothing for an infant when it could start
Sayings). Worn in the bosom of the shirt. to crawl; before that it wore long clothes, often swad-
Shoe dling bands.
(F & M) Short hood
Period: Medieval onwards. See Pug hood.
A covering for the foot; usually a leather sole and leather Shorts
or fabric upper, the shape varying greatly through the (M)
centuries according to function and fashion. Period: 1820–ca. 1850.
Shoe-buckle The name occasionally given to evening-dress breeches.
(F & M) s
Period: Mid-17th century to ca. 1790. Period: 20th century onwards.
A metal buckle, rectangular or oval in shape, attached An American term for underpants.
to the front of the upper to hold the shoe in place; be- (F & M)
coming highly ornamental and large ca. 1770. “Formerly,
indeed, the buckle was a sort of machine intended to
Short trousers, usually to the knee or higher worn for
keep on the shoe; but the case is now quite reversed,
sports, hiking and outdoor holidays. Increasingly worn in
and the shoe is of no earthly use but to keep on the
place of trousers for casual summer occasions.
buckle” (1777, R. B. Sheridan, A Trip to Scarborough).
Short spatterdashes
Period: 1800 onwards. (M)
Decorative buckles appeared on shoes alongside small Period: 18th century.
practical buckles, but integral to the shoe rather than These resembled spats but were not called by that
detachable. name. They were chiefly worn by country folk.
Shoe-horn, showing horn Shotten-bellied doublet
Period: 16th century onwards. (M)

Shoulder bag 186
Period: 1560–1580 and 1600s. Side

The short-fronted as opposed to the peascod-bellied Period: 15th and 16th centuries.
doublet. The term then meaning “long”, e.g. “side sleeves”, “side
Shoulder bag gown”.
(F, occasionally M) Side body
Plain bags with long straps which passed over the Period: 1840s onwards.
shoulder were so popular that they were issued to the Tailoring term for a separate panel inserted into a coat
women’s services in the UK; they became less fashion- from below the arm-hole down to the waist-seam, to
able in the late 1940s, but reappeared in many styles give a closer fit.
and sizes in the 1980s. Side edge
Shoulder belt (M)
Period: 17th century. A scalloped flap inserted into the back vent of a skirted
Previously the term used was baldrick; indicating a coat and projecting from inside the pleat so as to resem-
diagonal belt passing across the body from the right ble the flap of a narrow, vertical pocket. This ornamental
shoulder to the left hip or lower, over the doublet, for addition, unknown before 1810, first appeared then in
suspending the sword or rapier. After 1680 it was grad- some greatcoats; soon after 1820 frock coats and by
ually replaced by the waist belt and frog, worn under the 1829 day-dress coats were often trimmed with side
coat and waistcoat; and in the latter part of 18th century edges, which were revived in the 1840s and again in
by the cut-steel hanger with its chains. 1873 on some top frocks and Oxonian jackets. Side
Shoulder heads, shoulder straps edges also survived in certain livery coats.
(F) Sideless surcoat
“The straps passing over the shoulders and connect- Period: ca. 1360–1500, and as state apparel until ca.
ing the back to the front of a woman’s dress” (1688, R. 1525.
Holme, Armory). A low-necked, sleeveless and long overgarment, widely
Shoulder knot open at the sides from shoulders to hips, revealing the
(M) sleeves and bodice of the kirtle. The front panel, vari-
Period: ca. 1660–1700. ously decorated, was known as the plackard.
A bunch of ribbon loops, cord or lace, sometimes be- Side piece
jewelled, worn as an ornament on the right shoulder. In (F)
the 18th century it became part of livery and “a knight Period: 19th century.
of the shoulder knot” meant a footman. Panel in women’s coats corresponding to the side
Shoulder pad body in men’s.
(F & M) Silk hat
An insertion of padding into the upper shoulder of a coat Period: 1797 onwards.
or dress to emphasize the width of the shoulders; often Invented by John Hetherington, a London haberdasher,
detachable, though some were placed between the and first worn by him on 15 January 1797, thereby
s fabric of the garment and its lining. provoking a riot, for which he was charged “with a
See Power dressing. breach of the peace for having appeared on the Public
Shrug Highway wearing upon his head a tall structure having
(F) a shining lustre and calculated to frighten timid people”
Period: Early 21st century. (St James’ Gazette, 16 January 1797). This rival to the
A lightweight, short-bodied and short-sleeved bolero beaver hat became the top hat, the headwear of the
designed to be worn with sleeveless dresses, literally to gentleman from ca. 1830 onwards; its surface of silk
shrug on or off. with a satin-like gloss on a felting of rabbit hair.
Sicilian bodice Single-breasted
(F) (F & M)
Period: 1866. Period: Late 18th century onwards.
An evening-dress bodice with a low square décolletage; Describes a garment which fastens at centre front
attached to the bodice was a tunic in the form of two with one row of buttons and without the overlap-
knee-length panels in front and two behind “as four ping layer of cloth used for double-breasted coats,
sash ends”. jackets etc. “Single breasted lounge suits. One, two

187 Slammerkin, trollopee
or three buttons, from £6.8.6” (1925, Army and Navy Period: Mid-1960s and 1970s.
Stores). A hand- or machine-knitted jumper which fitted tightly
Singlet to the contours of the body; executed in rib stitch.
(M, later F) Occasionally revived.
Period: 18th century onwards. Ski-pants
In the 18th and early 19th centuries this term was used (F & M)
for an unlined (thus, single, not double) waistcoat, Period: 20th century.
often of a woollen, knitted or woven cloth. Later, it Close-fitting trousers of a flexible fabric, with straps
became closely-fitted to the body and was used as a under the foot to keep them in place. Originally worn for
type of vest. In the 20th century it became associated ski-ing but later appropriated, especially by women, for
with sporting activities and was worn by both sexes general wear in place of looser trousers.
and benefited from man-made fabrics. It is now usu- Skirt
ally sleeveless with a scoop neckline and is similar to a (M)
sleeveless T-shirt. Period: 17th century onwards.
Siphonia That part of a man’s coat below the waist; varying
(M) greatly in length according to the fashion of the day.
(F)
A long, weatherproof overcoat. The “Pocket Siphonia”
was a short, thin variety capable of being rolled up and
A term occasionally used for the lower part of a woman’s
carried.
dress from the waist to the hem. Until the 19th century
Siren suit
the more usual term was petticoat.
(M)
A term for an all-in-one, shirt-and-trousers garment, Separate skirts were increasingly important alongside
usually buttoned at the front and made from a sturdy the attached skirt of a dress. Named varieties include
fabric. the mini skirt.
See Boiler suit. Skirt ruff
Skeleton suit (F)
(M) Period: 1880s.
Period: ca. 1790–ca. 1830. A thick ruching of material attached to the inside of the
A boy’s suit consisting of a tight jacket having two rows hem of a day skirt to make it stand out.
of buttons on the front ascending over the shoulders; Ski-wear
ankle-length trousers buttoned to and over the jacket (F & M)
round the waist; the trousers made with split falls. The Period: 1920s onwards.
suit was often made of nankeen. Clothing, usually a high-necked jacket closely fitted at
Skin-coat neck and wrists, trousers, caps, mittens and boots, de-
(M) signed for warmth and ease of movement when using
Period: 16th century. skis. Fabrics which included elasticity or were made of
A leather jerkin worn by peasants and shepherds. man-made fabrics such as nylon, or later Lycra, were
Skin-head used in special collections of ski-wear for both profes-
(M) sional and amateur use. s
Period: Late 1960s and 1970s. See Après-ski wear.
A member of a working-class subculture identified by Skull-cap
closely cropped or shaven heads, T-shirts, short jeans (M)
held-up by braces and heavy boots such as ‘Doc’ Period: 17th to early 20th century.
Martens. Skin-heads were connected to Mods and A round-topped or flat cap fitting the head; worn as a
later were linked to the punk movement. Like many night-cap or, in the 19th century, as a “smoking-cap”.
of the post-World War II subcultures in the UK, they Slacks
reinvented clothing for young people, especially young (F & M)
men, by imposing their ideas and ignoring mainstream Period: 1920s onwards.
fashion. Inevitably they did influence fashion and the Loosely cut, full-length trousers for informal wear.
popularity of the shaved head in the 21st century owes Slammerkin, trollopee
much to their “hard-man” prototype. (F)
Skinny-rib sweater Period: ca. 1730–1770.
(F) A loose, unboned morning gown with a trained

Slap-shoe 188
undergarment, such as the shirt, or, after 1515, of a

bright lining of a contrasting colour.
Slash pocket
(M)
A horizontally cut pocket without a covering flap, in a
man’s coat.
Slavin, sclaveyn, sclavin
(M)
A pilgrim’s mantle.
Sleeve
(F & M)
The section of a garment which encloses all or part of
the arm and is attached to the arm-hole of an upper-
body garment by ties or stitching. Many variants in size
and style are found, e.g. gigot sleeve.
Sleeved waistcoat
(M)
Period: ca. 1660s–1750s.
See Waistcoat.
s
sack-back and short petticoat. As négligée it could be
worn without a hoop.
Slap-shoe
(F)
A mule, generally high-heeled. “Slap shooes or Ladies
shooes are shooes with a loose sole” (1688, R. Holme,
Armory).
Slashing, scissoring
The making of slits of varying lengths in any part of
a garment, but often hose and sleeves, as a form of
decoration. The slashes were symmetrically arranged
and the gaps filled in by pulling out puffs of a white

189 Slop
Sleeve hand Period: 20th century onwards.

Period: 17th century. A shorthand term for a light, unstructured petticoat,
The open end of a sleeve through which the hand is either full-length or waist-length.
thrust, whether the sleeve ends at the wrist or higher up. Slip-on, slip-over
Sleeveless spencer (F & M)
Period: 1800–1801. Period: 1930s onwards.
See Spencer. A jumper or pullover worn over a blouse or shirt, usu-
Sleeve string ally knitted. “Sleeveless slip-ons (for men) in two-colour
See Cuff string. pattern in blues, greys, fawns and browns, 16/6” (1935,
Sleeve tongs Army and Navy Stores catalogue).
(F) Slipper
Period: 1890 onwards. (F & M)
Ornamental metal tongs for drawing down the large Period: 16th century onwards.
dress sleeves through the sleeves of the jacket or The word “Slype-Shoe” was used by Anglo-Saxons. A
overcoat. generic name of a light form of low shoe easily slipped
Sling backs on and off; generally with short uppers. But the word
(F) shoe was frequently used for slipper until the 19th
Period: 1930s onwards. century.
A style of sandal or shoe with a strap around the back Slip-shoe
of the heel, usually punched and with a small buckle to (M)
allow adjustments to fit. Period: 16th to mid-18th century.
Sling duster A mule with a flat heel. “They use a maner of slippe-
(F) shoes that may be lightly putte of and on” (1555,
Period: 1886. Watreman, Fardle of Facions).
A dust cloak with sling sleeves; often of silk in black
The term “slip-shod”, when first coined ca. 1570, meant
and white checks.
the wearing of slip-shoes in which the wearer had to
Sling sleeve
walk with a shuffling step.
(F)
Slit
Period: 1885.
(F)
A sleeve made from the cape of a dust cloak or mantle,
the cape being attached horizontally on each side just
An opening in a garment, sometimes suggestive of a
above waist level with an arm-hole above, supporting
pocket.
the arm as if in a sling.
Slit pocket
Sling-sleeve cloak
(M)
See Bernhardt mantle.
Slip Period: 19th century.
(M) A vertically cut pocket in a coat or overcoat.
Period: 1888–ca. 1939. Slivings, slivers, slives, sleevings
White piqué edgings buttoned into each side of the (M)
waistcoat “V” and slightly protruding; perhaps to pre- Period: Late 16th and early 17th centuries.
vent soiling of the shirt or possibly the vestigial remains Wide breeches often likened to slops. s
of an under-waistcoat. The fashion is said to have origi- Sloane Ranger
nated with King Edward VII. Correctly worn only with a (F)
morning coat. Period: Late 1970s onwards.
Term coined by Anne Barr and Peter York to describe
(F) young, well-connected women who lived and worked
Period: 17th century. in London during the week and shopped in or around
An undergarment serving as a foundation to a dress es- Sloane Square in Chelsea. Their style of dress was dis-
pecially when the latter is of semi-transparent material. tinctively classic. The archetypal Sloane Ranger, prior
(Payment for) “woorking slips for my Lady 2/–” (1620, to her wedding in 1981, was Lady Diana Spencer who
Lord William Howard of Naworth, Household Books). married the Prince of Wales.
Period: 18th century. Slop
The term for a kind of corset-cover. “Mrs. Lawson’s (M)
loose slip altered and made fit to the new stays” (1756, Period: Late 14th and early 15th centuries.
The Lawson Family, Domestic Accounts). A short jacket worn over a doublet.

Slop-hose 190
(F & M) Period: 18th and early 19th centuries.

Period: Late 15th century to ca. 1550. A hat with a flopping or uncocked brim.
A slipper, then a cloak or a nightgown. “Sloppe – a Small clothes
nightgown” (1530, Palsgrave). (M)
Period: 1770 to mid-19th century.
(F)
A euphemism for breeches.
Small falls, split falls
A woman’s cassock. “A slope is a morning cassock
See Falls, Spair.
for Ladyes and gentill Women, not open before” (Late
Small slops
16th century, Book of Precedence, Queen Elizabeth’s
(M)
Academie).
Period: ca. 1585–ca. 1610.
(M) Short breeches with open legs not covering the knees.
Period: Late 16th and early 17th centuries. “…Nor to weare anye Slop but the plaine small Slop,
This was the principal use of the word, namely to de- such as is not to be lett downe beneathe the knee…”
note very wide knee-breeches, also called slivings. The (Regulations for the apparel of university students at
term was also used occasionally for paned trunk-hose, Cambridge in 1585).
especially the voluminous styles, such as pluderhose. Smock
The official name – Great Sloppes – was used in various (F)
sumptuary regulations forbidding tradesmen to wear Period: ca. 900–1290.
such garments. For instance, “Richard Bett, taylor, uses A woman’s undermost garment worn next to the skin –
and has his calligas [i.e. footwear] with great sloppes loose, T-shaped, with a gathering thread or tape at neck
contrary to the proclamation and form of the Statute. and sleeve edges; usually knee-length or longer.
Fined 4d” (October 1565, Essex Sessions Records).
Period: Late 13th–17th century.
“A German from the waist downwards, all Slopes”
Fashionable smocks of finest linen were often embroi-
(1599, W. Shakespeare, Much Ado about Nothing);
dered with gold thread or coloured silks.
“In a pair of pain’d (paned) slops” (1600, B. Jonson,
Cynthia’s Revels). Period: 17th and 18th centuries.
See small slops for a similar restriction affecting univer- Smocks acquired large balloon sleeves edged with
sity students, but the date of the latter –1585 – sug- ruffles and, in the 18th century, slightly bell-shaped
gests a reference to knee-breeches while the date of the sleeves, until ca. 1740 when the ruffled border ceased
Essex Sessions Record – 1565 – suggests a reference to be visible.
to bombasted trunk-hose, not to breeches. At various times the fabrics used were linen, cambric,
Holland, occasionally silk; for the less well-to-do, usu-
Period: Late 18th and early 19th century.
ally lockeram.
Name often used for the labourer’s Smock. “…Wearing
See Shift.
a light-coloured Coat, a Waistcoat and a Slop betwixt
Smock-frock
them and a pair of leather breeches” (1774, Norwich
(M)
Mercury). “A light half-straight coat over a brown slop
and brown fustian breeches” (1815, Bury and Norwich
The term was interchangeable with smock and denoted
Post).
a loose gown of homespun or cotton worn by country
Slop-hose
s (M)
workers. It was about knee-length; some with a sailor
collar; some made with a yoke. Generally smocked or
gauged in front in various patterns associated with the
Sailors’ breeches. “A sort of wide-kneed breeches worn
locality of the owner.
by seamen” (1736, Bailey’s Dictionary).
Sloppy Joe (F)
(F & M) Period: 1880s.
Period: 1950s. An informal garment worn by women influenced by the
A very large, loose-fitting sweater; often a woman “bor- Aesthetic Movement. “No artistic dresser would be
rowing” the garment of a larger, bulkier, male friend. without a Smock cut exactly like a farm labourer’s, with
Slops square turned-down collar, gatherings front and back,
Period: 19th century. gathered full sleeves, worn over a habit shirt, and
Cheap, ready-made or old clothes, or a combination of looped up over an underskirt with a belt at the waist”
all three. (1880).
Slouch hat Also worn by small children, especially girls, in the late
(F & M) 19th and early 20th centuries.

191 Sombrero
Smocking Period: Early 14th century onwards.

(F) A short stocking; in the medieval period it was worn with
Period: 1880 onwards. footless hose but in the 16th century men often wore
A form of needlework producing honeycomb ornamen- them with boot hose and stirrup hose; from 1790 they
tation of which the basis is close gathering of fabric were worn with pantaloons and, in the 19th century,
with a variety of stitched patterns holding the gathers with trousers. Men’s socks were kept up, from ca. 1890,
in place. by elastic suspenders.
Smock petticoat
(F)
An increasingly wide range of socks were made, using
traditional fibres or synthetic ones, and they were pro-
An under-petticoat. “2 smock petticoats of worsted”
duced in all lengths, from ankle to knee, in many colours
(1627, Lismore Papers).
and patterns and for various leisure activities.
Smoking jacket
Sock suspenders
(M)
See Suspender.
Soled hose
A short, round jacket, single- or double-breasted, of
(M)
velvet, cashmere, plush, merino or printed flannel, lined
Period: Saxon, 13th to end of 15th century.
with brightly coloured material and commonly orna-
Stockings of thick wool or thin leather, with leather sole
mented with brandenburgs, olives or large buttons.
attached, and worn without shoes.
Worn informally in the home, but less frequently in the
In the 15th century long-stocked hose were added
20th century.
forming an early type of tights; these might also be
Snail button
soled with leather.
Solferino
A covered button trimmed with French knots. Used on
Period: 1860.
men’s coats and waistcoats.
One of the two first aniline dyes used for dress fabrics;
Snake
corresponding to the modern fuchsia colour. Named
(M)
after the battle of June 1859 in the Franco-Austrian War.
See Magenta.
The name commonly given to love locks. “The yard
Solitaire
long snake he twirls behind” (1676, J. Dryden’s Epilogue
(M)
to Etherege’s The Man of Mode).
Sneakers
A black ribbon worn over a stock and usually with a
(M, later F)
bag-wig. A broad solitaire was draped round the neck
and either tied in a bow under the chin or tucked into the
An American term for soft-soled shoes, often canvas
shirt-front, or pinned into place, or loosely knotted and
with rubber soles; often synonymous with trainers in
allowed to dangle. A narrow solitaire was worn close
the late 20th century.
and tied in a stiff bow in front.
Snood
(F) (F)
Period: 20th century onwards. Period: 1835.
In a much earlier usage, a ribbon or hair-band, but now A narrow, coloured scarf worn round the neck, loosely s
generally associated with the fine cord or mesh net re- knotted in front, with the ends hanging to the knees.
taining a chignon or other styles of rolled-up hair. Worn Worn with a white day dress.
outdoors with or without a hat. Also made of fabric and
(F & M)
attached to a hat.
Snoskyn, skimskin, snowskin, snufkin, snuftkin
The name given to a single gem set in a brooch or
(F)
tie-pin.
Sombrero
A small muff for the hands.
(M, occasionally F)
Socks
(M)
A broad-brimmed hat shading the face, worn originally
Period: 8th to late 15th century.
in Spain and Latin American countries, though it was
The name was sometimes applied to a slipper or light
worn by others: “He [Alfred, Lord Tennyson] would al-
shoe.
ways wear his great Spanish cloak and sombrero, which
(F & M) excited much interest” (Sir Charles Tennyson, Alfred

Sorti, sortie 192
Tennyson, pub. 1949, p. 425). Its increased popularity Spanish breeches, Spanish hose
can be attributed to its use in American films from the (M)
early 20th century onwards. Period: 1630–1645, revived 1663–1670.
Sorti, sortie High-waisted, long-legged breeches. Somewhat full in
(F) the seat with a few pleats into the waistband, the legs
Period: Late 17th century. narrowed down the thighs to end below the knees,
“A little knot of small ribbon peeping out between where they were either closed by ribbon rosettes or
the pinner and the bonnet” (1690, J. Evelyn, Mundus bows, or left open to overhang the stockings; the mar-
Muliebris). gins usually trimmed with ribbon bows. Often trimmed
Sortie de bal with braid or buttons down the outside leg. The revived
(F) version, as described by R. Holme (1688, Academie of
Period: 1850s–1870s. Armory) “…are stret and close to the thigh and are but-
An evening, hooded cloak, generally of silk, satin or toned up the sides from the knee with about 10 or 12
cashmere, with a quilted lining. buttons, anciently called Trowsers”.
Soufflet sleeve Spanish hose were hooked to the doublet lining and
(F) closed by buttons, not concealed by a fly-front.
Period: 1832. Spanish cloak
An evening-dress sleeve, very short, with full puffs verti- (M)
cally arranged. Period: 16th and 17th centuries.
Sou’wester A short, hooded cloak.
(M, occasionally F)
A short, round, evening cloak shaped to the shoulders
A waterproof hat with a brim deeper at the back to
and lined with a bright-coloured silk.
cover the collar; worn by sailors and fishermen.
Spanish farthingale
Space exploration
(F)
Period: ca. 1545–1600.
Various fabrics and types of streamlined garments de-
An underskirt distended by circular hoops of rushes,
veloped for use in space exploration had an impact on
wood, wire or whalebone, and formed to produce a
mainstream clothing.
funnel-shaped, domed or bell-shaped skirt. Some far-
See Moon boots.
thingales had a single hoop at the hem only. The
Spaier, spere, speyer
underskirt itself was made of mochado, fustian, buck-
ram or woollen stuff; the more costly ones of silk or
A term used for any vertical slit in a garment.
velvet.
Period: Late 16th and 17th centuries. Spanish hat
The opening of a garment. (F)
Spair Period: 1804–1812.
(M) A large hat of velvet, satin or sarcenet, the brim turned-
Period: 1840s to late 19th century. up at the front, trimmed with feathers. For evening or
A name sometimes given to the falls of breeches. “The promenade dress.
Spair or Fall-down, called by some erroneously, the Spanish jacket
s Fold” (1843, J. Couts). (F)
See Falls. Period: 1862.
Spangles A short, outdoor jacket fastened down the chest in
Period: Late 15th to late 19th century. front and then sloping away to the back which ended at
Small discs of shining metal, often pierced and sewn or waist-level, with or without a small basque.
stuck onto fabric as a trimming. Spanish kettledrums
In the 16th century they were used on the clothing of (M)
both sexes and on hats and stockings. In the 17th cen- Period: 1555–1570s.
tury they were applied to garters, pantofles and shoe- Colloquialism for trunk-hose, in particular for the
roses. They were used on men’s coats and women’s round hose style.
fans in the 18th century, and in the late 19th century Spanish sleeve, slashed sleeve
were occasionally applied to women’s bonnets, and to (F)
evening dresses. Period: 1807–1820.
See Oes, Sequins. A short, evening-dress sleeve, puffed at the shoulder

193 Splyter-hat, splinter hat
and slashed at the sides over a silk lining. male swimming trunks, but a wide range of swim and
Spats, spatts leisure wear is designed for adults and children.
(M) Spencer
Period: 1800–ca. 1939. (M)
“A small sort of spatterdashes that reach only a little Period: 1790–ca. 1850.
above the ankle; called also half-gaiters” (1802, James’ A short, waist-length jacket with a stand-fall collar or roll
Military Dictionary). collar and cuffed sleeves; buttoning down the front, and
They were short gaiters reaching just above the ankle, worn out of doors as a protection for the chest, gener-
buttoning on the outer side with a strap going under the ally in the country or by sportsmen. “Young Gentleman’s
foot, but not adapted for civilian use until the mid-19th Spencer or Tunic suit from £1:15:0” (1838, The Globe,
century. In 1860 spats were worn with trousers and advertisement).
made of the same fabric. By 1878 they were fashionable
with the morning coat, but incorrect with the frock (F)
coat until 1893, and made of box-cloth or canvas cloth Period: 1790–1820s.
in white, grey or fawn. In the 20th century they were A short jacket ending at waist-level or just above and
worn infrequently after World War I. worn as an outdoor garment or indoors for evening
Spatterdashes wear, and then very ornamental and often sleeveless.
(M) The form followed the fashion of the dress-bodice with
Period: 1670s onwards. which it was worn.
Leggings of leather, canvas, cloth or cotton, generally See Chinese spencer, Canezou.
reaching above the knee and laced, buckled or but- Period: Late 19th century.
toned down the outer side. In the 18th century there A flannel or knitted, sleeveless spencer was worn under
was sometimes an extension over the foot and a stirrup the jacket for extra warmth by the elderly or infirm.
strap beneath. “A sort of light boot without soles” (1736, Spencer cloak
Bailey’s Dictionary). (F)
Spectacles Period: 1804.
(M, later F) A cloak of worked net with short, elbow-length sleeves.
Period: Late 13th century onwards. Spencerette
Single or pairs of lenses to correct long or short sight (F)
were probably a European invention and a pair is re- Period: 1814.
corded in Venice in the late 13th century. The diarist A spencer “tight to the shape”, closed over the bosom,
Samuel Pepys thought he was losing his sight and but with the neck cut low and edged with a lace frill.
recorded, “I this evening did buy me a pair of green Spencer wig
spectacles, to see whether they will help my eyes or (M)
no” (1666, 24 December, The Diary of Samuel Pepys). Period: 18th century.
Bi-focals were invented by Benjamin Franklin in the mid- A style of wig worn in the first half of the 18th century.
1770s and tri-focals were made in the 1820s. The term Sometimes referred to simply as a “Spencer”.
“specs” as a diminutive is known by ca. 1807. Women Spiked shoes
seem to have preferred lorgnettes to the plain and (M)
practical metal or tortoiseshell frames of the 19th cen- Period: 1861.
tury. The idea of spectacles as fashionable belongs to Shoes with spikes permanently attached to the soles; s
the second half of the 20th century, when plastic lenses for cricket; patented in March 1861.
replaced glass and frames of different shapes and col- Spit-boot
ours were designed. By the 1960s multi-focal lens were (M)
available and designers had begun to add spectacle Period: 18th to mid-19th century.
frames, with logos, to their ranges of accessories. A boot combining shoe and gaiter, closed down the
See Sunglasses. outer side by a series of interlocking fastenings, the last
Speedo of which, at the ankle, was in the form of a sharp iron
(F & M) “spit” or spike which was inserted into an iron socket.
Period: Early 1930s onwards. Mainly worn in the north of England. “A pair of spit-
The patented name for an Australian brand of boots” (1707, N. Blundell’s Diary).
swimwear. The name was first used in 1928 and be- Split falls, small falls
came famous due to the success of a Swedish swimmer See Falls.
who set a world record in the new brand. More usually Splyter-hat, splinter hat
associated in recent decades with short, close-fitting, Period: 16th century.

Spoon back 194
A straw hat made of braided strips of split straw called Stand-fall collar
“splints”, as opposed to tubular, whole straws. (M)
Spoon back Period: 19th and early 20th centuries.
(F) A turned-over shirt collar, the inner layer called the
Period: 1885. “stand”, the outer or turned-over parts the “cape”.
Name given to the circular folds of drapery at the back Standing band
of the tunic or over skirt of a woollen walking dress. See Band.
Spoon bonnet Starch
Period: 1860–1864. First used in England ca. 1560s, for stiffening ruffs,
A bonnet with a narrow brim close to the ears, then ris- collars, etc. It was sometimes coloured yellow or blue;
ing up vertically above the forehead in a spoon-shaped other colours were used in European countries.
curve, and sloping down behind to a small crown edged Starcher
with a bavolet. (M)
Sports jacket Period: 19th century.
(M) A starched cravat.
Period: 20th century onwards. Startup, startop, styrtop, stertop
Term describing a jacket worn for informal occasions. (M, sometimes F)
“Sports lounge model. Two styles of jacket” (1922, Period: Early 16th to early 19th century.
Harrods). A term found as early as 1517 and descriptive of a high
Sportswear shoe reaching above the ankle, sometimes laced or
(F & M) buckled up, sometimes loose-fitting, and then called a
Period: 20th century onwards. bagging shoe.Worn by country folk and for sport; usu-
A portmanteau description of the many types and styles ally made of raw leather. A woman’s startup might be
of garment worn for sporting activities. more elegant. “Her neat, fit startups of green velvet bee
See Ski-wear, Track suits, Trainers. flouresht with silver” (late 16th century, Sylvester’s trans.
Spring boots of Du Bartas). The term continued as a description for
(M) country footwear into the 19th century, when it often
Period: 1776. meant a short style of gaiter.
Boots made with a whalebone spring inside the back Statute cap
seam to check wrinkling. (M)
Square Period: 1571–1597.
(F) A knitted woollen cap which the English Statute of 1571
Period: 16th and 17th centuries. (repealed 1597) ordered all persons below a certain rank
A form of head-covering. “As women weare on their to wear on Sundays and Holy days on pain of a fine of
heads being sicke” (1611, G. Florio, A Worlde of 3/4. “Better wits have worn plain statute caps” (1588,
Wordes). W. Shakespeare, Love’s Labour’s Lost).
Stay hook, crochet
(F)
The panel of embroidered linen or cambric form-
ing the breast of the woman’s shift. Also, in the early
s 16th century, an edging of jewels around the square
A small hook attached to the front of the stays from
which was hung the watch. They were often decora-
neckline.
tive. “Silver stay hooks with fine stones” (1743, Boston
Period: Late 19th century onwards. Gazette). They were sometimes known as Breast
A square piece of fabric used as a cravat or scarf. Hooks. “Gold and stone sett Breast Hooks…” (1762,
Square hoop Boston News Letter).
See Oblong hoop. Stays
Stalk button The earlier name for corsets.
Period: ca. 1700–1750. Steeple head-dress
A button with the shank made of catgut. See Hennin.
Stand collar Steinkerk
(M) (M, sometimes F)
Period: 19th century onwards. Period: ca. 1692–1730, unfashionably to ca. 1770.
An upright collar of a coat or waistcoat, made without A long cravat, generally edged with lace, loosely knot-
a turn-down. ted under the chin and the ends either threaded through

195 Stomacher
a buttonhole of the coat or pinned to one side, or some- 1890 for hunting and riding; this style was retained into
times left dangling. A fashion and name derived from the the 20th century.
battle of Steenkerque, August 1692. Stock buckle
Women wore the Steinkerk with a riding habit. (M)
Step-ins Period: 18th to mid-19th century.
(F) The buckle fastening the stock at the back of the neck.
Period: 1930s onwards. In the 18th century, although frequently concealed by
An American term for elasticated corsets. Also used for the wig, the buckle was often ornamental, being plated,
other garments which did not need to be put on over or of gold, silver or pinchbeck worked or plain, or set
the head. with jewels, real or imitation.
Stepped collar Stock-drawers
Period: 20th century onwards. A rare term meaning stockings.
A collar meeting the lapel with a plain V-notch. Stockings
Sticking plaster dress (F & M)
(F) Period: ca. 1550 onwards.
Period: 1893. A close-fitting covering for the foot and leg. Although
A name given to a tight, black, satin evening dress. worn from Saxon times they were called by other names
Stiffener (hose, nether stocks, stocks) until the mid-16th cen-
See Cravat. tury. “For two lambes skynes to make a paier of stock-
Stiletto heels ings 16d. For silke to stitche the clockes 2d. For cloth
(F) to sole them 2d” (1570, Petre Accounts, Essex Record
Period: 1950s onwards. Office).
The high, tapered heel of a shoe or sandal, thought to “Stocking of hose” in the early 16th century indicated
resemble the sharp narrow blade of an Italian dagger the stocking portion of trunk-hose, the leg portion of
known as a “stiletto”. that garment rather than a separate item. Stockings
Stirrup hose, stirrup stockings for men and women might be knitted in the late 16th
(M) century. The materials and colours varied: wool, cotton,
Period: 17th century. thread and silk, plain or embroidered, a tradition which
Long over-stockings with an under-instep strap instead lasted well into the 20th century for female stockings,
of a sole; worn as a protection to finer stockings when even after nylon revolutionized their appearance in the
riding; serving the same purpose as boot hose. 1940s.
Stirrup pants
(M)
(F)
Men began wearing socks unless wearing breeches.
A term for close-fitting trousers, often of a flexible fabric
with a strap under the foot, not dissimilar to ski-pants. (F)
Stock, stocks Period: 1960s onwards.
(M) Tights began to supplant stockings for many younger
Period: ca. 1400–1610. women, but seamed stockings and hold-ups, the stock-
The leg portion of hose, appearing as “tights”, and after ings designed to stay in place without suspenders, also s
1550 the leg portion of trunk-hose, often called nether attracted loyal customers.
stocks, the seat part being known as upper stocks or Stola
overstocks or “the breech”, before ca. 1550. (F)
From ca. 1590 “stock” was occasionally used for Period: ca. 100 BCE–300 CE.
stocking. A sleeveless gown worn over a tunica and covered with
a palla. These were the three layers of clothing worn by
Period: ca. 1735 to end of 19th century. elite Roman women.
A high, made-up neckcloth, often of linen or cambric, Stole
stiffened with a frame of pasteboard and buckled or tied (F)
behind. The black military stock of the 18th century was Period: 16th century onwards.
often adopted by fashionable civilians and from 1820 A medieval ecclesiastical term adapted to designate a
was correct wear at the British court by civilians. A fur or warm shoulder-scarf worn by women.
hunting stock of cellular cloth, tied twice round the neck Stomacher
and worn without a collar, became fashionable from ca. (M)

Stomacher bodice 196
s
Period: Late 15th and early 16th century. A bodice with revers called pelerine lapels, slop-
A chest-piece, often very ornamental, covering a V- or ing down from the shoulders to a V at the waist, the
U-shaped gap of a doublet cut low in front. enclosed space filled in with gauging or pleating, the
(F) upper edge defined by a tucker.
Period: Late 16th century to 1770s. Stomacher-front dress
A long, ornate panel forming the front of an open, low- (F)
necked bodice. The stomacher descended to a sharp Period: 1800–1830.
or rounded point at the waist and the upper horizontal A type of construction inherited from the mid-18th
border formed the limit of the décolletage. For “high century and describing a form of front fastening to a
stomacher” and “low stomacher”, see stomacher-front woman’s dress. There were two types: the “high stom-
dress. acher”, in which the upper third of the skirt is split down
Stomacher bodice the sides forming a sort of tethered apron or inverted
(F) flap, to which is fastened the front of the bodice like
Period: 1820s. an apron bib. This is pinned up at shoulder level. A

197 Sugarloaf hat
draw-string at the waist tied behind secures the skirt String tie
flap, and the join might be covered with a belt or sash; (M)
and the “low stomacher” version, in which the skirt flap Period: 1896.
does not include the front of the bodice, which is closed A very narrow bow tie.
by a wrapping front with cross-over folds or by a robin String vest
front, a cottage front or a waistcoat-bosom. (M)
Stote, stoat Period: 1930s onwards.
Period: 19th century. A sleeveless vest edged with tape but loosely struc-
A method of sewing two edges of cloth together so tured, like netting; usually worn in warmer months, and
that there is no visible seam; used especially with thick in the early 21st century becoming less popular.
fabrics. Strips
Straight English skirt (F)
(F) Period: 1650–1700.
Period: 1890. Straight bands of fabric, plain or bordered with lace,
A day skirt, ankle-length, the fullness at the back made worn crossing the shoulders to meet in a V in front, and
by gathers or flat pleats, the front and sides shaped serving as an edging and fill-in to a low-necked bodice.
to the waist by darts. The front flat or slightly draped Strossers, straser
above; with a stiff lining 12 inches from the hem or (M)
pleated muslin balayeuse. Period: Late 16th and early 17th centuries.
Straights Sometimes called trousers but essentially an informal
(F & M) garment, knee or ankle-length; possibly of linen cut on
Period: Medieval–ca.1900. the cross to give a close fit.
A term applied to footwear before boot and shoemakers Stud
evolved the technique of creating a left and right sole. (M)
Men’s footwear preceded women’s in forgoing straights. Period: ca. mid-18th century onwards.
Straight trousers A button on a short neck with a broad base, used to
(M) fasten parts of a garment together by inserting it through
Period: 19th century onwards. complementary eyelet holes. In the 18th century its only
Trousers in which the legs are cut the same width all the use was occasionally to secure the shirt sleeve at the
way down. wrist. Studs were used to secure the front of the shirt
Straight waistcoat from ca. 1830, and in the 1840s three ornamental studs
(M) attached together by small chains, known as “tethered
Period: 19th century. studs”, were commonly worn in evening dress. With the
A tailoring term denoting a single-breasted waistcoat separate collar, coming into fashion for day wear ca.
without lapels; with or without a stand collar. 1860, a stud was introduced in the back of the neck-
Strapped pantaloons band of the shirt.
(M) For evening wear, studs with coloured stones, pearls,
Period: ca. 1819–1840s. diamonds, etc. were fashionable until ca. 1870, when
Pantaloons in which each leg was held taut by a strap they were gradually replaced by plain gold ones.
under the instep.
Strapped trousers (F) s
Period: 1820s–1850, unfashionably to 1860. Term occasionally used for small, round or flat ear-rings
Trousers in which each trouser leg was held down by a for pierced ears.
strap or a pair of straps under the instep. Style width
Street style (M)
(F & M) Period: 19th century onwards.
Period: 1960s onwards. A tailoring term for the horizontal measurement from
A term coined to describe the impact on fashion created the midline seam on the back of a coat to the nearest
by ingenious young people with imagination but little in- margin of the arm-hole.
come, who searched for clothing in unusual places such Sugarloaf hat
as charity shops, adapted it and mixed old and new (F & M)
fabrics and garments. These styles were cannibalized Period: 1640s.
by major fashion designers, creating a new “trickle-up” A similar style to the copotain, but the brim was usually
effect. broader than that of the earlier copotain.

Suit, sute 198
Suit, sute
(F & M)
Term generally denoting a complete costume made of
one fabric throughout, for example the wedding cos-
tume of the Princess of Wales in 1736, “Dressed in a suit
of rich silk” (Read’s Weekly Journal).
Increasingly from the 19th century onwards a suit re-
ferred to a man’s lounge suit.
Suit of apparel
(M)
A suit of clothes consisting at least of doublet and
hose, both being indispensable parts of such a “suit”.
Suit of knots
See Knots.
Suit of night-clothes
(M)
A colloquial expression denoting the night-cap and
night-shirt. “Whip a suit of Night-Clothes into your
pocket and let’s march off” (1703, Colley Cibber, She
Wou’d and She Wou’d Not).
Suit of ruffs
(F & M)
Period: ca. 1560–1640.
A neck ruff with matching hand ruffs.
Sultana scarf
(F)
Period: 1854.
A loose scarf of oriental colours, worn over a canezou,
tied below the waist with the ends left dangling.
Sultana sleeve
(F)
Period: 1859.
A large hanging sleeve slit open in front; the usual style
of sleeve with a casaque.
Sultane A sleeveless Zouave jacket “scarcely reaching below
(F) the shoulder blades”.
Period: Late 17th century, also 1730s and 1740s. Sultan sleeve
s In 1690 described by Evelyn as a gown trimmed with (F)
buttons and loops. In the 18th century it was an infor- Period: 1830s.
mal gown with short robings and a stomacher and a A large hanging day sleeve caught up in the middle of
plain back, sometimes trimmed with fur and obviously the arm and forearm.
thought to show some Turkish influence. “My lady will Sumptuary legislation
travel in her sultane, I suppose?” (1734, J. Gay, The Period: Medieval onwards.
Distress’d Wife). Religious or secular laws determining consumption,
Sultane dress including what fabrics could be bought and how they
(F) might be made and then worn by different groups in so-
Period: 1877. ciety. Most legislation applied to women and young girls
A day dress in the princess style, with a scarf elabo- and was difficult to enforce. Essentially it was a means
rately draped to fasten at one side. of reinforcing hierarchies within a region or country, and
Sultane jacket the last vestiges can be found in the bands of ermine on
(F) state robes and similar abstruse details. In the 19th cen-
Period: 1889. tury, long after most legislation was forgotten, etiquette

199 Suspender belt
manuals fulfilled a similar role, indicating what was and Surcoat, surcote
was not acceptable clothing for the socially mobile. (F & M)
Sunglasses Period: Medieval–17th century.
(F & M) A rich outer garment of variable style. It seems to have
Period: Late 19th century onwards. gradually evolved into a ceremonial garment worn by
Glasses tinted to protect the eyes from the glare of heralds or by nobility as part of their state robes.
bright sunshine were made in Germany in the 1880s. See Super tunic.
In the 20th century they became an ever-changing and Surkney, suckeny
fashionable accessory, often embossed with the logo (F & M)
of a well-known designer and acquired the nickname Period: Medieval.
“shades”. A coarse, loose frock or gabardine worn by country
Sunray pleats people.
Period: Late 19th century onwards. Surplice bodice
Pleats radiating out from a central point to the edge of a (F)
garment, usually a skirt. Period: 1881.
Sunray skirt A day bodice made in full gathers from the neck over the
(F) shoulders and bust.
Period: 1897. Surrealism
A circular day skirt made from two lengths of wide mate- Period: Early 20th century.
rial joined to form a square; the skirt then being cut in a This artistic and literary movement, which expressed the
circle with a hole in the centre for the waist and shaped ideas of the subconscious mind, found its major propo-
to fit; the forerunner of the flared skirt. nent in the world of fashion in the work of the designer
Supertotus Elsa Schiaparelli (1890–1973) who was close to the
Period: Medieval. artist Salvador Dali (1904–1989).
A sleeved and hooded cloak worn by travellers. Surtout
Super tunic (F & M)
(F & M) Period: Late 17th century.
Period: 9th to end of 14th century. Synonymous with the Brandenburg overcoat. For
Generally called a surcoat or surcote in the 13th and women it was a type of mantle with a hood.
14th centuries. The term continued in use in the context
of garments worn at coronations.
Mainly worn after ca. 1730 in the form of a long, loose
(M) overcoat with one or more spreading collars called
A loose garment put on over the head and worn over “capes”. Also called a wrap-rascal.
the tunic or cote. The shape varied and by the 14th
century was closer fitting. It was long if ceremonial; oth-
Often called a surtout greatcoat, being a single- or
erwise knee-length. The sleeves were wide to the elbow
double-breasted overcoat made like a frock coat and
or wrist; less commonly, close-fitting and long.
the forerunner of the top frock.
See Garnache, Garde-corps, Tabard.
(F)
(F)
A long, loose garment worn over the tunic or kirtle
A caped overcoat. “Mrs. Cholmeley’s surtout lapelled,
s
with long, loose sleeves, tubular or bell-shaped and,
high stand-up velvet collar, and three scalloped capes,
in the 12th century, sometimes with pendulous cuffs.
of fine mixt beaver, velvet sleeves” (1785, Cholmeley
From the 13th to mid-14th century some versions were
Papers at Bransby).
sleeveless.
Suspender belt
See Sideless surcoat.
(F)
Supportasse, underpropper
(F & M)
An elastic suspender, attached to the border of the cor-
Period: ca. 1550–1650.
sets and clipping on to the top of the stocking, began to
A framework of wire generally whipped over with gold,
be used by women. By 1882 garters “are almost things
silver or silk thread, and fixed at the back of the neck to
of the past, suspenders having superseded them; the
support a large, starched ruff or band (collar). “To beare
suspender is made in satin and elastic with gilt mounts
up the whole frame and body of the ruff from falling”
and clips, with a shaped belt fitting the corset”.
(1583, Stubbes, Anatomie of Abuses).
See Pickadil, Rebato. Period: Early 20th century onwards.

Suspenders 200
Alongside clips on corsets various other styles emerged, popular imagery, bright colours and flexible plastic for
the most usual being a lightweight, elasticated belt from straps.
which two front and two back pendant straps with metal Swathe
and rubber clip fasteners were suspended to grip the Period: 19th century.
stockings. A baby’s binder.
Suspenders Sweater
(M) (M)
Period: 19th century onwards. Period: ca. 1890 onwards.
A term for the braces which supported trousers. “…A A loosely knitted jersey reaching below the hips and
British sailor walking up the High Street with suspend- worn outside the top of the knickerbockers. At first
ers to his trousers…the suspenders crossed each other with a stand-up edge round the neck; for golf a polo
over his shoulders” (1825, Ackermann’s Repository). collar was added in 1894. Cyclists continued to wear
It remains the usual name for braces in America and – the earlier form, but “no man can wear it as it now stands
in the trade – as an alternative in England. without looking like a bounder” (1900, Tailor & Cutter).
In the 20th century sweaters continued to be worn for
sporting activities, but also more generally.
The sock suspender was a device for preventing socks
from slipping down; introduced in the form of a garter of (F)
elastic round the calf, with a pendant piece terminating Period: Early 20th century onwards.
in a metal and rubber clip to grip the top of the sock. Popular for sports and informal wear, but gradually be-
This was obviously adapted from the female style and coming an essential part of clothing. “All kinds of knits:
initially unpopular for that reason. In the 20th century, sweaters, cardigans, woolly shirts, blouses and bole-
when elasticated sock-tops became the norm, this type ros…” (1940, Vogue).
of support became rare. Sweater dress
Swaddling bands, sweath-bands (F)
Period: Medieval to late 18th century. Period: Mid-20th century onwards.
Long bandages for wrapping round the body and limbs A closely-fitting dress resembling an elongated sweater.
of an infant to form the limbs, giving it the appearance Sweatshirt
of a mummy. The infant usually remained thus swaddled (F & M)
until it was weaned. “Bought a Blanket and Swadler for Period: 20th century onwards.
her child” (1785, Essex Records). An informal, loose-fitting, long-sleeved top often worn
Among the elite classes, swaddling was being replaced for sporting activities; of washable cotton with a fleecy
by long clothes early in the 18th century. lining; became a mainstream informal style in the late
Swagger coat 20th century.
(F) Sweetheart neckline
A loose top coat with a flared shape from the shoulders, Period: 20th century.
making it useful to wear over a suit or similarly bulky A fairly wide, square neck descending into a curved V
clothing. Known as a “topper” in the USA. and resembling the top of a stylized heart-shape.
Swallow-tail Swimsuit, swimwear
(M) (F & M)
s Period: ca. 1850. A portmanteau term for anything worn for swimming:
A coat with the fronts cut away at the waist, leaving only bikinis, bathing costumes, etc.
tails below the waist at the back. The description began Swire, sworl, swyrell
to be applied to the evening-dress coat. Period: Medieval.
Swanbill corset A twist or convolution used in embroidery or decoration
(F) of garments.
Period: 1876. Swiss belt
A long, back-lacing corset with a long metal busk in (F)
front shaped to curve over the lower abdomen. Period: 19th century.
Swatch Fashionable 1815 and 1816; again in 1860s,
(F & M) 1880–1900. A waistband broadening in front to a
Period: 1980s onwards. lozenge shape, pointed above and below. From the
The trade name of a style of fashionable watch with 1860s it might be laced across the front, becoming a
many seasonal and limited-edition versions using corselet.

201 Tail coat
Swiss bodice Period: 16th century to end of 18th century.

(F) All men from families entitled to coats of arms (ar-
Period: 1867. migerous) could wear a sword; therefore it was
A velvet bodice combining a Swiss belt, and worn with perceived as an essential element in a gentleman’s
a sleeved chemisette. outfit.
Sword System
(M) See Toque.
T
Tabard A brooch, clasp, buckle or hook.
(M) Tackover
Period: Late 13th and 14th centuries. (M)
In the late 13th century it was a circular mantle of mod- Period: 18th century onwards.
erate length; in the 14th century it was an overgarment, The overlap of the pleat at the top of the back vent of
one form being the garnache. Also at this period it was a skirted coat.
a clerical-academic garment. Subsequently it became Taffeta-pipkin
ceremonial and heraldic and is still worn by heralds in See Pipkin.
the early 21st century. Taglioni
Tabi (M)
(F & M) Period: 1839–ca. 1845.
Period: Early 17th century onwards. A double-breasted greatcoat with a very large collar ly-
Japanese, thick-soled, cotton ankle socks, often white, ing flat on the shoulders, very wide lapels reaching over
with one section for the big toe and one for the other the breast; collar, lapels and cuffs of quadrilled satin,
toes. Intended to be worn with sandals and kimonos, velvet or “a new silk material resembling fur”. The coat
but also worn within a house as both sock and footwear. defining the waist, the skirts full and short without back
Known in the west for several centuries, they became or side pleats. A central back vent with a three-cornered
readily available in the late 20th century. tackover at the top. Cross or slit pocket on each side.
Tablet Sleeves with turned-back cuffs. The whole bound with
(F) a twilled binding. The waist seam through the foreparts
Period: 16th century. only.
A rare term for an apron, anglicized from the French Named after the celebrated ballet-master Filippo Taglioni
tablier. (1777–1871), the creator of the ballet La Sylphide.
Tablier skirt Taglioni frock coat
(F) (M)
Period: 1850s and 1870s. Period: ca. 1838–1842.
A skirt with the front breadth defined by descending A single-breasted frock coat, the skirts short and full,
trimmings on each side of it, suggesting a decorative often without hip-buttons. Made with a very broad collar
apron or separate panel. The term was occasionally and one large cape; slash or flapped pockets on the t
used in the 20th century, and the French term en tablier hips; back vent without pleats but a tackover.
is an elegant way of describing an apron or a feature Tail
which copies the look of an apron. See Train.
Tablier tunic Tail clout
(F) Period: Late 16th–17th century.
Period: 1875. A baby’s napkin.
An overskirt triangular in shape, with one corner Tail coat
descending nearly to the hem of the skirt in front, (M)
the others fastened under the basque of the jacket- Period: Mid-19th to early 20th century.
bodice. A colloquial usage in the 1850s for the formal male coat
Tache with tails, especially cutaway or morning coats or
Period: 15th–17th century. swallow-tail coats.

Tailleur 202
fashionable male cut of the day.

Until the late 17th century women’s formal garments
were made by tailors, and the riding habit was always
made by tailors, but it was a significant step when
Charles Worth (1825–1895) set up as a dressmaker in
Paris in 1858, and in 1867 “a London tailor has recently
set up dressmaking”.
Various outdoor garments for women, such as cloaks
and ulsters, began to be made by tailors, but the outfit
which became known as a tailor-made dates from 1877.
See Tailleur.
Tallien redingote
(F)
Period: 1867.
“Worth has produced an extremely pretty covering for
outdoor use called the “Polonaise” or “Tallien Redingote”
(1867). Made with a heart-shaped opening in front and a
full back; trimmed with a sash and a large bow behind,
and sash ends carried down each side terminating in
bows; the sash was of the same fabric as the dress or
of black silk.
By increased puffing at the back this garment devel-
oped into the 19th-century polonaise.
Talma
See Poncho.
Talma cloak
(M)
Period: 1850s.
A knee-length cloak with a wide turn-over collar, often
quilted, and a silk lining. Worn with evening dress.
Named after the French actor François Joseph Talma
(1763–1826) who reintroduced the toga to classical
dramas.
Talma lounge
(M)
Period: 1898.
A lounge jacket made with raglan sleeves, straight
fronts, and curved or slanting pockets.
Tailleur Talma mantle
(F) (F)
Period: Late 19th century to ca. 1970s. Period: 1850s, 1870s, 1890s.
A French term for a tailor or, in this instance, a tailor- In the 1850s, a long cloak with a hood or tasselled falling
t made suit for female customers. The British tailor John collar; shortened in 1854 and called a rotonde. In the
Redfern (1853–1929) was a distinguished exponent 1870s, a similar style but made with sleeves. Revived
of this style from the mid-1880s onwards. His clients in the 1890s as a loose-sleeved overcoat of ground
included international royalty and other elite women. length, with a deep velvet collar or a lace cape.
Tailor-made Talma overcoat
(F) (M)
Period: 1877 onwards. Period: 1898.
A woman’s costume for morning and country wear; A raglan overcoat with very wide arm-holes. “It is fash-
usually of one fabric throughout and that a cloth; in the ionable to go about in a Talma with the hand thrust in the
1890s two materials were sometimes used. side in the trouser pocket” (1899, The London Tailor).
The essential feature was that the costume was made Tam-o’-Shanter
by a tailor and not by a dressmaker, and that it was (F)
constructed on masculine lines, and often imitating the Period: 1880s.

203 Teagown
This Scottish cap, named after a poem by the Scottish Period: 16th century.
poet Robert Burns (1759–1796), became fashionable A pocket handkerchief trimmed with tassels at the cor-
with women in the 1880s, though it was much worn by ners and often having a fringed border.
boys and men in Scotland. See Buttoned handkerchief.
The fashionable version was a soft, round, flat hat with- Tater
out a brim, having a bobble in the centre of the crown. (M)
It came in velvet, plush, cloth or crochet work and was Period: 15th century.
worn well into the 20th century. It was also called a Phonetic spelling for “tetour” – a hood. “With long taters
“Tam” or “Tammie”. down to the ars behynde” (i.e. hood or chaperon with
Tango fashions long liripipes) (ca. 1490, A Treatise of a Gallant).
(F) Tattersall vest
Period: ca. 1913 onwards. (M)
The tango was introduced as a ballroom dance into Period: 1895 onwards.
Europe and North America from Argentina. Men A sporting waistcoat in fancy materials with small
could wear their usual day or evening suits but, at a checks; made single-breasted with six buttons, no col-
period when hobble skirts were tight and constricting, lar and four flapped pockets.
women’s dresses or skirts had to have a slit at one side Tatting
of the leg to allow for the dance steps. It also changed Period: Early 19th century onwards.
underwear: “The tango and the pegtop fashion between An edging lace consisting of knots and loops worked
them are responsible for a completely new form of skirt- with an ivory or metal shuttle, using a strong thread.
knickers. The characteristic of the new garment is that Another variant uses a needle rather than a shuttle.
it is formed entirely of one length of material falling from Tattoo
the waist in front to the knees and up again to the waist (M, later F)
at the back, with slits at the sides for the legs” (1913, Period: Early modern period onwards.
Quoted in C. W. Cunnington, English Women’s Clothing Sailors often acquired tattoos during their travels; these
in the Present Century). were indelible patterns or messages in the skin effected
Tango shoes were introduced in 1884 but were relatively by means of inks inserted into punctures. Blue or indigo
unseen until skirts shortened ca. 1910. They had a high was traditional, but other colours were used.
back, a moderate heel, and were fastened across the In the late 20th century tattoos became increasingly
instep with buckles or ties, and ribbons or tapes were fashionable amongst both men and young women,
criss-crossed up the leg. including film stars, etc.
The tango enjoyed a new lease of life in the 1920s as Taure
a result of Rudolph Valentino’s film The Four Horsemen See Bull head.
of the Apocalypse (1921) in which he electrified audi- T-bar shoes
ences with his tango. By then shorter dresses, shoes (F, occasionally M)
with instep straps, and less cumbersome underwear Period: 1920 onwards.
meant that only true aficionados who wished to dress A shoe with a central bar from vamp to buckled strap
like Argentinian dancers needed specific clothing. just below the ankle, thereby forming a T-shape. More
Tank top popular in the 1930s, when they also appeared on
(F & M) sandals as well as shoes, and occasionally on male
Period: 1960s onwards. sandals.
A short, close-fitting, sleeveless pullover, often with Teagown
a scoop or V neckline, and usually knitted in various (F) t
colours and patterns. Period: ca. 1877–ca. 1940.
Tarboush A loose dress worn without corsets and at first by mar-
(M) ried women only. “The teagown arose from the habit
Period: Early 18th century onwards. of ladies having tea in the hostess’s boudoir and don-
A cloth or felt cap with a conical, upright crown, worn ning smart dressing-gowns. Now that gentlemen are
either separately or as part of a turban head-dress in admitted to the function peignoirs have developed into
Muslim countries. The cap was often red and had a elegant toilettes of satin, silk, etc.” (1877).
pendant silk tassel, usually blue. The Ottoman Turkish Its style followed contemporary fashions, but from 1889
form, banned by Kemal Atatürk (1881–1938) during his a high-waisted, Empire style was favoured, with long,
dress reforms in the 1920s, was called a “fez”. hanging sleeves and trimmings of yards of lace. A lace
Tasselled handkerchief and muslin mob cap was worn with it. Gradually in the
(F & M) 1880s this clinging style became “permissible for young

Tea jacket 204
ladies”, though it was particularly useful for married supportive as sporting footwear evolved.
women in pregnancy. Tent dress
See Maternity wear. (F)
In the 20th century the name persisted but the styles Period: 1950 onwards.
overlapped with long, more structured dresses and The term describes a dress or coat fitted at the shoul-
shorter outfits worn for taking tea outside the home. ders and widening towards the hem. Attributed to the
Tea jacket Spanish designer Balenciaga (1895–1972), it, alongside
(F) the sack dress and the bell and trumpet shapes ap-
Period: 1887 onwards. pearing in America, Europe and the UK, changed the
Often replacing the teagown. A jacket, close-fitting be- emphasis from the constrictions of the New Look into
hind, loose in front, with tight sleeves; trimmed profusely a form which reached its apogee in the body-skimming
with lace. It might be worn to replace the tailor-made mini dress of the 1960s.
bodice at afternoon tea. Terai hat
Teddy, teddie (F, sometimes M)
(F) Period: 1880s to mid-20th century.
Period: 1970s onwards. A riding hat worn by Englishwomen in tropical countries.
A type of lightweight undergarment; in one piece with Made of fur or wool felt in the form of two hats sewn
the skimpy bodice attached to panties and fastened together at the edge of the brim. A red lining within and
beneath the crotch with buttons, etc. Usually of silk or a metal vent fitted through the crown. The crown gener-
an artificial alternative. ally somewhat squat and the brim three to five inches
Teddy boys wide. “She used to trot up and down Simla Mall…with
(M, sometimes F) a gray Terai hat well on the back of her head” (1888, R.
Period: 1950s onwards. Kipling, Plain Tales from the Hills).
Young men wearing an approximation of the fashions Teresa, Thérèse
of the Edwardian period (1901–1910). Their female (F)
equivalent wore less exaggerated coats and shoes, but Period: 1770–1790.
back-combed their hair into something akin to the full- A light, gauze scarf worn on the head, sometimes tied
ness of the earlier period. over the indoor cap.
Tee Terrier overcoat
Another term for a T-shirt. (M)
Telescope parasol Period: 1853.
(F) It resembled a pilot coat. “Black and tan colour with
Period: 1811. large china buttons” (Punch).
The stick or handle of this style of parasol was a steel Tête
tube which could be lengthened by being pulled out like See Head.
a telescope. Tête de mouton
Templar cloak (F)
See Caban. Period: 1730–ca. 1755.
Templers, templettes, temples A head of false curls worn “curled all over behind or tete
(F) de mouton” (1782, Plococosmos).
Period: 1400–1450. “We have imitations of it that will do as well; both sides
Ornamental bosses of goldsmith’s work or fine nee- of a fashionable head are now curled out to the best
t dlework worn over the temples and enclosing the hair. advantage” (1731, Weekly Register).
They were supported by a connecting fillet crossing Textiles
above the forehead, or by the rest of the head-dress. Generic term for any type of woven cloth. A usual way of
See Bosses. denoting the separation between collections within mu-
Tennis shoes seums, i.e. between costume/dress/fashion collections
(M, much later F) and textile collections which include soft furnishings as
Period: 16th century onwards. well as clothing.
Shoes with soft soles. “For sooling of syxe paire of Theatre costume
shooys with feltys to playe in at tennys” (1536, Wardrobe (M, later F)
Accounts, Henry VIII). Period: Medieval onwards.
For lawn tennis, shoes with india-rubber soles appeared Clothing was an essential tool for performers, whether in
in 1878, and in the 20th century women also began dance, opera, play or, much later, film and TV. It offered
to wear tennis shoes which became firmer and more characterization ahead of gesture or voice, and certain

205 Ticket pocket
characters, clowns and melancholics for instance, were the genital area, held by elasticated straps across the
instantly recognized when they appeared in traditional lower hips, became popular as both a way of avoiding a
clothing for such roles. Courtly entertainments, which invisible panty line and as a provocative item of underwear
cluded masques, operas and plays in which major roles for women and some men. Thong briefs and tangas
might be taken by royals and courtiers, were observed became marginally more substantial variants for both
by few, but travelling players and the emergence of sexes in the late 20th century.
theatre buildings in towns and cities from the mid-18th Three-decker
century onwards allowed expensive, fashionable cloth- (F & M)
ing to be observed alongside stock wardrobe items. Period: 1877 to early 20th century.
Ahead of film stars, stage performers were admired and An Ulster with three capes.
emulated. Ellen Terry in costumes designed by Doucet See Carrick.
and Lillie Langtry in Worth designs captured new au- Three-fold linen button
diences for the work of major couturiers, as did less Period: 1841 into 20th century.
mainstream styles; Lena Ashwell in a “…simple robe of Introduced in that year by John Aston; a button covered
soft white silk, which might for all the world be one of with three layers of linen.
Liberty’s latest productions, and which is pretty enough Three-piece suit
to be copied by any modern maiden with a taste for (M)
artistic dress…” (1895, The Sketch) are all examples Period: 18th century onwards.
from the 1890s. A term used occasionally in the 18th century to describe
The actor-manager Sir George Alexander appeared in coat, waistcoat and breeches when worn together.
Pinero’s His House in Order in 1906 wearing soft collars In the 20th century it usually referred to a lounge suit
and lounge suits, thereby offering approval of this less and waistcoat.
formal style of menswear. English tailoring and French Three-seamer
couture were worn by subsequent generations of British (M)
and European performers until the more leisurely styles Period: 1860 onwards.
of American clothing became dominant as a result of A round jacket with a central seam down the back and
the influence of cinema. two side seams; as contrasted with the coat having side
See Fancy dress, Masquerade costume. bodies giving five seams.
Theodore hat Three-storeys-and-a-basement
(F) (F)
“The crown exceedingly high with two rows of gauze The popular name given to fashionable hats which had
and trimmed with fine blond net; bordered with blue very high crowns.
satin. A large bouquet of poppy-coloured flowers in Thrum, thrummed
front, and behind deep lappets of gauze reaching to the (F & M)
waist” (December 1787, Ipswich Journal). Period: 16th to early 18th century.
Thermal clothing “Felts are of two kinds – bare or thrummed” (1547,
(F & M) Statutes at Large).
Period: 20th century onwards. Thrums were the waste ends of warp threads left
Keeping warm in cold climates has been a challenge unwoven and attached to the loom. Various forms of
throughout history, but technological developments in headwear – bonnets, caps, hats and night caps – were
man-made and natural fibres provided fabrics which made from these or with thrums inserted into another
could be made into underwear such as combinations, fabric; “thrum caps” were mentioned regularly. t
vests, Long Johns, gloves, socks, etc., and similar Tibi
fabrics were used as linings for outer garments. Silk (M)
is now used alongside other fibres in the creation of Period: 1840 onwards.
attractive thermal underwear and outerwear. Layers A loop fastening button to button across the top of a
of clothing are often worn in extreme conditions: “In coat, instead of button to buttonhole.
addition to long johns, thermal socks and two caps, Ticket pocket
Harwell wore a tee shirt” (1978, 16 April, Detroit Free (M)
Press). Period: Late 1850s onwards.
Thong A small pocket for a railway ticket generally placed
(F, occasionally M) above the right-hand flapped pocket of the overcoat.
Period: ca. 1975 onwards. In 1875 it was inserted just above the left cuff of the
Similar to a G-string, this skimpy, V-shaped cover for Inverness overcoat. In the 1890s a ticket pocket was

Tie 206
added to the lounge jacket, above the right-hand Toby ruff

pocket; and by 1895 a similar one was introduced in (F)
the morning coat. Period: 1890.
Tie A neck-frill of chiffon or lisse gathered in two or three
(M, occasionally F) layers and tied at the throat with ribbon; for day wear.
Period: From mid-1950s onwards. Tog
The usual term for a necktie. Period: Medieval.
Tie-back skirt A coat, from the Latin toga.
(F)
A day or evening skirt, trained, with a series of tapes Becoming a popular word for clothes. “I cut the Child’s
sewn to the side seams within; by tying these tapes strings (leading strings) off from her coats and made her
together the back of the skirt was bunched out and the use togs alone” (1617, Diary of Lady Anne Clifford).
front flattened. By this means was produced an extreme Period: 16th century onwards.
narrowing of the skirt in front of the tapes, thus creating A slang term for finery. “Togged out” meaning dressed
a form of hobble skirt. in finery.
Tights Toga
(M) (M)
Period: 19th century. Period: ca. 100 BCE–ca. 300 CE
A term sometimes used for pantaloons, especially The Roman citizen’s formal garment worn over the tunic
those worn for evening dress. The term was also used, and arranged in folds around the body and across the
in the context of circus or theatrical performance, for shoulders. It was revived for theatrical use in the late
closely fitting stockings of stretch fabric which incorpo- 18th century.
rated knickers and extended to the waist and were worn Toggle
by performers of both sexes. Period: 20th century onwards.
(F) A device for fastening a garment whereby a short sec-
Period: Mid-1960s onwards. tion of bone, plastic or similar passes through a loop
Nylon tights were introduced as an alternative to stock- or hole and when adjusted from horizontal to vertical
ings and quickly became available in various weights, remains in a fixed position. An alternative to a button
colours and patterns. and found on duffel coats.
Tight-slacks Toile
(M) Period: Late 19th century onwards.
Period: 1881. A French term for the cloth used for creating the pat-
Trousers very tight at the knees and slack at the tern for a couture or made-to-measure garment; usually
bottoms. stiffened muslin which can be cut, pinned and adjusted
Tilbury hat without losing its structure.
(M) Toilet, twillet
Period: 1830s. (M)
A small hat with a high, tapering crown, flat-topped and Period: 17th century.
with a narrow, round brim. A loose linen wrapper worn about the shoulders of
Tippet a man while being shaved. “The barber, after he had
(F & M) cast the linen toilet about his shoulders (asked) how
t Period: Medieval. shall I trim your majesty” (1684, J. Phillips, translation
Pendant streamers from the sleeves of the cote-hardie. of Plutarch).
The term was also used for a liripipe.
(F)
(F, occasionally M) Period: 18th century.
Period: 16th century onwards. The term denoted the loose wrapper worn by ladies
A short shoulder-cape. while having their hair dressed.
Titus hair, Titus wig, hair à la Titus Toilet cap
(M) (M)
A cropped head of hair, or a wig resembling it, intention- A plain night-cap worn by men while being barbered.
ally dishevelled. Toilette
See Brutus head. (F, occasionally M)

207 Toreador hat
Period: 18th century onwards. Top hats might be worn by women riders but were
Style or way of dressing; thus a dress, suit, etc. gradually replaced by riding hats in the 20th century.
Top Top knot
See Toupee. See Knot.
Top boots Topless
(M) (F & M)
Period: 1780s to early 20th century. Period: 20th century onwards.
Previously called jockey boots. Boots reaching to just Literally going without any garment from head to waist.
below the knees with turn-over tops of a lighter or differ- Usual for men at the seaside, but less so for women
ent colour, e.g. brown over black. Loops for pulling on until topless sun-bathing became acceptable in the later
and also boot garters or strings. In the 19th century a 20th century.
button and strap kept them in position. Topper
Top button “His white topper” (1820, Sporting Magazine).
A button of which the face alone was gilded. When the Also an American term for a shortened version of a
under-surface was also gilded it was known as an “all- swagger coat.
over”. By the mid-19th century this type of button was See Top hat.
known as a high-top. Toque, toocke, tock, tuck
Top coat, overcoat, greatcoat (F)
(M) Period: 16th and early 17th century.
Period: 18th century onwards. A woman’s head-kerchief or coif.
Terms used for any form of coat worn over the suit when
Period: ca. 1815–1820.
out of doors. “Top coat” and “greatcoat” were names
“A sort of triangular cushion or edifice of horsehair
in use in the 18th century, while “overcoat” came into
called, I believe, a toque or a system, was fastened on
use by the mid-19th century.
the female head…and upon and over this system the
“Greatcoat” implied a garment of heavy material suit-
hair was erected and crisped and frizzed” (1817, Maria
able for travelling; “top coat” indicated a fitting garment
Edgeworth, Harrington).
of lighter cloth, suitable for walking; “overcoat” was a
similar garment but suitable for travelling by train. Period: 19th century.
Top frock A close-fitting, turban-like hat without a brim, worn
(M) by day out of doors and sometimes also with evening
Period: 1830 to early 20th century. dress. Made of a variety of materials, silk, satin, straw,
An overcoat cut like a frock coat but usually somewhat and fashionable from 1817 to the end of the century,
longer and generally double-breasted. It was intended except in the 1850s.
to be worn without an under-coat while looking like an
overcoat.
A close-fitting, high-crowned hat without a brim, often
See Upper garment.
made from soft fabrics and sometimes trimmed with a
Top hat
feather or brooch; fashionable in the 1920s and associ-
(M)
ated with Queen Mary, consort of George V.
Toquet
A tall, high-crowned hat, resembling a chimney-pot,
(F)
with a narrow brim usually slightly rolled up at the sides
Period: 1840s.
but at some dates, e.g. ca.1840, with a brim almost
A small toque of satin or velvet with a shallow, turned-
flat. The shape appeared at the end of the 18th century
up brim in front and trimmed with an ostrich feather. t
before the name. Until ca. 1830 it was a high-crowned
Placed far back on the head and worn with evening
beaver, but this was subsequently replaced entirely by
dress. In 1867 the term was used as “a more elegant
the silk hat. This reached its extreme height ca. 1850,
phrasing for the pork pie hat”.
with a crown some eight inches high. By the end of the
Toque-turban
century this was reduced to five inches.
(F)
The top hat was usually black, but sporting varieties
Period: 1840s.
might be grey or brown; white was the fashionable
A turban in the form of a toque; for evening wear.
colour for sportsmen from ca. 1820 and was the colour
Toreador hat
generally worn by all gentlemen in the 1830s and 1840s.
(F)
See Chimney-pot hat, Pot hat, Silk hat, Plug hat.
(F) A circular hat with a flat, shallow, circular crown; made
Period: 1830s onwards, of felt or straw and worn aslant. A fashion inspired by

Toreador pants 208
Bizet’s opera Carmen (1875) and Emma Galvé”s per- An evening-dress turban embroidered with the name of
formance of the name part. the British Admiral, Lord Nelson (1758–1805), who won
Toreador pants the sea battle but lost his life.
(F) Train, tail
Period: Mid-20th century. (F & M)
Close-fitting trousers laced at the knee; similar to those Period: Medieval onwards.
worn by Spanish bull-fighters. An elongation of the bottom of a dress, gown or robe
Torsade at the back so that it trailed over the ground. A “demi-
(F) train” was a short train produced by having the back of
Period: 1864. a gown made somewhat longer than the front.
A twisted or plaited coronet of velvet or tulle with long A common feature of the ceremonial gown worn by
lappets; worn with evening dress. men, e.g. at coronations, was that the length of the
Tote train depended on the rank of the wearer, such as those
(F) worn by high judicial and similar functionaries.
Period: 20th century onwards. Trains were worn by elite women from the earliest times,
A very large handbag or shoulder bag, made of various the most singular being a train in front as well as behind,
materials and often lightweight, as it might carry heavy as indicated in a Book of Precedence of 1440: “A sur-
loads; “Tote Bags – Great for knitting supplies, shop- coat is a morning garment made like a close or straight-
ping” (1969, 24 September, Daily Colonist). bodied gowne, which is worn under the man-tell; the
As bags increased in size in the early 21st century the same for a countess must have a trayne before, another
term was applied to chic and expensive designer-label behind. For a baroness no train. The trayne before to be
bags, alongside practical canvas or nylon versions. narrow, not exceeding the breadth of 8 inches and must
Toupee, toupet, foretop, top be trussed up under the girdle or borne upon the left
(M) arm” (Harl. MS 6064).
Period: 1730 to end of 18th century. Trainers, training shoes
The roll back from the forehead of the hair of a wig; (F & M)
before 1730 the wig had a centre parting. Period: 1960s onwards.
A soft shoe without spikes worn by athletes and other
sporting persons when training. Named brands, of
A piece of false hair or a small wig to blend in with the
which there are many, include the American “Converse”
natural hair.
brand which in a history of over 90 years produced a
(F) classic trainer, originally for basketball players and only
Period: Late 19th century. in black canvas with a thick rubber sole, but from the
A fringe or forehead frizz of false hair. 1960s in other colours. Trainers were adopted by the
Tournure non-athletic as a casual, lightweight item of footwear,
(F) especially by the young.
Period: 1882–1889. Trapeze line
Taken from the French for “form” or “shape” and used (F)
as a polite term for a bustle. Period: 1958.
Tower, tour Short for “trapezium”, this line was planned by Christian
(F) Dior (1905–1957) but launched by Yves Saint Laurent
Period: 1670s–1710. (1936–2008) in his first season as Dior’s successor. It
t False curls added to the front hair up above the fore- was a wide, rigid, full-skirted and knee-length, tent-like
head; a coiffure generally worn with the fontange. silhouette, fitted to a high bust at the front but with a
Track suit loose back falling from the shoulders.
(F & M) Trawerbandes
Period: Mid-20th century onwards. Period: 17th century.
A loose, two-piece garment, elasticated at ankles and Mourning bands.
wrists, worn by athletes while warming-up or after com- Trench coat
peting. Absorbed into the wardrobe of the non-athletic (M, later F)
as casual clothing. Period: Late 19th century onwards.
See Shell suit. A quasi-militaristic style adapted for optional wear by
Trafalgar turban officers serving in the trenches during World War I. It
(F) was a long, belted coat with flapped pockets, usually
Period: 1806. waterproof, with an optional cape for protection across

209 Trousers, trowsers
the shoulders. It became a classic overcoat for both as well as in the home.
sexes from the 1920s onwards. Both Aquascutum and Trousers, trowsers
Burberry promoted the style; Aquascutum in the 1850s (M)
and Burberry in 1901. Period: 1730 to end of 18th century.
Trencher hat A garment enclosing the legs and extending from the
(F) waist to the ankles. The legs were not shaped but varied
Period: 1806. in the degree of looseness. At this period the trowsers
A silk hat with a triangular brim rising to a point above were wide-legged, ending just below the calf, made
the forehead. with a narrow belt buttoned in front; a front opening but-
Tressour toned, but without a fly covering.
(F) They were mostly worn by non-elite men in town or
Period: 14th century. country and by sailors and soldiers. “A sea-faring man
A chaplet of goldsmith’s work or fabric worn on the in…long trowsers” (1771, Salisbury Journal). “A regi-
head. ment of cavalry who on foot wear trowsers” (1782, The
Tricorn, tricorne hat Torrington Diaries).
(M, occasionally F) More rarely they were worn by a country squire, though
Period: 1690 to end of 18th century. breeches were usual for all social groups: “In his best
The 19th-century name for a three-cornered cocked hat trowsers he appears, And clean white drawers” (ca.
worn by men, and occasionally women, when riding. 1730, Wm. Somerville, The Officious Messenger).
Tricot
See Glossary of Fabrics and Materials. Period: 1807 to early 20th century.
Trilby hat Trousers began to become fashionable for day wear and
(M, occasionally F) from ca. 1817 for evening, though not entirely replacing
Period: 1895 onwards. evening-dress breeches until 1850.
A soft, black, felt hat with shallow brim and indented The closure was by small falls; from 1823 occasionally
crown, similar to the Homburg style. Named after the by fly-front closure, which became general after ca.
play in which Sir Herbert Beerbohm Tree (1853–1917) 1840.
played Svengali in a hat of that description. See American trousers, Cossacks, Eelskin masher trou-
Trollopee sers, French bottoms, Gaiter bottoms, Pleated trousers,
(F) Railroad trousers, Straight trousers, Zouave trousers,
Period: 18th century. Tight-slacks.
“I did not wear one of their trolloping sacks” (1733, Period: 20th century onwards.
Duchess of Queensberry). The basic shape was fixed but the width, the addition or
See Slammerkin. not of turn-ups, and the actual cloth with which trousers
Trolly cap were made developed over the decades. The gradual
(F) introduction of zip fasteners after the mid-1930s, and
Period: ca. 1750–1800. the option on casual trousers of elasticated waists,
An indoor cap trimmed with trolly lace. changed perceptions of comfort.
Trotteur See Flannels, Oxford bags, Jeans.
(F)
Period: 1890s into 20th century. (F)
A French term for the type of woollen walking suit Period: 19th century.
introduced by Redfern in the 1890s. It combined a Trousers were worn by women on horseback, under t
masculine cut of jacket with an ankle-length skirt which the voluminous skirt of the riding habit. These took the
allowed ease of movement. form of strapped pantaloons of coutil cloth in the first
See Tailleur. half of the century or, in the 1830s, of white florentine.
Trouser press In the 1850s they were sometimes chamois leather
Period: ca. 1890 onwards. with black feet. From 1860 onwards they were made of
An appliance consisting of two flat boards between black or dark cloth, with a strap and buckle at the back
which a pair of trousers was laid and the boards then of the waist and an opening down the left hip; the seat
tightened together by means of thumb-screws; by this lined with chamois leather or cotton.
means the fashionable crease down the front of the Although trousers for women were illegal in 19th-century
trouser leg could be maintained. In the 20th century France, they were worn under short skirts as part of the
streamlined versions which were heated by electricity regimental uniforms allowed to cantinières; these styles
were introduced and became a feature in many hotels, predated bloomers by several decades. The name

Trouser stretcher 210
“trousers” was also applied to the long drawers with In the 20th century the term widened to encompass
frilled lower edges visible below the hem of the skirts, as outer wear acquired to wear after the wedding, but it is
worn by young girls ca. 1830–1860. rarely used in the 21st century.
Trunk-hose, trunk slops, trunk breeches, round
Period: 20th century onwards. hose, French hose
Experiments with knickerbockers for cycling in the late (M)
19th century were followed by the gradual adoption of Period: ca. 1550–1610.
trousers in many forms and styles from World War I on- The upper portion of men’s leg-wear, from the waist
wards. By the late 20th century many women preferred around the seat; this trunk part was variously distended,
jeans or trousers to skirts. often paned (see panes) and joined to the stocking por-
See Trouser suit. tion near the crotch, or half-way down the thigh. The
Trouser stretcher style with canions continued to 1620.
Period: ca. 1880. Trunks
An appliance for stretching the legs of trousers to re- (M)
move “bagginess”. Two types were in general use; the Period: 19th century.
first was a long steel loop bent into an H shape; inserted Short, tight-fitting drawers or pants worn by athletes
into the legs of a pair of trousers when not in use, thus and swimmers; the term may be derived from theatrical
preserving their shape by stretching the cloth. trunks or short breeches, a usage found earlier in the
The second type employed a wooden frame which century.
gripped each end of the garment and extended it by
means of a screw action; this was often combined with
“Trunk drawers”, a type of short, close-fitting item of
the boards of a trouser press.
underwear, possibly derived from swimming trunks.
Trouser suit
Trunk sleeves
(F)
See Cannon sleeves.
Truss
The combination of jacket and knickerbockers pre-
(M)
ceded the occasional use, in artistic circles usually, of
Period: Late 14th century to ca. 1630.
women wearing a jacket and trousers similar to those
A verb used in the sense of to tie up. The words “to
worn by men. The German actress Marlene Dietrich
truss the points” meant to fasten with points long, tai-
(1901–1992) popularized such suits in the 1930s, but
lored stockings and, later, trunk-hose to the doublet.
they really became widespread after the 1960s, the
decade in which Saint Laurent introduced the female (F & M)
tuxedo, le smoking. Period: 16th and 17th centuries.
Trouses, Trowses A form of close-fitting bodice or waistcoat. “A truss with
(M) satin sleeves” (1606, Surrey Wills, The clothes of Mary
Period: 16th and 17th centuries. Parkyn’s husband).
The name commonly given to the drawers worn by Trusses
men beneath trunk-hose. “Walks up and down in (M)
his gown, waistcoat, and trowses” (1625, B. Jonson, Period: 1570s to early 17th century.
Staple of News. Stage direction: the young man awaits A name sometimes used for tight Venetians. “…others
his tailor to bring his suit of clothes). straight trusses and devil’s breeches” (1592, Nashe,
Trousseau Pierce Penilesse).
t (F) T-shirt
Period: 19th century onwards. (M, later F)
In previous centuries young women sewed and em- Period: 20th century onwards.
broidered a variety of textile items, garments and soft A term originally applied to a simple, short-sleeved,
furnishings in preparation for marriage, but the concept round-necked, cotton jersey vest worn below other
of an identifiable number of pieces of clothing being garments. Possibly European in origin, the T-shirt be-
available for purchase appeared in the 19th century. For came popular with American servicemen in World War
instance, in 1867 it was possible to spend £100 or, in I who recognized how useful it was in different climates
1868, £20 depending upon means. The garments were and conditions. Its versatility led to it being produced in
mainly underwear and nightwear; chemises, night- colours and patterns and worn as a casual lightweight
gowns, petticoats, stockings and handkerchiefs. By top by men, women and children from the mid-20th
1900 the fashionable bride was thought to need eight- century.
een of each trousseau item. Also called Tee.

211 Turban
T-shirt dress Period: 9th to early 14th century.

(F) A loose body garment of varying length, equivalent to
Period: 1960 onwards. the kirtle.
An elongated version of the T-shirt; often a simple,
(M)
short dress.
Period: 1660–1680.
Tube
Tunic or surcoat, a loose coat hanging to just above
(F)
the knees, buttoned down the front and having “com-
modious sleeves”. Always worn with a vest, i.e. a loose
A simple, unshaped garment of varying length. The
under-coat. The tunic and vest were introduced by
most well-known being the “boob tube” – a strapless,
Charles II in 1666.
often elasticated top worn informally.
Tubular necktie Period: 1840–1860.
(M) A garment worn by small boys; a form of jacket, close-
Period: Patented 1852. fitting to just below the waist, with a gathered or pleated
A necktie of various materials woven in the form of a skirt to just above the knees; sleeves long or ending well
tube, eliminating a seam. above the wrists to reveal white shirt sleeves. Fastened
Tucked skirt down the front. Worn with trousers to the ankles or to
(F) just below the knees.
Period: 1895. Tunica
A day skirt with a broad box pleat in front and pleats (F & M)
behind, stiffened at the waist with horsehair, and side Period: Greco-Roman.
fullness given by a series of vertical tucks down the hips. A T-shaped garment resembling a shirt; the basic,
Tucker first-layer garment worn by Greek and Romans in the
(F) classical era. Usually made of wool and with long or
Period: 17th century. short sleeves. Its form continued throughout the history
“A Pinner or Tucker is a narrow piece of cloth, plain or of dress, evolving into shirts and shifts and allied items
laced, which compasseth the top of a woman’s gown of clothing.
about the neck part” (1688, R. Holme, Academie of Tunic dress
Armory). (F)
A dress with an overskirt, this being the tunic. It varied
A white edging, usually frilled, of lace, lawn, muslin or a
in length and design but was usually closed all round.
soft fabric, to a low-necked bodice. In the 19th century
also an accessory to evening dress. When it was turned Period: 20th century.
over to hang down over the front of the bodice it was A narrow overdress made fashionable by the French
called a “Falling Tucker”. designer Paul Poiret (1879–1944) and others in the pre-
Tudor cape 1914 period. Also popular in the 1960s over a skirt or
(F) trousers, and intermittently fashionable ever since.
Period: 1890s. Tunic shirt
A circular cape with a pointed yoke at front and back, (M)
and a velvet Medici collar; usually of embroidered Period: Patented 1855.
cloth. A shirt open all down the front, so that it did not require
Tuft to be put on over the head; the original of the modern
(M) shirt. t
Period: 15th century. Tunic skirt
A tassel. (F)
A double skirt. In the 1850s a popular form for ball
A small section of hair on head or chin distinctively
dresses, the upper skirt or tunic trimmed with lace, the
shorn.
underskirt with a deep flounce. In 1897 day skirts were
Period: 18th century. sometimes double, and known by this name. In the
The name was applied to the tassel pendant from the early 20th century they were worn narrow, especially in
centre of mortarboards worn at British universities. the 1920s and 1930s.
Tunic, cote Turban
(M, rarely F) (F)

Turf, tyrf, tark 212
Period: 1760s–1850s. A Turkey Gown of black velvet, bordered with silver and
A head-dress of fabric folded round the head or made furred with lynx, having “77 round gold buttons, black
up into that design and adapted from non-European enamelled” was made for Henry VIII.
versions. Worn for dress or undress until the 19th centu- Turkish trousers
ry, when it became mainly a form of evening headwear. (F)
“…the Turkish trouser suits are really intended to be
Particularly fashionable in the first half of the century
worn in the sanctity of one’s own room, although full-
for day wear. “Turban of smocked nappa in black, with
length coats can at an emergency be slipped over them
royal jersey swathe. Also other colours. 5 gns” (1942,
and worn for more occasions with decorum” (1926,
Harrods).
Lady Angela Forbes, How to Dress).
Turf, tyrf, tark
See Bloomers, Harem pants.
Turnover
The turn-up or facing of a hood or sleeve.
(F)
Period: 16th century. A woman’s head kerchief.
The turn-up of a cap, usually at this date called a Turn-ups
bonnet. “A black Milan bonnet, double turfed” (1526, (M, later F)
Papers, etc. Henry VIII). Period: Late 19th century onwards.
Turf hat Term usually referring to the turned-up bottom of trou-
(M) sers. Usually associated with informality and lounge
Period: ca. 1830. suits and never worn in the evenings. Woman’s sporting
A hat with a tall, slightly tapering crown, flat-topped and wear copied this style, and in the later part of the 20th
with a broad brim turned up on each side. century turn-ups became fashionable from time-to-time
Turkey bonnet, Turkey hat but were not universally popular.
(M) Turret bodice
Any tall, cylindrical, brimless hat. “To weare Powle’s Period: 1883.
steeple for a Turkey hat” (1566, John Heywood, The A bodice with a basque cut into tabs.
Spider and the Flie). Turtle neck
One of many foreign fashions then in demand: “The (M, later F)
Spanish codpeece on the bellye; the Itallyan waste Period: Late 19th century onwards.
under the hanch bones; the Dutch Jerkin and the Turkie An American term describing a close-fitting collar in
Bonnet; all these at the first we despised and had in height between a polo neck and a crew neck; often
derision. But immediately we do not onlye reteyne them used in the context of sweaters.
but we do so farre exceede them that of a Spanish Tutankhamen influence
codpeece we make an Englishe footeball…and of a (F)
Turkie bonnet a Copentank for Caiphas” (1576, George Period: After 1922.
Gascoigne, Delicate Diet for Droonkardes). The discovery of the boy-king Tutankhamen’s tomb and
Turkey gown extensive relics in Egypt led to a vogue for Egyptian pat-
(M) terns and colours on garments and accessories.
Period: ca. 1525 onwards. Tuxedo
t Supposed to be of Turkish origin and probably identical (M)
with the long Hungarian coat with long, narrow sleeves; Period: 1898 onwards.
the gown loose, or fastened down the front with loops The American term for a dinner jacket, often closed
or buckles and straps. This was regarded as the princi- with one button only.
pal secular gown and later adopted by Puritan ministers Tweedside
who regarded the voluminous gown-sleeves worn by (M)
the established clergy as savouring of Popery. “Do not Period: 1858 onwards.
somme wear side gownes having large sleeves with A loose lounging jacket, single-breasted and buttoned
tippets, whiche is not well liked of your secte; some of high, often only the top button was used; mid-thigh
more perfection (i.e. the Puritans), Turkey gownes, length with a small collar and sometimes short lapels;
gaberdines, frockes or nightgownes of the most laye patch or slit pockets. “One of the most ugly but fashion-
fashion for avoiding of superstition” (1570…Harding, able garments it has ever been our duty to describe”
Computation). (1859, Gentleman’s Herald of Fashion).

213 Ulster
Tweedside overcoat Tyes

(M) (F)
Period: 1850s. Period: Late 19th century.
A knee-length form of the Tweedside jacket. An American name for girls’ aprons.
Twine Tyrolean costume
(M) (F & M)
Period: 1840s. Period: 1930s onwards.
“As the French call it”, an English wrap. A double- The designer Elsa Schiaparelli (1890–1973) used forms
breasted paletot-sac resembling a loose Chesterfield. and motifs from traditional Austrian folk dress during the
Twin set 1930s. This, and increased travel, ensured the wide-
(F) spread popularity of such styles, which were also found
Period: Late 1920s onwards. in Bavaria and included embroidered blouses, close-
A matching cardigan and jumper, the latter usually fitting waistcoats, boiled wool jackets in bright colours,
short-sleeved and from the 1990s sometimes called lederhosen (leather breeches for men) and Tyrolean hats
a shell. Often of knitted wool, but also found in cot- See Tyrolese hats.
ton, rayon, silk or mixtures of natural and synthetic Tyrolese cloak
fibres. (F)
Twist button Period: 1809.
Period: 1860s. A shoulder cape sloping down to the knee-level in front,
A button covered with strong cotton twist. with rounded ends. Made of sarcenet edged with lace.
Two-piece costume Tyrolese hat
(F) (F)
A felt hat with a small, flat-topped, tapering crown and
A description occasionally used for a suit of jacket and
a narrow brim turned up slightly at the sides. Trimmed
skirt; rarely a dress and jacket.
with a feather cockade on one side.
Tye
(M) Period: 1930s.
Period: 18th century. Called a “Tyrolean hat” when the fascination with
A wig with a tied-back queue. Austrian styles prompted a revival.
U
Ugg boots Period: 1848–1864.
(M, later F) The popular name for an extra brim, resembling the
Period: Early 20th century onwards. front of a calash, worn round the front of a bonnet as a
An Australian style of soft, sheepskin boot worn by protection against the sun. Made of half-hoops of cane
sheep shearers in the 1930s and adapted for wider covered with silk, and when not in use could be folded
use in the 1950s and 1960s, when surfers began to flat.
wear them as a warm item of footwear after leaving Ulster
the ocean. They reached America by the 1970s via (M) u
the surfing fraternity and were worn as après-ski or Period: 1869 to mid-20th century.
leisure footwear. Their worldwide popularity was en- An overcoat with a waist belt either complete or as a
sured when the actress Pamela Anderson wore them strap across the back. At first it had a detachable hood,
on Baywatch in the early 1990s. They are not a brand but in the 1870s a detachable cape was more usual; by
but a style; the term may derive from “ugly”, and they 1875 a ticket pocket was inserted in the left sleeve just
are now made in many countries with different ver- above the cuff.
sions and colours other than the familiar, natural, light It was made in single- or double-breasted versions with
tan. a buttoned front; in the 1890s a fly front was common.
Ugly The length varied; in the 1870s the garment reached to
(F) the ankles.

Umbrella 214
(F) Umbrella robe

Period: 1877–ca. 1940. Period: 18th century.
A long overcoat, sometimes trained; otherwise similar A long overgarment. “Paid for an Umbrella robe to be
to the male garment, except for the “Three Decker” or used in wet weather at funerals” (1768, Essex Records).
Carrick variety in which there were two or three capes. Umbrella skirt
Made of cloth or waterproof material. (F)
Umbrella Period: 1891.
(F) A skirt of double-width material cut on the cross with
Period: 17th century. only one seam down the back, concealed under box
At first used chiefly as a sunshade by women, the shape pleats. Shaped to the hips by darts and slightly trained.
being nearly flat. “There she lay flat spread as an um- Lined throughout and tied back inside.
brella” (1616, Ben Jonson, The Devil is an Ass). Under cap
(M)
Period: Early to mid-18th century.
Of oiled silk or linen, the ribs of whalebone or cane, the
An indoor cap, usually in the form of a coif, sometimes
shape of the cover being pagoda-shaped or domed.
like a skull-cap and worn under a hat, cap or bonnet;
Regarded as essentially an article for women only, its
usually limited to old men. The under cap was some-
use by men being considered as eccentric. Colonel
times called a night-cap and then worn alone.
Wolfe in Paris observed in 1752: “The people here use
umbrellas…I wonder that a practice so useful is not (F)
introduced into England”. Jonas Hanway had ventured Period: 16th to mid-19th century.
to do so ca. 1750. An indoor cap worn under an outdoor hat or bonnet.
The shape varied throughout the centuries, but many
(F & M)
approximated to the coif form.
Underclothes
Between 1800 and ca. 1810 the term was used as a
(F & M)
slang name for a very broad-brimmed man’s hat of that
Items of clothing worn below others, more especially
date. “A large slouched beaver umbrella that wanted
those worn next to the skin, such as combinations, shift,
only a crape hatband to sanctify it for funeral” (1800, C.
vest, etc.
L. Lewes, Memoirs).
Underpants
However, those using real umbrellas had pagoda-
(F & M)
shaped ones, by 1800, on a frame of whalebone with
metal stretchers. Patent tubular metal frames appeared
Short, close-fitting knickers or panties.
ca. 1835. In 1848 alpaca covers were introduced, and
Underpropper
in 1852 S. Fox patented metal ribs U-shaped on cross
See Supportasse.
section. Cheaper forms were covered with gingham,
Under sleeves
which then became a popular name for the article itself.
See Engageantes.
By the middle of the century it had become fashionable
Undervest, vest
for gentlemen to carry umbrellas, “the great point seems
(F & M)
to be to get one as long and light as a sunbeam” (1858,
Period: ca. 1840s onwards.
Punch). For the rest of the century it remained correct
This undergarment, on the hygienic principle of “wool
to carry one provided it was always rolled up. By 1895
next the skin”, was usually of merino, thigh-length
“closely rolled umbrellas will be seen more frequently
and sleeved; buttoned with a short vent at the neck.
than ever before. Fashionable men are already wedded
It replaced a flannel under-waistcoat and cheaper
to them” (Tailor & Cutter).
versions were of flannel. From 1875 women adopted
Ladies’ umbrellas of variously coloured silks preserved
u coloured vests of washable silk, and gussets shaped for
something of the elegance of the parasol, though on a
the breasts were then introduced.
larger scale.
In the 1890s vests of natural wool and lambs’ wool, with
Period: 20th century onwards. ventilating perforations in the armpits, appeared; these,
Umbrellas continued to be popular with both sexes. for men, were then called “undershirts”.
New variants included umbrellas with transparent plastic In the 20th century vests became lighter, often made
covers, large colourful golfing umbrellas, and collapsible of cotton jersey or similar, and string vests became
or telescopic versions. popular for men. Women gradually ceased to wear them

215 Utility Scheme
except in thermal versions for extremely cold conditions. Unmentionables

Under-waistcoat (M)
(M) Period: 19th century
Period: ca. 1790–ca. 1850; revived 1888. One of many euphemisms for a man’s trousers or
A sleeveless waistcoat, shorter than the over-waistcoat breeches; the expressions, ranging from the sublime
but extending a little above its upper edge; the visible to the ridiculous, began ca. 1800 with inexpressibles;
portion of rich fabric contrasting in colour with that of the later, unwhisperables, nether integuments, don’t
overgarment. Most fashionable ca. 1825–1840 when mentions, bags and kicksies.
several under-waistcoats might be worn, one above the Unwhisperables
other; in the 1840s its use was becoming restricted to See Unmentionables.
evening wear, ceasing to be fashionable after ca. 1850. Upper garment
Revived in 1888 in the form of a white slip. (M)
Underwear Period: 17th century onwards.
See Underclothes. The extra outer garment which distinguished the elite
Undress, common dress male from the non-elite.
(F & M) “Because we walke in jerkins and in hose,
Period: 18th and early 19th centuries. Without an upper garment, cloake or gowne,
A term indicating informal styles of clothing, such as We must be tapsters, running up and down” (1613, S.
that worn for everyday purposes, especially morning Rowlands, Knave of Hearts).
dress. No elite man would consider himself properly dressed,
Uniforms out of doors, unless he was wearing an upper garment,
(M, later F) a cloak, cassock or gown, or was carrying a sword.
Period: Medieval onwards. Without such a garment he was in querpo.
Any form of dress related to a role or occupation and Significantly, the embroidered Garter Star of the Order
which is worn by groups of people who need to be of the Garter was worn on an upper garment, whereas
quickly identified. Those in convents and monasteries, the Lesser George was attached to a ribbon around the
servants in livery, soldiers with distinctive clothing and neck and not always visible. When Pepys visited the
colours are all in uniform. Tower of London, a royal palace, he had to remove his
See Gym-slip. sword at the gate, then he realised he was “improperly
Unisex dressed” and had to retire to a tavern while he sent for
(F & M) his cloak (1662, Diary, October 30).
Period: 1960s onwards. Traces of this etiquette survived to the end of the 19th
A term coined to describe styles of clothing or forms of century; a Victorian gentleman in the city had to carry
hairdressing and footwear which can be interchange- a stick, in lieu of a sword, unless he was wearing an
ably worn by men and women, e.g. T-shirts, jeans, overcoat.
trainers. Upper stocks
University athletic costume See Stock.
(M) Utility Scheme
Period: 1886. (F & M)
A vest with half sleeves; knickerbockers to below the Period: 1941–1949.
knees; a sash round the waist; ankle socks and laced Clothing was rationed in the UK during World War II and
shoes. “Utility clothing” was introduced in 1942. There were
University coat standard patterns for dresses, suits and top coats,
See Angle-fronted coat. which were produced by a committee of designers
University vest and then manufactured. The principal purpose was to u
(M) minimize the use of fabric and any decorative features
Period: 1872. which used scarce resources. Even so, a man’s Utility
A double-breasted waistcoat with two pairs of buttons, suit required 26 of the adult male’s annual clothing ration
the front corners sloping away from the bottom button; of 66 coupons.
worn with a university coat. See Clothes rationing.

Vamp, vampey 216
Vamp, vampey (F)

Period: 15th century onwards. Mrs Montagu was painted in the female version: “…
A term taken from Old French avantpied. The upper my dress white satin, fine new point for tuckers, ker-
front part of a boot or shoe. chief and ruffles, pearl necklace and earrings and
Vandyke, vandyking pearls and diamonds on my head, and my hair curled
(F) after the Vandyke picture” (1747, Elizabeth Montagu,
Period: 1750s onwards. Correspondence 1720–61).
A term denoting a pointed border, either in lace or fabric, Varens
edging a garment, or an actual ruff itself, intermittently (F)
popular for fashionable dress as well as for fancy dress. Period: 1847.
“Circling round her ivory neck / Frizzle out the smart An outdoor jacket; short with loose sleeves, made of
Vandyke; / Like the ruff that heretofore / Good Queen cashmere or velvet lined with silk. A variation of the
Bess’s maidens wore” (1755, Francis Fawkes, Odes). casaweck and polka.
Also, a lace-bordered handkerchief. “This article has Vareuse
been lately revived and called a vandyck” (1769, London (F)
v Magazine). Period: 1950s.
Vandyke dress A traditional, heavy cotton, Breton fisherman’s smock
(M) which appeared in the collection presented by Christian
Period: 18th century. Dior in 1957.
A fashion for being painted in a masquerade costume Vegetable ivory buttons
resembling that of the 1630s when Anthony Van Dyck Period: 1862.
was in England; “I am drawn in the Vandyke dress… Buttons made in the shape of balls, from the seed of the
sleeves and breast slashed” (1770, Diary of Silas Neville). South American palm tree.

217 Vent
Veil Period: 1829.

(F) A black satin cloak with a collar and cape and wide,
Period: Medieval. hanging sleeves.
A coverchief. Venetians
(M)
Period: Late 18th century onwards. Period: ca. 1570–1620.
A piece of transparent fabric, such as net, lace or gauze, Knee breeches, at their most fashionable in the 1580s.
worn with an outdoor bonnet or hat and arranged to “Venetian hosen, they reach beneath the knee to
cover part or the whole of the face, or sometimes the gartering place of the legge, where they are tied
draped behind as a form of trimming, and then often finely with silke points or some such like” (1583, Philip
large and white or black, as in the 1820s and 1830s. Stubbes, Anatomie of Abuses).
In the 1860s half veils were fashionable. The scarf veil Venetians were usually pear-shaped, wide, and often
of the 1870s entirely covered the face and was “long bombasted round the hips and narrowing towards
enough to be thrown round the neck as a scarf; worn the knees, ca. 1570–1595. Some, however, were vo-
at the seaside. luminous throughout and were called Venetian slops.
In 1889 and the 1890s large, spotted veils were Others were “close to the buttocke like the Venetian gal-
worn, pulled in under the chin by a string “rather like a ligascoigne” (1610, S. Rowlands, Martin Mark-All). They
nose-bag”. were also called trusses.
In the 20th century veils became smaller and lighter, Venetian sleeve
often rolled back from the front of the hat or omitted (F)
entirely. In the later years of the century the term was Period: 1858.
applied to complete covering such as the burka worn A day sleeve fitting at the arm-hole, then expanding
by Islamic women. widely to mid-forearm and slit up the front nearly to the
See Voilette, Wedding veil. shoulder. Worn with a large, puffed engageante having
Venetian bonnet a close cuff.
(F) Venetian slops
Period: 1800. See Venetians.
A small straw bonnet trimmed with straw wreaths or Veney-a-moi, venez-a-moi, venze moy
flowers, the strings emerging from a bow at the back See Assasin.
and tied loosely on the bosom. Vent
Venetian cloak Period: 15th century onwards.
(F) Term used for a vertical slit up, usually from the hem of

Ventoye, ventoy 218
a garment, such as coat, shirt, etc., and made for ease or round décolletage secured by shoulder straps.
of movement. “Item, 1 jakket of red felwet, the vents Generally trimmed with frills and ruchings of tulle.
bound with red lether” (1422–83, Paston Letters). Victoria bonnet
Ventoye, ventoy (F)
(F) Period: 1838.
Period: 17th century. A bonnet of satin, the small crown without stiffening, the
A fan of the Italian type consisting of a short stem with brim rather close and arching round the face to below
a rectangular vane at the top. the chin; there rounded and curving up towards the
Veronese cuirasse crown. The bonnet strings pass from this point under
(F) the brim to be tied under the chin. Interior of the brim
Period: 1880. often trimmed with flowers. A long full bavolet at the
A jersey bodice lacing at the back. back.
Veronese dress Victoria mantle
(F) (F)
Period: 1880s. Period: 1850s.
A day dress with a long, plain princess tunic of woollen A knee-length mantle with shoulder-cape cut square
cloth, knee-length, with deep points extending to the and short in front, descending to below the waist be-
hem of the silk underskirt, made with deep box pleats. hind, or merely vandyked. Wide, hanging sleeves.
Vest Victoria pelisse-mantle
(F & M) (F)
A term at first used for an under-waistcoat worn for A double-breasted mantle buttoned down the front;
warmth. Later, an undergarment worn next to the skin. knee-length, with flat collar and short, wide sleeves hav-
See Undervest. ing reversed cuffs; side pockets.
(M) Victoria skirt
Period: 1660s–1670s. See Grannie skirt.
A knee-length coat with elbow sleeves, generally Victoria sleeve
confined at the waist by a sash or buckled girdle, and (F)
always worn under a tunic or surcoat. This tunic and Period: 1838 and 1840s, revived in 1890s.
vest, mainly a court fashion in England, was the forerun- A day sleeve with a large volan (flounce) at the elbow
ner of the coat-and-waistcoat style and the origin of the and two smaller ones above; the forearm tight with a
man’s suit. closed cuff.
Victorine
Synonymous with waistcoat; the American term is still Period: 1849 and 1850s.
“vest”. A narrow, flat neck tippet with short ends in front tied
(F) with ribbon at the throat and edged with fur.
Period: 1794 into 19th century. Period: 1899.
A short, sleeveless bodice of varying design, worn with A waist-length or ankle-length cloak with a high, fluted
full evening dress. collar rising from a shaped fur flounce.
Period: Early 19th century. Vigone
A term for the French long corset. “New invented (M)
Parisian vests…made of rich French Twillet, with double Period: Mid-17th century.
cased bones that will never break. The form of them is A hat made of vicuna wool instead of beaver fur.
particularly elegant, by a Reserve on the peak…(which) Vintage
has the pleasant and very essential effect of keeping (F & M)
v the gores…in the proper position, and obviates that Period: Late 20th century onwards.
unpleasant rucking and chafing that is in all the long In previous centuries the fashions of earlier genera-
corsets that have been invented…” (Advert., July 3, tions were occasionally worn, for fancy dress, or an
1802, Norfolk Chronicle). heirloom item such as a lace wedding veil or christen-
Victoria bodice ing robe might reappear. However, the acquisition and
(F) regular re-use of every type of item, from accessory to
Period: 1899. entire outfit, is relatively recent. Wearing family items or
A full evening-dress bodice with very low, square seeking out admired styles from a particular period in

219 Waistcoat
charity shops, auctions and specialist dealers began A shoe with short uppers, leaving only a toe-cap and
seriously in the 1970s. Stylists for celebrities made this instep strap. “Crepida, a low voyded shooe, with a
trend newsworthy, and the pleasure of a couture piece latchet” (1565, Thomas Cooper, Thesaurus).
at a fraction of modern couture prices appealed to in- Voilette
novative dressers in many countries. (F)
Violin bodice Period: 1840s to early 20th century.
(F) A fashionable style of diminutive veil.
Period: 1874. Also a thin dress fabric.
A day bodice with a piece of dark material, in the shape See Voile in Glossary of Fabrics and Materials.
of a violin body, inserted down the back. This was pro- Volant
longed into the skirt when made with a princess dress. Period: 19th century.
Virago sleeve A small flounce or frill commonly used as a trimming.
Period: ca. 1600–1650. Volupere, voluper
“The heavily puffed and slashed sleeve of a woman’s (F & M)
gown, then fashionable” (1688, Randle Holme, Armory). Period: 14th century.
Visite A cap or head-dress.
(F)
A generic name for a loose outdoor garment ranging Period: 16th century.
from a pelerine, mantle or cloak, to a caped overcoat A head-dress, possibly a kerchief.
in the 1880s. In the 1890s it was given a double cape Vulcanite buttons
and a high collar. Period: 1888.
Vizard Also known as ebonite, a hard form of vulcanised
A whole mask. rubber, capable of being cut and polished; used as a
See Mask. substitute for jet.
Voided shoe Vulcanized rubber bands
(F & M) Period: 1845 to early 20th century.
Period: 16th century. Patented in 1845 and used for garters and belts.
W
Wadded hem The band encircling the waist at the top of shorts,
(F) skirts, trousers and other garments with a defined
Period: 1820–1828. waist.
The hem of a skirt padded out with cotton wool. Waistcoat
Waistband (M)
(M) Period: 16th century to 1668.
Period: 18th century onwards. A waist-length under-doublet, sometimes called a
The band of material attached to the top of breeches, petticoat, i.e. a short coat, usually quilted and worn
trousers, etc. At the centre of the back was a short without or with sleeves which were detachable. Worn
vent with lacing holes on each side for lacing across; for warmth or, if for display, then of rich fabrics.
this vent, after ca. 1790, was generally closed by a puff
of chamois leather. The waistband, inherited from the Period: 1668–ca. 1800.
trunk-hose, ceased to be fashionable after ca. 1836, An under-coat, at first cut on similar lines to the coat
though it continued in American trousers. but without hip-buttons and pleats, the sleeves being w
discarded from ca. 1750, though occasionally worn by
(F & M)
the elderly until ca. 1800.
Becoming shorter ca. 1775, when the front skirts were
The name given to a detachable belt.
mere flaps which disappeared by 1790. Constructed
Period: 20th century onwards. as a single-breasted garment until the 1730s, with

Waistcoat-bosom dress 220
if worn could be knitted, or later of leather and suede

alongside fabric versions.
(F)
A close-fitting jacket-bodice worn with a petticoat or
with a bedgown for extra warmth, often replacing the
plackard or stomacher.
Cut on the same lines as the male garment and worn
with a riding habit, or as a fill-in for an open bodice,
when the waistcoat was sometimes sham, having
sewn-in front panels only.
Period: 1800–1850.
A flannel waistcoat might be worn as an undergarment
for extra warmth; it was replaced by the introduction of
the undervest, ca. 1840.
Period: 1851.
A fashion for wearing elaborately embroidered waist-
coats with carriage dresses; these were darted to fit the
figure and were sometimes made from brocaded male
waistcoats of the 18th century; this fashion was revived
towards the end of the century.
Waistcoats, cut on masculine lines, were common in the
tailor-made costumes of those decades.
Waistcoats were occasionally fashionable and were
made from a variety of fabrics; they were also knitted
and made of leather or suede.
Waistcoat-bosom dress
(F)
Period: 1800–1810.
A dress made in the low-stomacher style with the bod-
ice buttoned down the front.
See Stomacher-front dress.
Waist seam
(M)
Period: From 1823 onwards.
A horizontal seam uniting the body of a formal coat with
its skirts.
the double-breasted form becoming common in the
Wallet
1780s and usual by the 1790s.
(F & M)
Period: 1800 onwards. Period: Medieval to early 19th century.
Both single and double-breasted forms were fashion- A bag used when travelling, large enough to hold a
able at various times for day wear, the double-breasted variety of goods including clothing; similar to a pedlar’s
form becoming permissible for evening dress in the pack or a pilgrim’s scrip.
w 1890s.
See Jockey, Straight, Tattersall, Shawl, French vest.
An American term describing a flat bag or purse de-
Period: 20th century onwards. signed to hold documents and paper money; originally
Waistcoats remained an element of formal dress until of leather, but later of various natural and man-made
World War II, but informally they were less essential or materials.

221 Waterproof
Wardle hat the balance mechanism.

(F) Watches in decorative cases were carried, suspended
Period: 1809. from belts and clothing, and watch chains for men
A straw hat with a conical crown. The name recording a began to be used during the 18th century. All watches
notorious scandal of 1809, exposed by Colonel Wardle were wound with keys until the 1840s when winding
in the House of Commons. buttons were introduced. By then women’s jewellery
Wardrobe included bracelet and ring watches.
Period: 15th century. The first wrist watch was designed by Louis Cartier
A room in which clothes and occasionally armour were (1875–1942) for the Brazilian aviation pioneer Alberto
kept. Also, from this period onwards, the clothes be- Santos-Dumont in 1904 and went on sale to the public
longing to a particular person. in 1911. Wrist watches were also made for women and
gradually superseded pocket watches. The variety and
forms of watch changed swiftly as the major Swiss
The stock of clothing and properties held by a theatrical
makers competed for custom at luxury level and at
company.
popular level. In the late 20th century the name of the
Period: 19th century onwards. brand or maker – Cartier, Patek Phillippe, Rolex – was
A piece of furniture, with pegs, rails and shelves or as important as that of a major fashion designer.
drawers for containing clothes. See Swatch.
Waspie Waterfall back
(F) (F)
Period: Late 1940s onwards. Period: 1883–1887.
Abbreviation of “wasp-waisted” as applied to a short, The skirt of a morning or walking dress made with a
tightly fitting, boned and elasticated corset. Worn series of flounces down the back from waist to hem so
under the New Look garments and later whenever a that with a projecting bustle “the skirt seems to pour
narrow, defined waist was required. itself over a precipice”.
Watch Waterfall neckcloth
(F & M) See Mail-coach necktie.
Period: Late 16th century onwards. Waterproof
A small, portable time-piece. In the late 16th century it Period: 1800 onwards.
could be suspended from a chain or ribbon and was A name beginning to be applied to many forms of
set into a variety of forms. England took the lead in the outdoor garments of which the threads composing the
production of watches for much of the 17th century, but fabric used had been rendered waterproof before weav-
French watches were the first to incorporate a spring on ing; thus distinct from those textiles impregnated with

Waterproof cloak 222
solution of india-rubber. Before the 19th century there was no set formula for this
See Mackintosh. dress, except that it was often white or silver amongst
In 1893 Burberry’s patent waterproof material was elite families.
composed of an outer layer of gabardine with an inner From 1800–1840 it was a semi-décolleté evening dress
of soft tweed; in 1896 the Manchester firm of Joseph with short sleeves and long white gloves. From 1830
Mandleburg listed “silk striped proofing”. a wedding dress was usually white lace over silk or
Waterproof cloak satin. From 1844 a white afternoon dress replaced the
(F) evening, low-necked gown, and in 1867 white book
Period: 1867. muslin was often used instead of silk or satin. From the
A cloak with a small, tasselled hood of waterproof 1880s the dress was always high-necked, but by then
material. “a bride is often married in her going-away dress”, a
Watteau choice which was permissible throughout the century
(F) and was usual for women from humbler families.
Period: 1870s.
A polonaise with a Watteau back, usually of white fab- Period: 20th century onwards.
ric strewn with flowers. Department stores provided ready-made wedding
Watteau body dresses. There were many paper patterns and an ex-
(F) tensive range of fabrics for those able to sew or to find
Period: 1853–1866. a dressmaker and, except for widows and older brides,
A day basquine bodice with low, square neck, the white became usual. The length of dresses varied, short
fronts not meeting but filled in by a chemisette crossed in the 1920s and 1960s, but mostly ankle-length with
by ribbon bows to the waist closing the bodice; elbow an optional train and a veil covering the head rather than
sleeves with deep lace ruffles. The name is derived from a hat. By the late 20th century it was usual for younger
the style of dress found in the work of the French artist brides to wear a strapless white evening dress, combin-
Antoine Watteau (1684–1721). ing the style for the service with that worn at an evening
Watteau costume party; the more discreet might wear a shrug or sleeved
(F) stole beneath the veil.
Period: 1868. Wedding garter
A bodice with a fichu front and round skirt edged with (F)
deep pleating, and an over-dress looped up at the sides Period: 16th–18th century.
of the skirt, with a Watteau pleat behind from neck to This was generally blue; the colour associated with the
hem. Virgin Mary, but sometimes white or red. The bride’s
Watteau pleat garters were trophies eagerly sought for: “…let the
(F) young Men and the Bride-Maids share Your garters; and
Period: ca. 1850 to early 20th century. their joints Encircle with the Bridegroom’s Points” (1648,
A revival of the 18th-century sack-back. Worn occa- Herrick, Hesperides).
sionally, especially in the 1850s and 1860s for afternoon Fragments of them were then worn in the young men’s
wear and, from the 1880s into the early 20th century, as hats.
a feature on teagowns. Wedding gloves
Watteau robe (F & M)
Period: 1850s. White gloves were distributed among the wedding
A ball dress in the open-robe style with a Watteau guests. “Five or six pair of the white innocent wedding
pleat at the back and inset with lace. gloves” (1599, Dekker, Untrussing of the Humorous
Wearing sleeves Poet).
(F) Wedding knives
Sleeves worn on the arms, as opposed to hanging Period: 15th to end of 17th century.
sleeves which were usually sham. “Three gownes with A pair of knives contained in one sheath were given to
w wearing slevis and long slevis for three other gownes” the bride and then worn as a symbol of her married sta-
(1612–13, Warrant to the Great Wardrobe on Princess tus. “See at my girdle hang my wedding knives” (1609,
Elizabeth’s marriage). Dekker, Match Me in London).
Wedding dress Wedding suit
(F) (M)

223 Wellington boot
In previous decades, for fashionable elite men, this with a train, or short veils, often with coronet-style head-
had been merely a ceremonial full dress suit, often with dresses, orange blossom chaplets. “…a little tricorne
white waistcoat and stockings. By 1820 a blue dress hat with yards and yards of veil sweeping behind you…”
coat with gilt buttons, white waistcoat and black knee- (1931, Essex County Standard).
breeches had become the convention; by ca. 1830 the Variants of these styles continued after World War II,
breeches were commonly replaced by white trousers with artificial net or tulle replacing silk, and with tiny
or pantaloons. In the 1850s the frock coat was caps, imitation tiaras and arrangements of flowers (real
beginning to replace the day-time dress coat. “Mr. P. or artificial) or feathers being worn with shoulder-length
consulted me about his wedding-coat whether it shall or longer veils.
be a frock-coat, which I advised though I believe not Wedgies, wedge-soled shoes
quite correct with a bride’s veil” (1853, Lady Elizabeth (F)
Spencer Stanhope’s Letter-Bag, ed. A. M. W. Stirling). Period: 1930s onwards.
By 1860 the outfit had become a blue or claret-coloured Although something not dissimilar to a wedge sole (the
frock coat, white waistcoat and lavender doe-skin trou- solid section of heel forming part of the raised sole) had
sers. In the 1870s the frock coat was being replaced been seen earlier, it was the Italian maker Salvatore
by the morning coat, which by 1886 had become the Ferragamo (1898–1960) who introduced a wedge
rule, reverting in the 1890s to a black frock coat, a heel for shoes. This style became especially popular in
light-coloured, double-breasted waistcoat and grey America in the late 1930s and has been intermittently
striped cashmere trousers, with patent-leather button fashionable since that date.
boots. A white buttonhole flower was worn from ca. Men’s crepe-soled shoes of the 1950s, with no defined
1850. A black silk top hat, replacing the beaver, be- sole and heel, were a variant of the female style.
came general by 1840. Light-coloured gloves; from ca. Weed, weyd, wede
1870 lavender-coloured were worn. Period: 9th century onwards.
A term for a garment of some type; surviving well into
Period: 20th century onwards. the 19th century in the description “widow’s weeds”,
The frock coat with a pale waistcoat was worn until the meaning mourning apparel.
1920s, but after World War I a morning coat with striped Weepers
trousers and a black or pale waistcoat was more usual (M)
for those who could afford formal wear; uniforms and Period: 18th century.
lounge suits were worn by many men. The morning coat Muslin arm-bands. “Mourners clap bits of muslin on
and its correct accompaniments continued to be worn their sleeves and these are called weepers” (1762, O.
throughout the century, but for the majority of men the Goldsmith, The Citizen of the World).
lounge suit was the usual choice for civil and religious
weddings. Period: 19th century.
Wedding veil, bridal veil Broad muslin hat-bands tied round a mourner’s hat, the
(F) two ends hanging down behind to the waist; worn at a
Period: ca. 1800–1900. funeral. Black was the general rule, but white was worn
A fashion known in the 17th century, but rare before if the deceased was a virgin. Less common during the
about 1800. From this date until ca. 1860 the veil was last quarter of the century.
attached to the head and hung down the back almost See Mourning attire.
to the ground. It was usually of white lace, especially of Welch wig
Brussels or Honiton in the 1840s, following the fashion (M)
set by Queen Victoria. Period: ca. 1800–1850.
From ca. 1830 an orange-blossom wreath was added, A worsted cap with a fluffy surface, worn by travellers
and by 1860 onwards the new fashion was for the veil and others. “The sexton’s Welch wig which he wore
to hang over the face down to the waist or knee, though at rainy funerals” (1849, Albert Smith, The Pottleton
the earlier style survived into the 1880s. In 1892 one Legacy).
corner of the veil was arranged to hang over the face to Wellesley wrapper
knee level and “the fullness drawn back on either side (M)
with jewelled pins”. Period: 1853. w
A short, sac-like wrapper, double-breasted and of-
Period: 20th century onwards. ten bordered with fur. The front fastened with military
Lighter veils of silk net or tulle replaced lace, and Juliet brandenburgs.
caps with veils hanging behind were popular before Wellington boot
and after World War I, with long veils in place of a dress (M)

Wellington coat 224
Period: 1817 onwards. Whalebone

Similar to a top boot but without the turn-over top. The Period: Medieval onwards.
name of this and other items of clothing celebrate the The ivory of the walrus or a similar mammal confused
Duke of Wellington, the great British general and politi- with a whale was often meant. The usual meaning de-
cian who defeated the Emperor Napoleon I at Waterloo scribes the horny substance taken from the upper jaw
in 1815. of the whale and used to stiffen corsetry and garments.
See Glossary of Fabrics and Materials.
(F & M) Whalebone bodice, whalebone bodies
Period: 20th century onwards. (F, also children)
The term was transferred to rubber boots made in this Period: 16th and 17th centuries.
style. A bodice of a gown stiffened with whalebone strips;
Wellington coat sometimes an under-bodice as a pair of stays and
(M) sometimes combining both, the front being decorative
Period: 1820–1830. and the back, if covered by an over-gown, plain like a
“A kind of half-and-half greatcoat and under-coat [i.e. corset. “…the first time the child (a girl aged three) put
frock coat] meeting close and square below the knees” on a pair of whalebone bodies…” (1617, Diary of Lady
(1828, The Creevey Memoirs). Anne Clifford).
Wellington frock Wheel farthingale, farthingale
(M) (F)
Period: 1816–1820s. Period: 1580–1620s.
The forerunner of the Victorian frock coat; at first A wheel-shaped structure made of wire or whalebone
a single-breasted coat with roll or Prussian collar and covered with fabric, often silk. It was worn round
but no lapels; buttoned down to the waist; a full skirt the waist, with a slight tilt up behind. The skirt of the
to just above the knees. The fronts meeting without a gown was carried out horizontally over this frame and
cut-in; the back with a central vent, side pleats and hip- then allowed to fall to the ground from the edge of the
buttons. No waist seam. wheel. This was a variant of the French farthingale
In 1818 a horizontal dart was added at the waist-level and gave the same tub-like appearance.
to improve the fit; this fish, the tailor’s term, became See Catherine wheel farthingale, Italian farthingale.
in 1823 extended into a seam at the waist. Flapped Whisk
pockets in the skirt at the sides of the waist were (F)
usual. Period: ca. 1625–1720.
Wellington hat A broad falling band or collar, generally trimmed with
(M) broad lace. “A woman’s neck-whisk is used both plain
Period: 1820–1840. and laced, and is called of most a gorget or falling whisk
A tall beaver hat “the crown 8 inches deep and over- because it falleth about the shoulders” (1688, R. Holme,
spreading at the top” (1830, Dissertatio Castorum). Armory).
Wellington pantaloons Whittle
(M) (F)
Period: 1818–1820s. Period: 17th century onwards.
Pantaloons with side-slits from the calf down, closed Various meanings but predominantly a large cloak,
by loops and buttons. mantle or shawl, usually of flannel and worn by coun-
Welt trywomen, especially by a mother carrying a baby. “My
Period: 16th century onwards. whittle that is fringed” (1668, Will of Jane Humphrey, of
A strengthened border of a garment or part of one, and Dorchester, MA, USA).
in the 16th century a decorative border synonymous “A lying-in’s expensive too, In cradles, whittles, …” ( ca.
with a guard. “Gownes welted with velvet” (1592, Quips 1730, W. Somerville, The Yeomen of Kent).
for an Upstart Courtier). Whole backs
The term used in the making of footwear means the nar- Period: 19th century.
row strip of leather sewn around the edge of the upper A term denoting coats made without a central back
w and insole, to which the sole is attached. seam.
Wet look Whole falls
Period: 1920s onwards. See Falls.
The shiny, seemingly wet surface of a fabric, created by Wide-awake
a chemical or other finish. (M)
See Ciré in Glossary of Fabrics and Materials. Period: 19th century.

225 Winkers
to 1810. Named varieties include: Adonis, bag-wig,

bob, brigadier, campaigne, catogan, cauliflower,
caxon, club, cue-peruke, cut-wig, Duvillier, major,
pigeon-winged, pigtail, Ramillies, scratch, toupee,
tye.
The use of natural hair for wig-making was gradually re-
placed by synthetic alternatives for whole wigs or partial
pieces such as extensions.
Wimple
(F)
Period: Late 12th to mid-14th centuries, rare in the 15th
century.
A long piece of white linen or silk draped over the front
of the neck and swathed round the chin, the ends being
pinned to the hair above the ears. It was worn with a
veil or a fillet or both, or sometimes alone.
Period: 1809.
The name was used for a gauze covering of the head,
worn with evening dress.
Wimpled
A term with two meanings: firstly “disguised” and sec-
ondly “arranged in folds”, as with a muffler which was
worn like a wimple.
“Why are they wimpled? Shall they not unmask them?”
(1590, Three Lords and Ladies of London).
Windbreaker, windcheater
(F & M)
A type of short jacket with a fitted waistband, based on
British RAF flying jackets. Versions have been made in
wool, gabardine, and synthetic fabrics, and all types are
usually waterproof and fasten with a front zip. Worn for
outdoor sports and leisure pursuits.
See Anorak.
Wing collar
(M)
A standing collar with the two front points turned down;
it was also known as a “butterfly collar”.
Wings
(F & M)
Period: ca. 1545–1640s.
A broad-brimmed, low-crowned hat of felt or stuff. For
Stiffened and generally decorative bands, often
country wear.
crescent-shaped, projecting over the shoulder seam of
Wig, periwig, peruke
bodices, doublets and jerkins, and women’s gowns.
(F & M)
With detachable sleeves the wings hid the ties.
Period: 16th century onwards. w
An artificial covering of hair for the head; worn by men Period: 1750–1800.
and women for decorative purposes or to conceal thin The side flaps of an indoor cap thus constructed, such
or non-existent hair. as the dormouse cap.
Worn by men almost universally during the 18th century Winkers
until ca. 1790, and by women especially from ca. 1795 (M)

Winkle-picker shoes 226
Period: ca. 1816–1820. Period: Early 19th century onwards.

The very high points of the shirt collar which, as worn A loose, unstructured garment to wear over a dress,
by the ultra-fashionable, reached up to the corners of often used as an interchangeable term for cloak or
the eyes. shawl. “Hoar-frost velour wrap, three-quarter lined
Winkle-picker shoes heavy crepe-de-chine. Tastefully trimmed opossum fur,
(F & M) 13 gns” (1925, Rogers Brothers, Colchester).
Period: Early 1950s onwards. Wraparound
As a distinct contrast to the suede, crepe-soled shoes (F)
worn by Teddy boys, this new style with its elongated Period: ca. 1950 onwards.
toe acquired several names before becoming the “win- Any item of clothing that is wrapped around the body
kle-picker”. Popular with Mods and later with punks and tied, rather than fastened with buttons, zips or
and Goths, this style has always been a rock “n roll similar. The sarong-style wraparound skirt has been
favourite with bands from the Beatles to the Kings of popular for beachwear and variants of this, with ties
Leon. Often they were made of eye-catching materials and waistbands, similarly with blouses and dresses,
such as pearlized crocodile skin. The female equivalent were produced by designers and manufacturers. The
was often low-heeled with long narrow toes, or a com- American designer Diane von Furstenberg (1946–)
bination of stiletto heel and “needlepoint toe” as the created a wraparound jersey dress in the 1970s which
style was sometimes called. became a wardrobe classic for busy women.
Witchoura mantle Wrapper
(F) (F)
Period: 1808–1818, and the 1830s. Period: 18th century.
A mantle with a deep cape and fur trimming. In the A term used for a woman’s bedroom loose robe which
1830s the name was revived for a mantle without a cape might also be worn in bed. “My Lady generally was in
but with a high stand collar and very large sleeves. Bed with nothing on but a loose Gown or Wrapper”
Trimmed or lined with fur; always a winter garment. (1744, Report of the Annesley Cause; evidence of the
Witch’s hat maid. The London Magazine and Monthly Chronologer).
(F) “Fine thick printed Cotton…to make two wrappers for
Period: 1800 onwards. my mother” (1739, Purefoy Letters).
Similar to a gipsy hat. The essential feature being that
the brim was bent down by ribbon strings passing over (M)
it from the crown, to be tied under the chin. Period: 1840–1860.
Wonderbra In the 1840s a name applied to various forms of loose
(F) overcoat, both single- and double-breasted and some-
Period: 1935 onwards. times used for a Chesterfield. In the 1850s it was
A Canadian style of uplift brassière which was sold defined as a loose, thigh-length overcoat cut to wrap
in America and Canada for several decades before it over the front, sometimes buttoned but more often held
became a worldwide phenomenon in the early 1990s, in place by the hand. The collar was a deep shawl type.
when the British firm Gossard, making it under license Often worn with evening dress.
from its American owners, repackaged it in 1991 as the Wrapping front dress
ultimate “must-have” bra – with its under-wired uplift (F)
and divide enhancement of female breasts. Although Period: 1800–ca. 1830.
the marketing campaign was aimed at men, women The bodice of a low, stomacher-front dress made to
bought it by the million. fasten in a cross-over manner.
Woodstock gloves Wrapping gown
(F & M) (F)
“Riding gloves made of fawn skin; got them at A term applied to a dress having a bodice with a wrap-
Woodstock where they are famous for making them” over front continuous with the upper part of the skirt.
(1777, Letters of Mrs. Graham). Wrap-rascal
w Woolward (M)
Clothed wholly in woollen materials; i.e. without a linen A loose form of overcoat; in the 19th century it usually
shirt. “I go woolward” (1590, Love’s Labours Lost). applied to a countryman’s coat or to the kind worn by
Wrap those travelling on the outside of a coach. Generally
(F) made of heavy cloth.

227 Yukuta
X and Y
Yachting jacket, short paletot waistband of a skirt in certain styles.
(F) Yoke bodice
Period: 1860–1890. (F)
A short, square-cut, outdoor coat reaching to hip level. Period: 1880s onwards.
Made single- or double-breasted, with large buttons A bodice or blouse made with a yoke. A similar yoke
and loose sleeves. was often added to the Norfolk jacket from 1894.
Yankee neckcloth Yoke skirt
(M) (F)
Period: 1818–1830s. Period: 1898 onwards.
See American neckcloth. A day walking skirt made with a pointed yoke joined
Yarmulke to the lower part, which was cut from a circle. Worn
(M) with a foundation or under-lining attached at the
A thin, rounded skull-cap worn by Orthodox Jewish waist only. Some were made with a flounce below the
boys and men and other males on religious occasions; knees.
usually held in place by a hair grip. Also known as a York tan gloves
“kippah”. (F & M)
Yashmak Period: 1780–1820s.
(F) Gloves, long or short, of fawn-coloured soft leather.
The substantial veil worn by Muslim women beneath “York tan gloves…the smooth surface inside, tied high
their eyes to cover their faces for cultural and religious above the elbows” (1788, Mrs. Papendiek’s Memoirs).
reasons. The male versions were wrist-length.
Yeoman hat York wrapper
(F) (F)
Period: 1806–1812. Period: 1813.
Hat with a full, deep, soft crown and close, up-turned A high-necked morning dress, buttoned behind; made
brim or none, but the crown gathered into a broad band. of jacconet muslin, the front decorated with alternate
For morning or walking dress. “diamonds” of lace or needlework.
Y-fronts Youth styles
(M) (F & M)
Period: 1935 onwards. Period: 1950s onwards.
Patented by the American hosiery firm Coopers, these Clothing for the adolescent young, “teenagers” in the
close-fitting underpants made from a cotton jersey term used by Americans and adopted elsewhere, had
fabric, with an elasticated waist and an inverted Y open- appeared in the late 1930s. In Europe teenage or youth
ing at the front, were originally thought too daring but styles followed in various waves, some specific to par-
eventually became the leading style until boxer shorts ticular countries. The UK was particularly fruitful in this
and trunks began to overtake them in popularity in the regard with Teddy boys, Mods and Rockers, punk
1990s. styles, New Romantics, Goths, and so on. From the
Y-line 1960s onwards these styles, sometimes described as
(F) Street style, were imitated and transformed by major
Period: 1955. designers looking for inspiration.
The line designed by Christian Dior (1905–1957) which Yukuta
emphasized the neck and shoulders, with large collars (F & M)
but narrowing towards the hemline. Period: 20th century onwards.
Yoke A lightweight, cotton kimono with a fabric covered in
Period: 19th century onwards. stencilled designs, originally worn after bathing but now
The shaped sections across the upper body, between used as a dressing-gown or house coat. Known in
neck and bust or shoulders, to which the garment is the west since the early 19th century, it became widely
sewn; a similar section was also found below the available in the 20th century.
x&y

Zazou style 228
Z
Zazou style Many variations, but all retaining the main features. The
(F & M) original design was adopted from the Algerian Zouave
Period: 1940s. troops in the Italian war of 1859.
The French version of the zoot suit clothing which
(M)
originated in America. It was fashionable amongst a
Period: 1860s.
group of young men and women, many in Paris during
A similar jacket, worn by little boys.
the German occupation in the early 1940s. The men
Zouave paletot
wore tight-fitting trousers with large, thigh-length jackets
(M)
with a dropped shoulder-line. The women wore a loose-
Period: 1840s.
fitting jacket or square-shouldered fur coat with a short,
A paletot of llama wool, waterproofed. “May be worn
pleated skirt and platform shoes.
with or without an under-coat. One of the most gentle-
Zip fastener, zip, zipper
manly and unassuming garments offered to the public.”
Zouave trousers, Sarouel trousers
Experimental fasteners appeared in America in the
See Peg-top trousers.
1890s, but the interlocking metal-tooth version was
developed just before World War I and used on wind-
cheaters for the US navy in 1917. The term “zip” was
not always used; this invention was described as a
“Lightning plastic fastener” by Schiaparelli in 1935, but
the term was usual by the 1920s: “Many of the new
sports suits have zip-fasteners” (1927, Daily Express, 22
November).
Zone
(F)
A fill-in for an open bodice of a gown, the shape varying
according to the shape of the exposed gap.
Zoot suit
(M)
Period: Late 1930s onwards, but rare after the 1960s.
A style of suit associated with African Americans but
adopted by others as an expression of originality. A
wide-shouldered, long jacket, narrow at the waist with a
draped back, worn with peg-top, loose trousers which
were narrow at the ankle, was complemented by a dan-
gling key or watch chain, a broad-brimmed hat and col-
ourful silk ties. All of these garments were often brightly
coloured or patterned and influenced both alternative
and mainstream designs.
Zouave coat, Oriental wrapper
(M)
Period: 1845.
A cloak-like coat with velvet collar and cuffs, lined and
quilted throughout with silk. “Has the advantage of a
coat and a cloak, can be worn as a riding or walking
coat or opera cloak.”
Zouave jacket
(F)
Period: 1859–1870 and the 1890s.
z A jacket of silk, velvet or cloth, without a back seam, the
front borders rounded off and fastened at the neck only.

229 Anglo-merino
Glossary: Fibres, Fabrics,

Materials
A
Abaca Alexander
Period: 19th century. Period: Medieval.
The native name for the palm which provides Manila A striped silk material.
hemp. The name is also applied to the fibre from which Algerine
“the most exquisite textile fabrics and elegant Manilla Period: 1840.
hats are manufactured”. A twilled shot silk, green and poppy-red, or blue and
Acetate gold.
Period: 1869 onwards. Allejah, alajah
A manufactured synthetic yarn and then fabric made Period: Early 18th century.
from cellulose; a German invention used when a light, Any kind of corded stuff; also a corded silk fabric from
silky fabric was needed. Turkestan.
Acrylic Alliballi
Period: 1947 onwards. Period: Early 19th century.
A synthetic fibre used as a substitute for wool and later An Indian muslin.
given tradenames such as Acrilan and Orlon. Alpaca
Adrianople Period: 1841.
Period: 1878. A springy, shiny textile, of the wool of the Alpaca goat
An unglazed cotton lining; in 1880, a red calico printed and silk; later, cotton. Originally created by Sir Titus Salt
with arabesques. in 1838.
Aerophane Alpago
Period: ca. 1820. Period: 1843.
A fine, crimped crepe. “A stout satin delaine”.
Aertex Amen
Period: 1888 onwards. Period: 19th century.
Cotton cellular fabric invented in England; the Aertex A fine quality of figured lasting; also called draft.
Company was formed in 1888 and the fabric was used Amice
for underwear and sports clothes. Period: 16th century.
Alamode A kind of grey fur, possibly squirrel.
Period: 17th century. Amy Robsart satin
“A thin light glossy black silk” (Chambers); often spoken Period: 1836.
of as “Mode”. A satin “with white ground with white flowers traced in
Albatross gold thread, or pale-coloured ones in silver”.
Period: 20th century Anabas
Lightweight woollen fabric with a slightly creped surface Period: Early 18th century.
finish. A cheap cotton material.
Albert crape Ancote vale velvet
Period: 1862. Period: ca. 1840.
A superior quality of black silk crape for mourning. In A cotton velvet.
1880 made of silk and cotton. Andalusian
Alepine, alapeen, allopeen Period: 1825.
Period: 18th century. A fine, open, washing silk with a broché pattern.
A mixed stuff of silk and wool or of mohair and cotton. Anglo-merino
In 1832 the name of a textile resembling bombazine. Period: ca. 1809.

Angola, Angora 230
A textile nearly as fine as muslin, manufactured at Armoise, armoisin, armozeen

Norwich and made from King George III’s flock of me- Period: 16th century.
rino sheep. A taffeta, generally black. In the 19th century it was “a
Angola, Angora stout silk almost invariably black, used for hatbands and
Period: 1815. scarves at funerals” (1840, Perkins).
“The new lama cloth”, made from the hair of the llama Armozeau
goat, from the neighbourhood of Angora in Asia Minor. Period: 1820s.
Originally imported as mohair. In 1850 it was woven “A silk similar to lutestring but not so thick.”
with a warp of coloured silk under the name of “poil de Armure
chèvre”. Period: 1850.
Aniline dyes A rich silk and wool fabric with an almost invisible de-
Period: 1856 onwards. sign, such as a twill, a triangle or a chain, on the surface.
Dyes derived from coal tar which transformed the range Armurette
of colours available for fabrics. The first synthetic dye Period: 1874.
was discovered by William Henry Perkin (1838–1907) A fancy silk and wool fabric.
whose aniline purple, better known as mauve, was an Artificial silk
instant success and led to further discoveries. See Rayon.
Anterne Astrakhan
Period: Early 18th century. Period: 18th century onwards.
A stuff of wool and silk, or of mohair and cotton. The skin of young lambs from this part of Russia resem-
Applebloom, appleblue bled a silky fur; also known as “Persian lamb”. A woollen
fabric woven to resemble the lambskin was fashionable
in the early 20th century.
A cloth resembling in colour, and perhaps in pattern,
Astrakine
apple-blossom.
Period: 1932.
Aquerne
Light, flexible velvet with a surface imitating Persian
Period: ca. 1200.
lamb.
Squirrel’s fur.
Atlas
Aramid
A smooth, silk cloth imported from India; in England the
A manufactured fibre formed from synthetic polyamide term applied to tawdry silks woven with gold and silver
(a type of nylon). Fabrics woven from aramid fibres are threads. Also applied loosely to a gown of that material.
strong and resistant to high temperatures and extreme “Ladies with tawdry atlasses” (1706).
conditions. Such fabrics are often used for overalls, Attaby
jackets, gloves and similar items which require consid- Period: 14th century.
erable thermal protection. A silk fabric; the name becoming later tabby.
Ariel Augusta
A woollen gauze quadrilled in white on coloured A fustian made at Augsburg, Germany.
ground. Avignon
Armazine Period: 19th century.
Period: 18th century. A silk taffeta used for coat linings.
A strong corded silk used for ladies’ gowns and gen- Aylesham
tlemen’s waistcoats. Period: 13th and 14th centuries.
Armine Usually linen, but also a woollen cloth, made at
See Ermine. Aylesham in Norfolk.
Armoire Azure
A very thick corded silk. A blue cloth similar to plunket.

231 Barracan
B
Badger Bambulo
Period: Medieval. Period: 1885.
The fur of the animal, but not used by elite groups. A coarsely woven, slightly transparent, shot canvas
Baft cloth.
Period: 16th century. Bangal, Bengal
A coarse cotton fabric, red, blue or undyed, or printed Period: 17th century.
in checks. Various piece goods imported from Bengal which may
Bagdad have included calico, gingham, silk, etc.
Period: 1872. Banlon
An Eastern silk fabric striped like Algerine but with Period: 20th century.
wider lines and of thicker substance. Name given to a process used to add weight and elas-
Bagheera ticity to synthetic fabrics; created by the American firm
Period: Early 1900s. of J. Bancroft & Sons.
A type of uncut pile velvet used for evening dresses; Barathea
later imitations were made of rayon crepe. Period: 1840s.
Bag Holland A black silk and worsted mixture used for mourning.
Period: 17th century. Later, worsted fabrics in twill hopsack weave.
A fine quality of linen used for shirts. Barege
Baise, baize, bays Period: 1819.
Period: 16th century. A semi-transparent, open-mesh fabric of silk and wool,
A woollen cloth resembling a thin serge introduced the former thrown up on the surface. Sometimes of all
by Walloon refugees from the Spanish Netherlands in wool.
1561. One of the many “New Draperies”. Barege de Pyrenees
Bakelite Period: 1850.
Period: ca. 1907 onwards. A barege printed with delicate foliage and brilliant
An invention of the Belgian Dr Leo Baekeland, who flowers.
between 1907 and 1909 created a thermoplastic sub- Barege-grenadine
stitute for shellac. It was the first synthetic, plasticized Period: 1877.
material which could be shaped when heated, mass- A cotton and jute barege.
produced and formed in moulds. Its slogan was, “The Barleycorns
Material of a Thousand Uses”. It was used to make Period: 18th century.
buttons, belt and shoe buckles, jewellery, clasps for A checked fabric, sometimes scarlet; exact composition
handbags and similar. unknown.
Baldekin, baudekin Barlingham
A rich silk fabric with gold thread, of the nature of A taffeta woven at Burlingham, near Norwich.
brocade. Barmillion
Baleen Period: 17th century.
Period: 14th century. A variety of fustian made in Manchester (1641).
The horny substance in the upper jaw of the whale, Baronette satin
used in armour, and in dress from the 16th century Period: 19th century.
when it became known as whalebone. Sports fabric of silk fibre with cotton back; similar to
Balernos georgette satin.
Period: 1874. Barpour
A very soft and silky mohair. Period: 1847.
Balzarine A twilled silk and wool mixture.
Period: 1830s. Barracan
A cotton and worsted fabric similar to barege. Period: Late 18th and 19th centuries.
Balzerine A coarse, thick, corded stuff resembling camlet; the
Period: 1889. warp of silk and wool, the weft of Angora goat’s hair. In
A narrow-striped grenadine with broad, silk crepe stripes. the 18th century often watered.

Barragon 232
Barragon As a dress fur, first mentioned in 1619. In the 18th cen-

Period: 18th century. tury, a rough cloth used for working men’s frocks.
Perhaps identical with paragon. Bearskin cloth
Barras Period: 19th century.
Period: 17th and 18th centuries. A thick, coarse, woollen cloth with a shaggy nap; re-
A kind of canvas or linen imported from Holland and sembling dreadnought.
used for neckcloths. Beaudoy
Barratee Period: 18th century.
Period: 19th century. A worsted cloth used for stockings.
A silk stuff, a variety of barathea. Beaupers
Barrister’s plaid Period: 16th and 17th centuries.
Period: 1850s. Linen similar to bunting.
A small-check pattern cloth used for trousers. Beaver
Basin de laine Period: Medieval.
Period: 1855. The fur of that animal used for gloves.
A thick woollen dimity, the right side ribbed, the other
with a long, soft nap. Period: Late 18th and 19th centuries.
Bath coating A woollen overcoating with one face sheared, heavily
Period: 18th and 19th centuries. milled and with a nap-raised finished; much used in the
A thick, double-raised baise used for overcoats. 19th century, when beaver leather was also used for
Batik Woodstock gloves.
Period: 19th century. Also, a hat cloth of felted wool and rabbit’s fur, with a
A technique devised in Java for creating designs on nap of beaver hair, for superior quality hats.
textiles by covering the base fabric with wax within a Beaverteen
distinct patterned area; the exposed areas were then Period: 19th century.
dyed. The process could be repeated if several colours A cotton, twilled cloth in which the warp was drawn up
were required. This method reached the UK by way of into loops forming an uncut pile; mentioned in 1827.
Holland. Beche-cashmere
Batiste Period: 1848.
Period: 1820s. A woollen cloth “thicker than flannel and as soft as
Dressed cotton muslin with a wiry finish. silk”.
Batiste de laine Bed
Period: 1835. Period: ca. 1600.
“A new material of the Chaley kind but mingled with silk. Coarse, thin worsted similar to say.
It is striped with satin stripes which form squares, and is Bedford cord
always in two colours strongly contrasted.” Period: 19th century.
See Challis. A combination of plain weave and whipcord, the cords
Baudekin running in the direction of the warp; of all wool or cotton
Period: Medieval. and wool. Used especially for riding breeches. Later, silk
A costly, imported, figured silk; some versions with a and cotton mixtures with similar ribbing acquired the
warp of gold thread and a weft of silk. By the 15th cen- same name.
tury these were lampas silks, plain or figured, woven in Begin
one or several colours. Period: 14th century.
Bauson skin A rayed (striped) silk fabric.
Period: 16th century. Beige
The skin of the badger. Period: 1874.
Bayadere A woollen vicuna, usually coffee-coloured; firm, thin
Period: 1840s. worsted with a smooth twill.
A striped silk and wool fabric, the stripes being alter- Belgian linen
nately plain and satiny. Period: 1879.
Bazan, basen Thick, damask-like linen with coloured pattern on a
Period: 13th century. cream ground.
Sheepskin tanned in oak or birch bark. Belladine, bellandine
Bearskin Period: 18th century.
Period: 17th century onwards. A fine, white, silk fabric from the Near East.

233 Bombazine
Bend-leather for gyrdells” (1550, Middleton MSS).

Period: 17th and 18th centuries. Blacks
Leather from the back and flanks of an animal; used for Period: 17th century.
the legs of jackboots. A common name for any black cloth used in mourning
Bengal attire.
Period: 17th century. Black work
A mixed fabric with cotton base from the East Indies: Period: 16th century.
mentioned in 1680. Defined by Johnson (1755) as “a Embroidery in black silk, generally upon linen. Often
sort of thin slight stuff of silk and hair, for women’s ap- worked in an all-over, continuous, scrolling pattern.
parel”. Striped varieties in cotton having “Bengal stripes” Popular for collars, smocks, wristbands and handker-
were popular. chiefs. This and similar embroidery in red, called “Red
See Bangal. Work”, were sometimes known as “Spanish Work”.
Bengaline Blanket, blanket cloth
Period: 1869. Period: Medieval–17th century.
A very light mohair, self-coloured or brocaded with very A white woollen cloth with a pile raised by teazing. Used
small flowers. by the non-elite.
Blanket cloth
Period: 1880.
Similar to a silk barege.
A heavy, all-wool, West of England cloth with a raised
Period: By 1884. finish. Much used for overcoats.
“A new name for Sicilienne; a corded silk and wool fab- See Witney blanket.
ric, the weft of wool.” Blaunchmer, blaundemer, blaundever, blauner
Bengaline poplin Period: 14th and 15th centuries.
Period: 1865. A fur, the animal uncertain but possibly white and ap-
A poplin with a thick cord. parently costly.
Bengaline Russe Blue
A shot wool and silk flecked in contrasting colours. “Stafford Blue”, a blue cloth woven in that county.
Berlin canvas
Period: ca. 1820. Period: 16th and 17th centuries.
Canvas made of silk union yarns in various colours, the “Coventry Blue”, a blue cloth woven at that town.
threads having a strong cotton core. Blueing
Berlin work Period: 18th century.
Period: 19th century. A blue material. “For 3 yards of Blewin” (1715, Essex
The patterns and embroidery wools, originally imported Records).
from Germany and used to produce smaller items such Boccasin
as slippers, smoking caps, waistcoats and similar. Period: 15th to early 18th century.
Besshe, bise, bice, bisshe “A kind of fine buckram that has a resemblance to taf-
Period: 13th–16th century. feta” (Cotgrave).
The fur of an animal, possibly a squirrel or similar Boiled wool
creature. Period: 20th century.
Birdseye A process of hot washing or felting to produce a com-
Period: 16th century. pacted woollen fabric.
A silk fabric with light spots on a dark ground; popular Bokasyn
for women’s hoods. Period: 15th century.
Black-a-lyre A kind of fustian, according to Fairholt.
Period: 14th century. Bombazet
A black cloth from Lire in Brabant. Period: 18th and 19th centuries.
Black elastic A slight, twilled cloth of cotton and worsted, usually
Period: 1884. black and used for mourning.
A cloth resembling a melton “but as soft as a vicuna” Bombazine
(Tailor & Cutter). Period: 16th century.
Blackerybond Introduced by Flemish weavers at Norwich in 1572. Of
Period: 16th century. a silk warp and worsted weft; at first the natural colour
Black-a-lyre in long, narrow ribbons. “Blackerybond and classed as “White Work”; from the 17th century

Bonéette 234
onwards it was usually black and used for mourning. Its running through it.
surface had a twilled appearance. Bridgwater
Bonéette Period: 16th century.
Period: 1877. A broadcloth manufactured in that English town.
A wool and silk fabric having a damask pattern over Brighton nap
it. Period: Early 19th century.
Book muslin A woollen cloth resembling baise but with knots on the
Period: 19th century. surface; made in Norwich.
A muslin with a hard finish, somewhat coarser than Brillianette
Swiss muslin. Period: ca. 1790.
Borato, boraton, burato A glazed woollen cloth, striped and flowered; made in
Period: 16th century. Norwich.
A thin, light stuff of silk and worsted resembling Brilliante
bombazine. Period: 1840s.
Borsley A cotton fabric with a small, lustrous fleck.
Period: 18th century. Brilliantine
A stuff made of combing wool. Period: 1836.
Botany A very light fabric of silk and cashmere wool.
Period: 19th century. Brilliants
A worsted at first made of merino wool found near Period: 1863.
Botany Bay, Australia; imported from ca. 1830. Later, a A silk fabric, the white ground having a small damask
term denoting the finest grades of worsted. “Shawls of pattern.
Botany worsted” (1830). Bristol red
Bouclé Period: 16th century.
Period: Late 19th century onwards. A West of England cloth dyed red at Bristol.
Finish produced on any fabric woven or knitted from a Britannia
yarn which has knots or loops in it, thus producing an Period: 17th century.
uneven or curly surface. Linen imported from Brittany.
Bouclé cloth British cloth
A cloth having knots and curls on the surface. See Britannia, the name by which it was often called.
Bouracan Broadcloth
Period: 1867. Period: Medieval onwards.
A kind of ribbed poplin. A fine woollen cloth of plain weave.
Bourrette
A woollen cloth, twilled, having multi-coloured knots and A cloth made of fine merino yarns in plain twill weave,
threads of spun silk on it. heavily milled with dress face finish.
Boxcloth Brocade
Period: 19th century. Period: Medieval onwards.
A heavily milled woollen fabric with a dress face resem- A fabric with a pattern of raised figures (Beck). A silk
bling felt; originally used for driving coats. interwoven with threads of gold and silver (Strutt). In
Braid the 18th century the raised figures were in coloured
Period: Medieval onwards. silks, formed by an extra weft which did not run from
A narrow band of various fabrics, woven by interlacing; selvage to selvage but was contained within the pat-
used as an edging to garments. terned areas.
Branched velvet Brocantine
Period: 15th and 16th centuries. Period: 1898.
Figured velvet. A fine woollen fabric brocaded with silk in monochrome
Brawls pattern.
Period: 18th century. Brocatelle
A blue and white cotton fabric from India. Period: 19th century.
Brazilian corded sarcenet The term was used for a linsey-woolsey lining fabric in
Period: 1820. France; also a heavy satin and a heavy corded silk with
A coloured sarcenet with a thick, white, satin cord a raised arabesque pattern in self-colour.

235 Bustian
Broché Occasionally kidskin.

Period: 19th century. Buff, buff-leather
A velvet or silk with a satin figure on the face. Period: 16th to 19th century.
Broderie anglaise Originally leather made from buffalo hide, but often
Period: ca. 1600 onwards. applied to thick leather made of ox-hide, dressed with
Known in Europe as a type of fine white-on-white em- oil and with a rough surface, much used for military
broidery surrounding pierced holes; also called Swiss clothing. It was a dull, creamy-yellow in colour, and this
or Madeira embroidery and especially popular from the colour was often called “buff”.
mid-19th century onwards as a decorative addition to Buffin
underwear and children’s clothing. Period: 16th century.
Broella An inferior form of camlet, used for gowns, doublets,
Period: Medieval. etc., of the poorer classes.
A coarse cloth worn by countrymen and monks. Bugle
Brogetie Period: 16th century onwards.
Period: 17th century. A tubular bead, commonly black; used to decorate
Probably a coarse form of brocade. clothing when threaded together.
Broglio-broglio Bulgarian cloth
A kind of camlet. A cream-coloured cotton fabric, plain or striped, worked
Brunswick cloth in tinsel and coloured silk.
Period: 15th century. Bunting
A linen cloth woven at Brunswick. Period: 1881.
Brure A coarse kind of nun’s cloth.
Period: 1912. Burail
“A glorified Turkish towelling”. Period: 17th and early 18th centuries.
Brussels A “silk rash”; a stuff half silk, half worsted.
Period: 14th century. Burdet
A cloth in various colours imported from Brussels. Period: 18th century.
Brussels camlet A mixed fabric of silk and cotton. “All sorts of half-silks
Period: Mid-18th century. such as English and Turkey burdets...” (1740).
“A stronger kind of Irish Poplin much worn for habits Bure, buret
and coats.” Period: 17th century.
Buckram “Stuff that’s halfe silk and halfe worsted” (Cotgrave).
Period: 13th–19th century. Period: 1874.
Term for fine linen or cotton, similar to lockeram; used A coarse woollen stuff with a broad diagonal rib.
for clothing and household items. Burel
Buckram canvas Period: ca. 1300 to 19th century.
Period: 16th century onwards. A coarse woollen cloth of a dark red colour.
A coarse cloth of hemp or linen stiffened with gum and Buridan
used for linings in coats and other garments. Period: 1836.
Buckskin A wide horizontally striped silk of two tones of one
Period: 15th century. colour.
Leather from the hide of the buck, used for gloves. In Burlap, borelap
the 18th century used for making leather breeches. Period: 17th century.
Buckskin cloth Coarse linen. Later, a coarse canvas.
Burnet
A closely woven, twilled woollen cloth of a cream colour,
replacing the leather of that name; used especially for
A cloth of a brown colour.
riding breeches.
Burracan, burragon
Budge, boge, bogey
Period: Medieval.
A coarse cloth.
White or black lambskin, with the wool dressed out-
Bustian
wards and used as a trimming; usually imported.
Period: 17th century A kind of fustian.

Byssine 236
Byssine woven; used for mourning.

Period: 13th century. Byzantine granite
A fine, silky, linen cloth. Period: 1869.
Byzantine A dark brown, woollen cloth enriched with scattered
Period: 1881. threads of gold.
A dull, semi-transparent fabric of silk and wool closely
C
Cachemire entirely of cotton. Named from the town of Calicut on the
Period: 1876. coast of Malabar; hence sometimes known as “Calicut
A fine wool and silk fabric, the patterns usually of cloth”.
Eastern shades. Calicut cloth
Cachemire royal Period: 16th century.
Period: 1889. See Calico.
Resembles rich cashmere with a silk back. Calton
Caddas, caddace Period: 17th century.
Period: ca. 1400. A coarse, narrow cloth, made in the North of England,
A floss silk, wool or flock used for padding. and similar to frieze.
Caddis Camayeux silk
A woven tape; also a coarse serge. Chiné silk fabric with colour on colour.
Caddis leather Cambaye
Period: 16th and 17th centuries. Period: 18th and 19th centuries.
Leather from Cadiz in Spain. A cotton cloth from India. “A coarse chequer cloth”
Caffa (1727, A. Hamilton).
Period: 16th century. Cambresine
A kind of coarse taffeta, according to Cotgrave. Period: 18th century.
Caffoy Fine linen from Cambray and also from the Near East.
Period: 18th century. Cambric
A fabric imported from Abbeville, possibly a damask; Period: 16th century onwards.
also found in Ireland, containing mohair. A very fine quality of linen.
Calaber, calabre Cameleon
The fur of the grey squirrel. A silk figured in large bouquets on the outside and
Calamanco, calimanco stripes on the reverse. In the 1840s a shot-silk of three
Period: 16th century. colours. In the 1850s descriptive of a shot poplin.
A woollen cloth, plain, striped or checked, and glazed. Camel hair
Pure camel hair – soft, pale, wool-like hair in shades
Of single worsted, glazed.
from creamy beige to light tan used for coats. From the
Period: 19th century. 19th century onwards a mixture of wool and camel hair
A cotton and worsted fabric, highly glazed, plain or was used. A cashmere and wool mixture, dyed camel
twilled. colour, was known as “camel hair cloth”.
Caledonian silk Camelina
Similar to poplin but with a silkier surface, and having a A vicuna cloth with very small basket pattern and loose,
chequered pattern on white ground. upstanding hairs on the face.
Calico Cameline
Originally of Indian cotton, but from ca. 1600 to 1773 A fabric or garment reputedly of camel hair. In the late
with a weft of cotton with a linen warp; since then 19th century, a printed fabric.

237 Cashmere Syrien
Camlet, chamlet Similar to astrakhan, with a wide curl in the hair.

Period: 15th century. Caracule material
Thought to have been at first a kind of camel hair or Period: 1894.
mohair; later woven in various mixed fibres. Camlets A crocodile mohair surface over a sort of flannel lining,
were woven in the UK from ca. 1600, and were warp- giving the effect of black shot with colour.
faced tabby cloths with a distinctive weft rib. They could Carda
incorporate metal thread and be patterned or watered. Period: 14th century.
Sometimes “half silk, half hair” (1675). In the 18th cen- A cloth used in the making of surcoats, probably for
tury they could be wool or silk or hair, or mixtures; in the linings.
19th century cotton or linen was added. Made plain or Cardinal white
twilled. Period: Late 16th century.
Camletto, camletteen A white, undyed, woollen homespun.
Period: 18th century. Carioca
“A stuff of combing wool” (1739). “A sort of fine worsted Period: 1938.
camlets” (1730, Bailey). Tradename used by the Colony Sales Corporation, New
Cammaka York for wool, cotton, silk and rayon fabrics.
Period: 14th and 15th centuries. Carmeline
A costly fabric, probably of silk and camel hair, from the Period: 1870.
East, used for royal and ecclesiastical garments. A fine cloth similar to vicuna.
Camocho Carmelite
A silk fabric from Italy. An all-wool, plain-weave cloth similar to thin beige.
Camouflage Carnagan
Period: 20th century onwards. Period: 1820s.
A fabric, cotton or synthetic, printed with the random A cloth used for trousers.
blocks of colour which are perceived to offer disguise for Carpmeal
troops. The colours are usually dark brown, olive green Period: 15th to 18th century.
and sand, but vary according to the terrain within which A coarse cloth used chiefly for linings; made in the North
they are worn. of England.
Candlewick Carpmeal white
A cloth worn by servants. “Commonly used for linings of hose.”
Carrel, currelles
Period: 20th century. Period: Late 16th to early 18th century.
A soft cotton yarn used to create a tufted or ridged A cloth of silk and worsted.
surface on a flat base. Carrodary
Cantaloon Period: 18th century.
Period: ca. 1600. The original name of cherryderry, an Indian cotton fabric.
A fancy name invented for a variety of worsted, a single Cary
camlet. In the 18th century a West of England cloth Period: 14th and 15th centuries.
mentioned by Daniel Defoe; a worsted woven of fine, A coarse cloth.
single yarns. Casbans
Cantoon Period: 19th century.
Period: 19th century. Cotton similar to jacconet but stouter; used for linings.
A fustian with a fine cord on one side, and a satiny Cashmere
surface of yarns running at right angles to the cords on Period: 19th century onwards.
the other. A fine, soft, woollen fabric first imported from Kashmir;
Canvas imitated as “Thibet cloth” in Yorkshire and at Paisley in
Period: 16th century. 1824. These were twilled fabrics of fine worsted. The
Coarse linen, generally imported. A superior quality original yarn was the wool of the Tibetan goat; now
woven with lines of thread, silk or metallic thread, and Himalayan and Mongolian goats also provide a source
decorated with tufts at intervals, or stitched with quilt- of wool.
ing. Hence “tufted canvas”. Cashmere Syrien
Caracule, caracul Period: 1840.
Period: 1892. A very fine twilled cashmere, more substantial than

Cashmere twill 238
mousselaine de laine but very soft and without a camlet.

wrong side. Catgut
Cashmere twill Period: 18th century.
Period: 1890. A material made from the intestines of sheep, was used
A cotton imitation of French cashmere. to form the stalk of a certain kind of coat button.
Cashmerienne Catling
A fine woollen cloth with twill on both sides. A variety of lutestring.
Casimir Catskin
Period: 1877. Period: Medieval.
A thin, twilled woollen cloth of worsted warp and wool- Only black or white skins were given this name; the
len weft in diagonal twill weave. tabby variety was classified as “wild cat”.
Casimir de soie Caungeantries
A silk and wool fabric having the appearance of shot A fabric of worsted warp and silk weft having a spot
silk. effect.
Cassenet Caurimauri
Period: Early 19th century. Period: 14th century.
A dress fabric with diagonal twill, the warp of cotton, the A coarse fabric probably identical with cary.
weft of fine wool or of wool and silk mixed; for summer Cavalry twill
wear. Period: ca. 1914 onwards.
Cassimir, Cassimere A worsted or rayon twill cloth woven with a diagonal,
Period: 18th and 19th centuries. raised cord; produced in khaki for use by cavalry regi-
A cloth patented by Francis Yerbury of Bradford-on- ments in World War I and later worn by civilians made
Avon, England, in 1766. According to Yerbury, “There into trousers of a buff/fawn colour.
were two species of my thin cloth distinguished by the Celanese
name Cassimire; one is quilled in the weaving with a flat Period: 1921.
whale, the other with a round one ... the woof must not The proprietary name of an early synthetic fibre and
be spun in the same manner as for common cloth but fabric, “Celanese Artificial Silk”, made in Britain.
drawn out into a much finer thread ...” This early cassimir Celes
has been described (R. P. Beckinsale, The Trowbridge Period: 1916.
Woollen Industry) as cloth “in which the woof and the Pure silk crêpe.
warp were usually spun to much the same fineness and Celestrine
to which a diagonal ribbing was given in weaving”, the Period: Medieval.
cloth being heavily milled. A light blue form of plunket.
Until ca. 1820 only imported Spanish merino wool Cellulose
was used, but during the Napoleonic war years, when The insoluble carbohydrate derived from the cell walls of
Spanish wool was in short supply, substitutes were plants which is used in the production of many vegeta-
used including cotton mixtures; in 1817 there was ad- ble or natural fibres.
vertised “Patent Mohair Cassimere for waistcoats and Also a major component in the production of manufac-
trowsers”. tured or synthetic fibres such as acetate, rayon and
From about 1820 German wools from Saxony and triacetate.
Silesia began to displace the Spanish, which had de- Cendal
clined in quality. The German in turn were replaced, Period: Medieval.
ca. 1850, by Australian merino wools. Before then A silk fabric resembling a coarse sarcenet.
the names cassimere and kerseymere had become Cendryn
confused and used often indifferently by writers; by the Period: Medieval.
introduction of Australian merino the two fabrics them- A grey cloth of a good quality.
selves ceased to be distinguishable. Chadoe
Catalapha Period: 17th century.
Period: 17th century. A printed cotton or cotton and linen fabric from the East
A silk fabric listed in a charter of 1641. Indies.
Catalowne Chain lace
Supposedly identical with buffin; an inferior kind of A braid lace made of a single cord knotted upon itself.

239 China damask
Chaisel, cheisil forming squares, as on a chess board. Named variants

Period: Medieval. include “hound’s-tooth check”, an irregular design of
Fine linen used for shirts and smocks. broken checks.
Challis, chaley Cheesecloth
A thin, twilled fabric of silk and worsted; originally of silk Loosely-woven, plain-weave cotton of thin weight,
and camel hair. Printed in colours. originally from India; popular in the 1960s and 1970s
Challis barege for clothing.
Period: 19th century. Cheklaton, ciclatoun
A thin form of challis, sometimes corded or striped. Period: 13th and 14th centuries.
Chalon Originally a scarlet textile; later, cloth of gold.
Period: Medieval. Chele
A cloth friezed on both sides (Chaucer). Period: Medieval.
Chambertine Fur from the marten’s throat.
Period: 1872. Cheney
A fabric of linen and wool; used for summer dresses. Period: 17th and 18th centuries.
Chamblette A woollen or worsted stuff; probably a short name for
Period: 17th century. Philip and Cheney.
A fabric originally all silk; later, with worsted weft; woven Chenille
in plain weave. Period: Late 17th century onwards.
Chambray A fine, velvet-like cord with short threads of silk or
Period: 1880s. wool standing out from the base; it was used as a
A thick, strong, coarse zephyr. trimming.
Chamlet Cherryderry
See Camlet. Period: 18th century.
Chamois An Indian cotton fabric similar to gingham.
Period: 16th century onwards. Cheveril
Soft, pliable leather originally made from the skin of the Period: Medieval.
chamois antelope found in Asia and Europe. For several Kid leather; used for gloves.
centuries the skins of sheep, calves, deer and goats Cheviot
have been substituted for the antelope. The creamy- Period: 19th century.
buff shade of the leather also became a description of A rough-finished fabric of strong, coarse wool, well
a popular colour. milled; a form of Scottish tweed. In 1880 the name was
Champeyn, champaigne cloth given to a soft, woollen textile made in tiny hair stripes
Period: 15th century. and checks; used for ladies’ dresses.
A fine linen cloth. Chevron de laine
Changeable Period: 1878.
Period: 15th century onwards. A fine, diagonally woven cloth, of German make, each
Term used to describe fabric showing more than one horizontal line being reversely twilled.
colour. Chicorée
Channon cloth Period: 19th century.
Period: 15th century. Any fabric cut with its edge unhemmed.
A worsted cloth. Chiffon
Charmeuse Period: 1890.
Period: 1907. A delicate silk fabric, almost translucent.
A lightweight, soft, satin-like silk with a dull reverse. Chiffon taffeta
Later a term for any silk, cotton or rayon satin-weave Period: 1906.
fabric with a dull back and semi-glossy surface. “Resembles sarcenet”.
Chatoyante China crepe
A thin woollen of grey ground covered with broad, satin A crepe made of raw silk, gummed and twisted; thicker
checks. than ordinary crepe.
Check, checkery, checkers China damask
A fabric woven or printed with intersecting crossed lines Cotton damask in two shades with palm pattern.

China gauze 240
China gauze Cloth of gold, cloth of silver

A gauze in light colours sprinkled with tufts of floss A very rich fabric of silk or wool interwoven with a high
silk. percentage of flat threads or strips of gold or silver.
China grass Clotidienne
A plain-weave fabric spun from China grass; used for A ribbon-striped satin.
summer waistcoats. Coburg
Chinchilla Period: 1840s.
Period: 19th century onwards. A wool and cotton twilled stuff resembling French
The fur of a small South American animal of this name, merino.
used for luxurious coats and small accessories. Cobweb lawn
Chiné silk Period: ca. 1600.
Period: 1820s. Very fine, transparent linen.
A silk of which the pattern has the appearance of having Cogware
“run”. Period: 14th century.
Chintz A coarse, common cloth resembling frieze; made in the
Period: 17th and 18th centuries. North of England.
A glazed calico of cotton and linen, having printed pat- Concertina cloth
terns in colours. Originally imported from India. Period: 1892.
Chip straw A corded cloth with silk lines running through it.
Period: Late 18th century onwards. Coney
A wood or similar fibre made into thin strips which could Period: Medieval.
be woven into bonnets and hats. The fur of the mature rabbit.
Chisamus, cicimus, sismusilis Constitution
A variable fur “probably of the Pontic mouse”. Named “A bold ribbed velvet cord”, for riding breeches.
after the classical creature, possibly a weasel, men- Corah silk
tioned by Pliny. Period: 19th century.
Chrome leather A light, white washing silk from India.
Period: Late 19th century onwards. Corded shag
The use of a chromium compound for tanning leather Period: 1807.
was developed in America and patented in 1884. It was A shag with a marked cord, resembling corduroy.
quicker than vegetable tanning, and could make the Corded silk
leather tough and waterproof or soft and flexible. Such Period: 19th century.
leather was used for bags, boots, gloves and shoes. A heavy silk with raised ribs or cords on the surface.
Ciclatoun Cordelière
See Cheklaton. Period: 1846.
Ciré A silk and wool fabric.
Period: 20th century onwards. Cordovan
French term for a waxed finish and, although not really Period: Medieval.
descriptive of fabric, the term was often used to de- Fine Spanish leather.
scribe satins with this surface treatment which created Corduasoy
a lustrous, almost polished, finish. Period: 18th century.
Ciselé velvet “A thick silk woven over a coarse thread” according to
Period: 1876. Fairholt, but possibly confused with corduroy.
A fabric with satin ground having a raised pattern in Corduroy
velvet. Period: 18th century onwards.
Civet A thick corded stuff of cotton, with a pile like velvet.
Period: 17th century. Corduroy velveteen
The fur of the civet-cat. Also a musky substance ex- Period: 1879.
tracted from the animal and used in perfume-making. A corded velveteen, used for dresses.
Clementine Cordwain
A rich, thick silk gauze used for bonnet-linings, etc. Cordovan or Spanish leather.

241 Crêpe poplin
Corfam India rubber which began to be used for such articles of

Period: 1960s. dress as garters and stays in the 1820s, in the woven
Tradename of a synthetic shoe “leather” developed by version known as “elastic”.
the American firm of Du Pont in the 1960s; an improve- Courtauld’s New Silk Crepe
ment on previous synthetics, as it was supple and Period: 1894.
porous. “Almost as thin and soft as chiffon.”
Corinna Courtelle
Period: 1837. Period: 1950s.
A richly flowered silk fabric resembling embroidery. Tradename for Courtauld’s acrylic fibre which replaced
Corkscrew viscose fibres in the 1950s.
Period: 1870s. See Corvella.
A worsted cloth “having the appearance of a rib running Coutil
across at a very low angle” (Tailor & Cutter). Period: 1840s.
Cornelly A French species of jean, but lighter in weight; a twilled
Period: 1938. cotton cloth.
Embroidery of a lacy design made by the Cornelly ma- Covert
chine upon a cloth which is removed leaving just the Period: 19th century.
embroidered design. An all-wool cloth with worsted warp in two colours
Corvella twisted together.
Courtauld’s tradename for a blend of courtelle and Crape, crepe, crêpe
cotton. Period: 17th century onwards.
Cotelé A transparent, crimped silk gauze; originally black
Period: 1865. and as such used for mourning, for which purpose
A thick, ribbed silk. and colour the spelling “crape” remained in use; the
Cotelette later 19th century spelling “crepe” denoted a similar
Period: 1881. material, but of various colours and worn for general
A stocking-woven woollen which does not stretch. use.
Coteline Cravenette
A striped, woollen corduroy. Patented by Bradford Dyers Ltd. A process, applied to
Cotoline cloth, of rendering the fibres water-resistant; much used
Period: 1886. for covert coats.
A black mixture of faille and wool, resembling Ottoman Cremil, cremyle
silk but softer. Period: 14th century.
Cotswold A cotton lawn used for kerchiefs.
Period: 16th century. Crêpe de Chine
Wool of a very high quality from Cotswold sheep in Period: ca. 1860.
England; much used for making caps. A very soft China crêpe of fine silk warp and tightly
Cotton twisted worsted weft. Later, a finely crinkled, soft, silk
Period: Medieval onwards. crêpe.
The soft, downy fibres which cover the seeds of the Crêpe georgette
cotton plant. In Europe originally used as padding or Period: 20th century.
stuffing material and only later in its imported, woven Sheer, textured crêpe with a dull surface in cotton, rayon
form as a fabric. or silk.
See Calico. Crepeline
Cotton cloth Period: 1870s.
Period: 15th–17th century. A cheap substitute for crêpe de Chine; made of mo-
Woollen cloth of which the nap has been “cottoned” hair and worsted.
or raised. “They rayse up the cotton of such Fustians.” Crêpe mastic
(1495, Act II, of Henry VII) Period: 1908.
Cotton russet “A glorified heavy crêpe de Chine”.
Period: 16th century. Crêpe poplin
Russet cloth with a long nap. Period: 1871.
Couchouc A silk and wool fabric, slightly repped, but crinkly like
Period: 19th century. crêpe.

Crêpe royal 242
Crêpe royal one of “the New Draperies”.

Period: 1889. Cristygrey
A transparent kind of crêpe de Chine. Period: Medieval.
Crêpe sultane A fur classed in 1393 as “Wildware”. The fur being that
Period: 1910. taken from the animal’s head or “crest”.
Crêpe with a lustrous surface. Crocus
Crêpe tizra Period: 18th century.
Period: 1928. Linen dyed yellow with saffron.
Wool romaine. Croppes
Crepon Period: 15th century.
Period: 1866. Fur made up of pieces cut from the rump part of an
A China crêpe with a silky lustre and a soft feel. By animal.
1882 a wool or silk or mixed fabric with a silky surface Cross lace
resembling crêpe but thicker. In the 1890s a woollen Period: 16th century.
textile creped to look puffed between stripes or squares A kind of braid lace.
of plain weave. Often with a slight admixture of silk in Crushed velvet
it. Period: 20th century.
Crêpotine The velvet was pressed between rollers or other-
Period: 1904. wise processed to produce an irregular or antiqued
A summer fabric of soft wool and silk. surface.
Crest cloth, cress cloth Cubica
A species of linen often used for linings. A fine shalloon, made of worsted; for linings.
Cretonne Culgee, culgar
Period: 1867. Period: 17th and 18th centuries.
A twilled unglazed cotton fabric printed in colours. An East Indian silk fabric, richly coloured. “There are two
Crewel sorts, the one is Satten, the other is Taffety. Much used
Period: 16th century. for Handkerchiefs and for Gowns.” (1696, Merchants’
Two-threaded worsted for embroidery and tapestry Wharehouse Opened)
work (Bailey). Also used for garters, girdles and trim- Curled cloth
mings until ca. 1800. The term was reintroduced for Period: 17th century.
crewel-work embroidery later in the century. A woollen cloth with a long napped surface.
Crimplene Cuttanee, cottony
Period: Late 1950s. Period: 17th and 18th centuries.
A variant of polyester fibre introduced by ICI in the form A fine East Indian linen used for shirts, cravats, etc. Also
of Terylene and, as Crimplene, used for clothing. of silk or with metal stripes.
Crinoline Cut-work
Period: 1829. See Broderie anglaise, White work; see also Cut-work
“A new material made of horsehair.” Soon after it be- in dictionary.
came a fabric of horsehair and cotton, used to make Cyclas
stiff under-petticoats. By 1856 the name was commonly Period: Medieval.
applied to the “Artificial crinoline” or hoop, at first of See Ciclatoun.
whalebone and then of wire or watch-spring, containing Cypress
a large number of circular hoops held together by fabric Period: 16th century.
or tapes. A light, transparent material of silk and linen in plain or
Crisp crepe weaves. Both white and black; the latter used for
Period: 14th and 15th centuries. mourning.
A lawn; the name then replaced by Cyprus or pleas- Cyprus
aunce, but the original name was revived ca. 1600 for See Crisp.

243 Doily
D
Dacron Diagonal
Period: Mid-1950s. Period: 1870s.
Trade name of a synthetic polyester fibre manufactured A worsted cloth with a multiple twill running diago-
by Du Pont in the USA. nally in pronounced contrast. A fashionable cloth for
Dagswain coats.
Period: 15th and 16th centuries. Diamanté
A very coarse cloth. Period: 19th century.
“Symple rayment doth serve us full well, A net encrusted with glass imitation “diamonds”.
Wyth dagswaynes and rouges (rugs) we be content.” Diamond lace
(1547, Boorde, Introduction to Knowledge) Period: 16th century.
Damasin, damasellours A braid lace woven with a diamond pattern.
Period: 17th and 18th centuries. Diaper
A silk brocaded with metal threads. Period: 15th century onwards.
Damask A linen, or cotton and linen, fabric patterned simply by
Period: Medieval onwards. the directional alignment of the thread into diamonds or
A figured, monochrome fabric of linen, silk or wool, of similar, with the light reflecting the design.
which the woven pattern appears reversed on the back Dieppe serge
by using contrasting faces of the weave. Period: 1872.
Delaine A serge with a coarse diagonal twill.
Period: 1830s. Dimity
A soft, all-wool fabric of plain weave, the warp of Period: 17th century.
worsted; resembling but less “musliny” than mous- “A fine sort of fustian; a cotton stuff” (Bailey). In the 19th
selaine de laine. Some varieties were printed. century the term was applied to a stout cotton fabric,
Denim plain or twilled, with a raised pattern on one side, some-
Period: 18th century onwards. times printed.
An imported serge; the name shortened from “serge Diphera
de Nîmes”. Later, the name of a coloured, twilled cotton Period: 1842.
fabric used for work clothes, most especially the blue A fine, soft, kid leather; used for ladies’ bonnets.
trousers called jeans. Djedda
Denmark satin Period: 1866.
Period: 19th century. A poile de chevre with silk spots.
A variety of lasting, woven with a satin twill. Djersa kasha
Derry Period: 1928.
Period: 19th century. A jersey fabric.
“Brown derry as a strong wide-width linen is called” Doeskin
(1872, Cassell’s Household Guide, Part 2). Period: 19th century.
Desoy, serge de soy A soft, fine, West of England cloth, the warp set very
Period: 18th century. close so that the weave lines are invisible; the surface
A stout, twilled silk (Perkins); used for linings in the 19th smooth and level. Designed to resemble soft doeskin
century under the name of “silk serge”. leather. A fashionable cloth for trousers about the mid-
Devoré dle of the 19th century.
Period: Late 19th century onwards. Dogskin
The term comes from the French dévorer, meaning to Period: 17th century onwards.
consume or devour. When a proprietary paste is applied Used as a leather for gloves; sometimes refers to
to a fabric made from mixed fibres it can burn off the cel- sheepskin.
lulose or viscose fibres, on cotton and linen for example, Doily
leaving the animal or polyester fibres, such as wool or Period: 17th century.
silk, intact. On velvet the paste eats away at the viscose A woollen stuff, used for petticoats. Named after
pile leaving a silk ground; on cotton and linen the result the originator “who kept a linnen-drapers shop in the
creates lace-like, open spaces. Strand” (Sir Hans Sloane).

Domette 244
Domette A woollen cloth woven at Berry in France.

Period: 19th century. Drap de France
A loosely woven kind of flannel with cotton warp and Period: 1871.
woollen weft. A double-twilled cashmere.
Donegal tweed Drap de Persse
“A kind of homespun tweed, brown in colour.” Used for A satin-faced, wool-backed cloth.
heavy overcoats. Made in plain or in two-and-two twill. Drap de soie
Dorcas Period: 19th century.
Period: 18th century. Synonymous with poplin.
An Indian cotton fabric. Drap de velours
Dorea Period: 1861.
Period: 17th and 18th centuries. A thick, soft, velvety cloth.
An Indian muslin with very broad stripes. Drap de Venise
Dorneck, dornick Period: 1866.
Period: 16th century. A ribbed poplin.
A cloth made in Norfolk, but copying Flemish fabrics of Drap fourreau
silk or worsted; in Scotland, a type of linen. Period: 1867.
Dorretteen A thick, smooth cloth with a plush surface on the inner
Period: 1792. side.
A silk and wool twist in thin, invisible stripes; made in Drawboys
Norwich. Period: 18th century.
Dorsetteen A name given to figured fabrics which at first required
Period: 18th century. the use of boys to regulate the treadles of the looms; su-
A fabric of worsted warp and silk weft. perseded by the Jacquard loom. “Fine figured Drawboys
Double-faced for Women’s coats with Fringe” (1750, Boston Gazette).
Period: 19th century onwards. Drawn-work
A fabric which is finished on both faces, thus allowing it Period: 16th century.
to be made into a garment which can be worn inside out Drawn-thread work produced in a fabric by drawing out
without further adjustment. some of the weft threads and stitching the remaining
See Reversible clothing. warp and weft threads to produce a pattern.
Dowlas Dreadnought
Period: 16th–19th century. Period: 19th century.
A coarse linen used chiefly for shirts, smocks, etc., worn A coarse, thick, woollen cloth with a shaggy nap; used
by those less well placed financially. for overcoats by countrymen.
Dozens Drill
Period: 16th–18th century. Period: 18th century onwards.
A kind of kersey or coarse woollen cloth. “Northern Stout twilled linen, used for summer suits. “Dressed in ...
Whites commonly called Dosins” (1523). Also made in a white drill Frock” (1757, Norwich Mercury).
the West of England and known as “Western Dozens”. Droguet
Drab Period: 1860.
Period: 18th and 19th centuries. A kind of cloth of mixed yarns with brocaded figures in
A thick, strong cloth, usually twilled, of a dull brown or various colours upon it. A cheap imitation of brocaded
grey colour. silks.
Draft Drugget
See Amen. Period: 18th century.
Dralon A plain or corded woollen stuff “very thin and narrow,
Period: ca. 1955–1958. usually all wool, and sometimes half wool and half silk;
A proprietary name for an acrylic fibre used in the pro- having sometimes a twill but more usually without”
duction of textiles, and also the name of the resulting (1741, Chambers).
fabric. Much used for soft furnishings, it was experi- Ducape
mented with in the 1960s to create mixed dralon and Period: 18th and 19th centuries.
nylon dress fabrics. A plain-wove, stout silk fabric. “Of softer texture than
Drap de Berry gros de Naples” (Beck). Often brocaded or glacé in the
Period: 17th and 18th centuries. 19th century.

245 Epangeline
Duck Durant
Coarse white linen made from double warp and weft; “A glazed woollen stuff called by some “Everlasting”.”
much used for trousers in hot climates. (1828, Webster’s Dictionary)
Duffel, duffle Duretto, durotta, duretty
Period: Late 17th century. Period: 17th century.
“A coarse woollen” (Defoe), originally from Brabant. A sturdy fabric of mohair and woollen thread or silk. “6
In the 19th century “a stout milled flannel, often friezed” yds durotta to line waistcoats 8/- (1723).
(1835, Booth). Duroy
Later, a cloth with a thick, shaggy nap, used for over- Period: 18th century.
coats; hence the nautical “duffle coat”. A coarse, woollen, West of England cloth akin to tam-
Dungaree my. “Wearing a grey Duroy coat and wastcoat” (1722,
Period: 17th and 18th centuries. London Gazette).
A coarse Indian calico. Also a term for a glazed cotton in damask weave (1791,
Dunster Norwich).
Period: 14th–16th century. Dutty
A woollen broadcloth made in Somerset. Period: 17th century.
Durance A fine cloth or possibly a calico.
Period: 16th–18th century. Duvetyn, velours
A durable woollen cloth; a worsted made at Norwich. Period: 20th century.
A soft, velvety material of wool or silk, or a mixture, with
a fine, downy nap.
E
Eccelide A cloth made of twisted flax-cord and having a basket-
Period: 1837. like mesh.
A cashmere and silk fabric, chiné and striped. Ellementes
Ecru silk Period: 17th century.
Period: 20th century. A worsted cloth.
Silk from which only a small amount of natural gum was Elminetta
removed. Period: 18th century.
Ederella A thin, cotton fabric.
Period: 1916. Elysian
A fabric that “has a panne-like surface”. Period: 19th century.
Egyptian cloth A woollen, overcoating cloth with a nap finish in diagonal
Period: 1866. lines or ripples.
A soft fabric of silk with some wool. Embroidery
Elastic Period: Medieval onwards.
Period: 19th century. The enriching of cloth or fabric by stitching needlework
The first patent for applying caoutchouc (india rubber) patterns in silk or metal threads upon its surface.
to thread to form “elastic” material was taken out by Enamelled
Hancock in 1820. The term “elastic”, however, had Period: 18th century.
been applied in the 18th century to stretchable fabrics A term denoting a stiffening of a textile with gum.
cut on the cross. In 1884 the name was also applied Eolienne
to a new cloth “resembling a melton but as soft as a Period: 20th century.
vicuna” (Tailor & Cutter). Similar to poplin but lighter in weight; usually of silk and
Elatch, elatcha wool.
Period: 17th century. Epangeline
An Indian striped silk. Period: 1868.
Elephant cloth An all-wool, rep-like cloth. In the 1890s the term was
Period: 1869. used for a woollen sateen with a slight cord.

Epinglé cloth 246
Epinglé cloth Estamine

A fabric with a fine rib effect running crosswise. A loosely woven, woollen fabric. In the later 19th century
Éponge it was a somewhat thick serge, firm in texture, “All-wool
Period: 1912. figured estamens” (1890s).
A soft, loose fabric of cotton, wool or silk, similar to Estrich, estridge
ratine; the warp usually firmly twisted with nubbly or Period: 16th century.
looped filling yarns. A felted material made from the down of ostrich feath-
Ermine ers; used for hats as a substitute for beaver.
Period: Medieval onwards. Etruscan cloth
The white winter fur of the stoat. Powdering of ermine Period: 1873.
(the spots made from the animal’s tail to distinguish A cloth with a rough surface like terry towelling.
royal from ordinary ermine) began in the second half of Everlasting, lasting
the 14th century. Period: 18th century to ca. 1840.
Erminetta A stout worsted fabric with double warps and single
Period: 18th century. weft. “A cloth with a shining surface” (1829).
A thin, linen or cotton fabric. Exhibition checks
Esmeralda Period: 1851.
Period: 1831. Cloth with a large-check pattern, used for trousers in
A white crêpe or gauze embroidered in black and gold. the year of the Great Exhibition.
F
Fabric Period: 18th century.
Period: 19th century onwards. A stout cloth almost impenetrable to wind and rain. A
A manufactured or woven textile used to make thick cloth with a long pile. “A fear nothen Jacket and
clothing; often used interchangeably with “material”, Wescot” (1741, Essex Records).
though the latter is often used only for cloth, that Feathers
is woollen products not silk or synthetic ones. “The Period: 15th century onwards.
increasing popularity of silks as opposed to what are Especially feathers of the ostrich; worn by men as deco-
known as “material” dresses” (1884, Daily News, 27 rative additions to headwear until the late 18th century,
October). and by women from the 16th century onwards. In the
Faced cloth 19th century, especially, feathers of every species of na-
Any cloth which has a different weave or finish on the tive and imported birds were used for headwear, muffs,
front from that on the back. mantles, etc.
Faconné Felt
French term describing fabrics incorporating small mo- Period: Medieval onwards.
tifs in the weave; similar to figured fabrics. A solid composition of the fibres of wool and the hairs
Faille of fur; united without weaving but by matting together
Period: 1863. by heat, moisture and pressure. A material much used
“An unwatered moiré silk”, softer and brighter than for making hats.
grosgrain. Felted knitting
Faillette Period: 16th century.
Period: 1898. A process whereby a knitted article, usually a cap, pur-
A soft, woollen fabric, ribbed, with a gloss like silk. posely knitted too large, is soaked, rubbed and pum-
Falding melled to produce felting and shrinkage to the desired
Period: Medieval. size.
A coarse cloth resembling frieze. Ferret
Farrenden, farrender, farendine Period: 17th century.
Period: 17th century. A narrow ribbon of silk or cotton; a kind of tape.
A cloth of silk and wool. Fibre
Fearnought, fearnothing, dreadnought The basic entity that is the thread-like filaments of

247 Forest white
natural or manufactured structures which are twisted Fleece

into yarns and used to create a fabric. Period: Medieval onwards.
Figured stuffs, figured fabrics The woolly covering of a sheep or other long-haired ani-
Period: 18th century. mal, used to make garments. In the later 20th century
“Designs of flowers, figures, branches, etc., impressed the American firm, Malden Mills, patented Polarfleece
by means of hot irons” (1741, Chambers). In the 19th in 1979 for making into non-technical garments, such
century the designs in coloured threads were woven as lightweight sports clothing. The same firm patented
into the fabric. Polartec for use in technically demanding conditions.
Figurero Florameda
A woollen fabric. A “flowered or figured stuff” (Beck).
Figuretto Florence
A costly flowered stuff; thought to have been woven A woollen cloth originally imported from Italy.
with metallic threads.
Period: ca. 1840s.
Figury
The name denoted a corded barege or grenadine.
It could also describe a thin kind of taffeta used for
A satin and velvet woven with patterns.
linings.
Filled muslin
Florentina
Period: Mid-19th century.
A fine muslin with “lappet spots” produced by zigzag-
A variety of prunella; a material woven from combed
ging extra warp ends over the top of associated warp
wool.
threads.
Florentine
Fillozella, fillozetta, philiselie
A silk or satin textile imported from Florence.
A double camlet. “A kinde of coarse silke” (1598).
Fingroms Period: 19th century.
Period: 18th century. “A silk stuff chiefly used for men’s waistcoats; striped,
A coarse kind of serge principally made at Stirling in figured, plain, or twilled. Two other stuffs are known
Scotland, according to Daniel Defoe. under this name, one composed of worsted (previ-
Fish-net ously Florence); the other of cotton resembling jean and
Period: Late 19th century onwards. generally striped; used for trousers” (Beck). The latter
Open-weave fabric or mesh, not dissimilar to fishing was referred to in 1817 as “the newly invented National
nets, used mainly for stockings and tights. Florentine”.
Fitchews, fitchet, filches Florinelle
Period: Medieval. Period: Late 18th century.
The fur of the polecat or fitch, the under fur being yellow- A glazed brocade, striped and flowered; made at
buff, the upper fur a rich, glossy brown, close to black. Norwich.
Flamingo Flurt silk
“A silk with wool to give it the fashionable crêpy effect”. Figured silk.
Flanders serge Flushings
An English-made worsted fabric. A heavy woollen fabric similar to duffel.
Flannel Foines, foynes
Period: Medieval onwards. Period: Medieval.
Originally a Welsh-made woollen cloth, though called The fur of the beech marten, a member of the polecat
in the 16th century “Welsh cottons”. Made of woollen family.
yarn, slightly twisted, with an open texture; of plain or Forest cloth
twill weave. Period: 16th–18th century.
Flannelette A woollen cloth of good quality, originally from the Forest
Period: 1876. of Dean in England.
Originally an American cloth, one side twilled, the other Forest white
with a plush-like surface, and made mostly of wool; Period: 16th and 17th centuries.
later, almost entirely of cotton, to imitate flannel. A white homespun made at Penistone, Yorkshire.

Foulard 248
When dyed red or blue it was known as a pennystone. A heavy worsted cloth similar to baise.
Foulard Frou-frou
Originally from India; later from France. A soft, light, A satin-like washing cloth.
washing silk, twilled. Fulgurante
Foulard poile de chèvre Period: 1920.
Period: 1870. “A mixture of silk, satin and crêpe”.
A foulard-like fabric of goat’s hair “with the brilliance of Fun fur
Jap silk”. Period: 1960s onwards.
Foule Fabrics imitating fur, using a range of synthetic fibres
Period: 1882. including acrylic and polyester and found in many col-
“A material resembling casimir with a silky look.” Soft ours and patterns. Dyed farmed rabbit pelts were also
and velvety. A twilled woollen. used.
Fox fur Fur
Period: Medieval. Animal coats which are neither hair nor wool, but softer
Fur of the native British fox was used from the early Mid and thicker.
dle Ages. The fur of the Russian black fox was used from Throughout history the warmth offered by fur garments,
ca. 1600. Later preferences included red and silver fox. linings and accessories have made the furs of particular
French jet animals much sought after; rabbit or coney was low in
Period: 1893. status terms, but ermine and sable were highly desir-
A dress trimming composed of jet facets applied to able. See individual entries, e.g. chinchilla, fox, mink,
metal discs. This was a glass imitation of real jet, much etc.
used for beads, etc. Fustian
Frieze Period: Medieval.
Period: Medieval. A coarse twilled fabric with linen warp and cotton weft
A napped woollen cloth, originally Irish. “A coarse (Beck). The surface resembling velvet; hence the term
kind of cloth manufactured in Wales” (1662, Fuller’s “mock velvet”. The name appears to have been also ap-
“Worthies”). plied in the 14th century to a woollen or worsted cloth
Frisé made at Norwich.
Period: Late 19th century. Fustian anapes
Generally, a raised design or surface effect. In 1885 a Period: 17th century.
brocade with the pattern standing up like terry velvet A fustian from Naples; a kind of velveteen. “Mock vel-
was fashionable, and a few years later “a raised frisé vet or fustian anapes” (Cotgrave).
stripe in black silky wool” was mentioned (1892, The Fycheux
Daily News, 24 October). Period: 15th century.
Frizado Fur of the foumart, “otherwise called the Polecat or
Period: 16th and 17th centuries. Fichet”.
G
Gabardine Galloon
Period: 1879. Period: 17th onwards.
A patented cloth waterproofed before weaving. A fine A woollen or thread kind of ferret used as an edging
worsted or worsted/cotton mixture twill, tightly woven of garments. In 1848. “Galloons are now of pure silk.”
and water repellent, more comfortable than rubberized Gambroon
cloths used for raincoats, etc. All-cotton gabardines Period: 1817.
were also made. The fabric was invented by Thomas A twilled cloth of worsted and cotton warp and a cotton
Burberry. weft, in plain weave; also of mohair. Used for waistcoats,
Galatea breeches and trousers.
Period: 19th century. Garlicks
A strong, firm, striped cotton fabric, woven in imitation Period: 17th century.
of linen, with a marked twill. A linen from Gorlitz, in Prussian Silesia.

249 Grey
Gauze See Glossary of Laces.

Period: 13th century onwards. Gingerline
A very thin silk textile, semi-transparent. By the 18th Period: 17th century.
century it was made of linen as well as silk. In the 19th A cloth, formerly a reddish-violet colour.
century it was also made of cotton. Gingham
Gauze illusion Period: 17th century.
Period: 1831. An imported cotton fabric from India made from dyed
A fine, close gauze of silk, resembling tulle. yarn and copied in Manchester and Glasgow in the
Gauze sylphide 18th century. In the 19th century the name was given
Period: 1832. to a stout chequered cloth, originally of linen, later of
A fabric of alternate stripes of gauze and satin ribbon, cotton.
the latter brocaded with bouquets of flowers. Glacé silk
Gazeline barege Period: ca. 1840.
Period: 1877. A plain taffeta with a peculiar lustrous surface.
A semi-transparent fabric of pure llama wool, resem- Glazed holland
bling a barege. Period: 18th century.
Gaze perlee A Dutch chintz.
Period: 1833. Goaly
Semi-transparent gauze with small, silk squares figured Period: 1874.
on it. A kind of ecru silk, the fabric like fine canvas.
Genappe cloth Godelming
Period: 1863.
A fabric of wool and cotton, generally striped in two
Calfskin leather prepared at Godalming, Surrey.
shades of the same colour.
Gore-tex
Genet, jennet
Period: Medieval.
A registered trademark of W. L. Gore & Associates Inc.
The fur of a species of civet cat, grey or black.
This fabric, introduced in 1989, used a Gore patent for
Genoa plush
membrane technology, which produced a fabric that
Period: 1887.
could breathe but resisted wet and windy conditions.
A plush with a very short, thick pile resembling velvet. A
Gossamer
cotton velveteen.
Genoa velvet
A rich silk gauze used for veils.
Gourgourans
An all-silk, brocaded velvet. “A term now applied when
the ground is satin and the arabesque figures are vel- Period: 1835.
vet.” (1876) “A dress material of a light-coloured ground with white
Gentish satin stripes.”
Period: 16th and 18th centuries. Granite
A fabric originating at Ghent in Flanders; at various times Period: 1820s.
cloth or linen might be listed. A stuff made of chenille and used for head-dresses. In
Geolaine 1865 the term was applied to a chiné woollen fabric in
Period: 1928. two shades of one colour.
Woollen georgette. Grazet
Georgette Period: 18th century.
Period: 1914. A cheap woollen stuff of a grey colour.
A filmy, silk crêpe, less dense than crêpe de Chine; Grenadine
later imitated in cotton, rayon and so forth. Period: 19th century.
German serge A light silk or silk and wool gauze, resembling barege
Period: 18th century. but with a more open mesh. Many varieties were made,
A serge made of worsted warp and woollen weft. both plain and figured; an all-wool grenadine was made,
Gimp and some cotton was used.
Period: 17th century onwards. Grey
A coarse lace formed by twisting threads round a foun- Period: Medieval.
dation of wire or twine. Made in various qualities of silk, Thought to be the fur of the grey squirrel imported from
wool or cotton and used as a trimming. Germany.

Gris 250
Gris foulard.
Period: Medieval. Gros des Indes
A grey fur, possibly squirrel. Period: 1827.
Grogram A heavy silk with narrow transverse stripes.
Period: 17th and 18th centuries. Gros de Suez
“A taffeta, thicker and coarser than ordinary” (Bailey). Period: 1867.
Originally of silk and mohair and then known as “Turkey A silk fabric with “three small grains between two larger”.
grogram”. The material was apparently stiffened with Gros de Tours
gum. Period: 1833.
Gros, grosgrain A rich, corded silk resembling terry velvet; almost identi-
Period: 19th century onwards. cal with rep imperial.
A stout silk fabric of rich quality, showing a cord, less Gros d’hiver
perceptible than in poplin, running from selvedge to Period: 19th century.
selvedge. A silk between a tabby and a paduasoy.
Gros de Londres Gros tussore
Similar to Ottoman silk but with a much finer cord Silk slightly knopped on a rep ground.
comprising “two small grains between two large”. Guipure lace
Gros de Naples See Glossary of Laces.
Period: 18th century. Gulik Holland
Resembled taffeta, but stouter. “Lutestring now termed Period: 18th century.
gros de Naples.” A very fine, white linen, used for shirts.
Period: 19th century. Gutta-percha
A corded silk somewhat resembling Irish poplin. Period: After 1842.
Gros de Rome Sap taken from trees in south-east Asia, which acted
Period: 1871. as a natural latex, like India rubber, and was used in
A crinkled silk, between a crêpe de Chine and a waterproofing clothing.
H
Habit cloth Hare
A smooth, close form of broadcloth, without a twill. The fur of the legs of hares; the white winter fur of the
Habutai Irish hare was most esteemed.
Period: Early 19th century. Harlem stripes
A fine, soft Japanese silk. Period: 18th century.
See Jap silk. A linen from Holland.
Hairbines Harrateen, harriteen
Period: Late 18th century. Period: 18th century.
A worsted in plain weave with a rough surface, resem- An inexpensive woollen stuff made from combing wool;
bling mohair. Made at Norwich. often used for bed hangings.
Hambrow Harrington
Period: 16th and 17th centuries. Period: ca. 1835.
A fine linen from Hamborough in Germany. A stout cloth, “both sides smooth and napped”, often
Handewarpes with tufted surface. Used for winter overcoats.
Period: 16th century. Harris tweed
A white or coloured cloth made in East Anglia. Period: After ca. 1850.
Harden A rough, homespun, tweed cloth, of a loose weave;
Period: Early 15th–19th century. hand-made in the islands of Lewis and Harris in the
A common linen made from tow or the coarsest quality Outer Hebrides. In the 20th century adapted for the
of hemp or flax (Beck). fashionable markets in Europe and North America in

251 Inderlins
several weights and colour combinations; the Orb logo or the best foreign.” (1742, The Champion)
on a label guarantees that the cloth is genuinely hand- Hollmes
woven Harris Tweed. Period: 17th century.
Harvards A sort of fustian.
Period: 1890s. Hollow lace
A cotton, striped shirting in two-and-two twill or in plain Period: 16th century.
weave. A braid lace used for edging.
Hemp Homespun
An annual herbaceous plant found in Asia and cultivated Originally a local cloth, literally spun at home, later a
for its tough and resilient fibres which are used for ropes coarse, loosely woven wool cloth, similar to local wares.
and for stout cloth similar to unbleached linen. In the 20th century, tweeds produced in Ireland or the
Henrietta cloth Western Highlands.
Period: 1890s. Hoonan
A cloth resembling fine cashmere, but with silk warp or Period: 1904.
weft. The fine-grained variety of tussore.
Hercules braid Hopsack
Period: ca. 1850. Period: 1860s onwards.
A narrow braid in black or white, having a heavy, ribbed A woollen in plain weave, the threads in weft and warp
weave. interlaced with two or more threads instead of one.
Herring-bone The cloth patterned to produce the effect of a series of
Period: 19th century onwards. small squares. Became a fashionable dress material in
A fabric woven with the direction of the twill alternated to the 1890s. Also applied more usually to a fabric with a
produce a zig-zag effect which resembles the backbone rough surface finish.
of a herring. Hopsack serge
Hessians Period: 1891.
Period: 18th century. A coarsely woven, woollen serge-canvas.
A coarse cloth of hemp or jute. Hounscot say
Holland Period: 15th century.
Period: 15th to 18th century. An English worsted cloth.
A fine linen first imported from Holland; later the Housewife’s cloth
name applied to any fine linen. “That manufactured in Period: From 15th century.
Frizeland and called frize holland is the strongest and “A middle sort of linnen cloth between fine and
best coloured.” (1741, Chambers’s Encyclopædia) coarse, for family uses” (1727–1741, Chambers’s
“There are two sorts of yarn or thread in Dutch or Encyclopædia).
Flemish linen ... the warp is made of Flanders yarn; the Hummums
shute of Silesia. The Scotch hollands are made of the Period: 18th century.
same yarn both in warp and shute, either from home flax A plain-weave cotton cloth from East India.
I
Ikat Imperial gauze
Period: Second half of the 20th century. Period: 19th century.
A resist dye technique whereby the yarn for both warp “An open gauze having a white warp with a coloured
and weft is dyed before weaving in a tie-and-dye meth- weft.”
od. A traditional Indonesian skill which found favour in Imperial velvet
western dress in the 20th century. Period: 1870.
Imperial, cloth imperial A fabric in alternate stripes of corded silk and velvet,
Period: Medieval. the latter double the width of the former.
A silk fabric with figures in colours and gold thread. Inderlins
Originally made at Byzantium, the Eastern Roman Period: 18th century.
Empire. A coarse hempen cloth from Hamburg.

Indian 252
Indian Ionetis
Either drawn muslin lace (“Indian work”) or muslin. The genet, the fur of which resembles that of the
Indian dimity marten.
Period: 18th century. Ipsiboe
“Now called twilled calico” (Mrs Papendiek Journals, Period: 1821.
pub. 1887). A yellow crêpe; named after the eponymous novel by
Ingrain Vicomte d”Arlincourt.
Period: Medieval.
Irish cloth
Wool dyed before weaving, especially scarlets, crim-
sons and purples.
Cloth made of wool, such as frieze or linen.
Inkle
Period: 16th–18th century. Italian cloth
A kind of linen tape, sometimes white but usually col- Period: After 1850.
oured, used as a cheap binding by less well off. A cloth of botany weft and cotton warp, having a glossy
Interlock face; used for coat linings.
Period: Early 20th century onwards. Jacconet
A fabric in which the stitches are woven together to cre- Period: Early 19th century.
ate a closely structured, knitted fabric, usually of cotton, A thin, cotton fabric, between a muslin and cambric;
used for men’s underwear. similar to nainsook.
J
Jacquard fabric Japan, “Printed Jap silks are lovely”. (1902, Today, 14
Period: 19th century onwards. May)
Named after Joseph Marie Jacquard of Lyons, who See Habutai.
invented an attachment which revolutionized the weav- Jardinière
ing of figured fabrics on the loom; there are many Period: 1841.
jacquard fabrics, from brocade to muslin. A striped and gauffred crêpe strewn with small
Janus cord flowers.
Period: 1867. Jean
A black rep of wool and cotton, the fine cord showing Period: 16th century onwards.
equally on both sides. Much used for mourning. A twilled cotton cloth or fustian. In the 19th century, a
Japanese pongee twilled sateen.
Period: 1870. Jeans fustian
A silk of the same texture as crêpe, but with a smooth Period: 17th century.
surface. A jean containing wool.
Japanese silk Jersey
A silk textile, hard and springy, resembling alpaca. The name originated from a worsted made of wool from
Japan muslin the island of Jersey in the 16th century. In the 18th cen-
Period: 18th century. tury the name applied to “the finest of the wool sepa-
Muslin worked in a loom to produce an indistinct or rated from the rest by combing” (Bailey). By 1879 the
“japanned” figure. name was applied to a fine, elastic, plain-knitted fabric.
Japan stuff Such fabrics, jersey, Milanese and tricot, were originally
Period: 17th and 18th centuries. of wool or worsted but later were made from cotton,
Thought to be calico. “Short under-petticoats, pure, rayon or silk.
fine, Some of Japan stuff, some of Chine” (1661, J. Jute
Evelyn, Tyrannus or the Mode). Period: 18th century onwards.
Jap silk Fibre from the bark of the Corchorus plant, used to
Period: 20th century. produce a tough rope or cloth, originally from Bengal
A plain-weave, flat-faced, lightweight silk, originally from but later variants were produced elsewhere.

253 Knitting
K
Karakul Kevlar
See Astrakhan. Period: Early 1970s onwards.
Karamini A proprietary name for a man-made fibre of great stiff-
Period: 1878. ness and tensile strength; used mainly as a reinforcing
A light, woollen fabric with a slight fleecy surface. agent in composite fabrics. Within a synthetic fabric this
Kasha fibre offers protection against fire, water and blows to
Period: 1926. the body.
Name registered by Rodier of Paris. A worsted cloth, Kid leather
two-and-two twill, piece-dyed and given a soft finish Period: 17th century onwards.
and woolly handle; or a soft, silky flannel fabric of wool The skin of young goats or lambs used for the prepara-
and threads of goat’s hair in twill weave. tion of fine, flexible leather for gloves and shoes.
Kendal Kilmarnock
A coarse woollen cloth, usually green, originally made at A Scottish woollen serge made in that town.
Kendal, in Cumberland. Kincob
Kenting Period: 18th century.
Period: 18th century. An Indian fabric generally embroidered with gold or
A kind of fine linen from Holland; imported into Ireland in silver; called a brocade in the mid-19th century.
the mid-18th century and later made there. Kluteen
Kersey, carsie Period: 1815.
Period: Medieval to early 19th century. A striped, French, figured silk, used for ladies’ spencers
A coarse woollen cloth with many varieties in quality and pelisses.
and pattern. The name may record the Suffolk village Knickerbocker
where it possibly originated. It was much used for mak- Period: 1867.
ing stockings before the introduction of knitting. It was A thick, coarse, woollen stuff, self-coloured or speckled.
one of the traditional “narrow cloths” of Yorkshire, in the The date coincides with the introduction of the garment
18th century, and also made in Devonshire in the 17th of that name and presumably the material was designed
and 18th centuries. for this use.
Kerseymere Knitting
“A fine twilled woollen cloth of a peculiar texture, one A continuous web made by interlocking a series of
third of the warp being always above and two thirds loops in a single thread, using long metal needles.
below each shoot of the weft” was a 19th-century James Norbury, the distinguished practitioner informed
description. However, its nature in the 18th century the Cunningtons that, “You are perfectly safe in saying
is uncertain. It seems to have been introduced as that “knit caps” were made in England during the 14th,
a rival to the patented cassimir, and was possibly 15th and 16th centuries. “Felted” caps were knitted first
very similar; the name first appears in an advertise- before being felted. ... As early as 1320 in an Oxford
ment in the Bath and Wilts Chronicle, January 30, Inventory (Thorold Rogers, History of Agricultural and
1772, as “Kerzymear”. Whether it was made of Prices in England) are listed two pairs of “Caligne de
English or Spanish wool is uncertain, but after 1820 Wyrsted” – knitted gaiters.”
the Saxony merino wool was replacing the Spanish Under Edward IV “certain Acts were passed to pro-
and at the same time the names “kerseymere” tect the British knitters from their Continental rivals ...
and “cassimir” were being used interchangeably in Sleeves, caps, and some form of loose waistcoat were
fashion journals. By 1845 writers on textiles, such knitted in England at this time.” Machine-knitting by a
as Perkins, regarded them as merely a matter of stocking frame was invented in 1589 by the Rev. William
spelling, an example followed by Beck in 1885, Lee (see Stockinet, Stocking-kerseymere). Both
and by later writers. The confusion in the earlier hand- and machine-knitted garments, especially caps,
records is increased by the habit, in inventories and were found during excavations in the last quarter of the
tailors’ bills, of abbreviating names of materials, e.g. 20th century, many in a well-preserved state.
“Saxon drab kersey” (1822) may have been short for Knitted clothing produced by hand or on a machine
“kerseymere”. became increasingly popular from the late 19th century

Knotting 254
onwards. in the 20th century it was a popular domestic A fancy thread-work made by the knitting of knots in the
pastime. thread; similar to tatting. Used for bordering garments,
Knotting and at the end of the 18th century stockings were oc-
Period: 17th and 18th centuries. casionally made of knotting.
L
Lace Lanital
Period: Medieval onwards. Period: ca. 1936.
A term denoting a variety of accessories to clothing. A man-made fibre based upon a constituent of milk.
These are: a cord, usually of closely woven thread or silk “The manufacture of artificial wool from milk has been
and commonly with aglets at the ends, used for drawing successfully started in Italy, and the product known as
together two edges, e.g. shoe-lace, stay-lace; secondly, lanital has been shown to possess properties suitable
a narrow braid woven on the loom; thirdly, braid lace for the textile industry.” (1937, Nature, 23 December).
as an edging to a garment from the second quarter of Lapland beaver
the 15th century onwards, often of metal thread; and Period: 1859.
lastly, an openwork fabric of linen, cotton, silk, woollen A textile with “a twill on the face and has the appearance
or metal threads, from the 16th century onwards. After of plush; made in a variety of colours”. Used for capes
1660 a distinction was made between bobbin lace or and outdoor garments.
bone lace, made on a pillow by threads attached to Lastex
bobbins, and needlework, known as point lace. Period: Early 20th century.
See Glossary of Laces for various types, both hand- and The US Rubber Company’s name for elastic yarn made
machine-made. of rubber combined with cotton, rayon or silk; used in
Laid work foundation garments and underwear.
Period: 16th century. Lasting
A form of decoration corresponding to appliqué.
See Everlasting.
Laine foulard
Lawn
Period: 1861.
A silk and wool washing silk fabric.
A very fine, semi-transparent linen cloth, but also men-
Lake
tioned in Sumptuary Laws of 1363 as a coarse country
Period: Medieval.
cloth, with ploughmen, shepherds, carters, etc., forbid-
“A kind of fine linen or perhaps lawn” (Strutt).
den to wear any sort of cloth but “blanket and russet
Lambskin
lawn”. In the 17th century “lawns commonly called
French lawns” were a very fine quality of cambric. The
Black and white skins used for lining and facing
name was derived from the French town of Laon where
garments.
the fabric was said to have been first made (Skeat). It
Lambswool
was identical with cloth of Rheims, and similar to cam-
bric, made in Cambrai – neighbouring cities famous for
The yarn spun from the fleece of young sheep, popular
the quality of their linens.
for knitted cardigans and jumpers.
Lamé Leather
Period: 1920s onwards. Period: Medieval onwards.
Term taken from the French for “metal strip” and given Hide or animal skin prepared for use in clothing and
to fabrics woven with metallic threads; popular for wom- accessories.
en’s evening wear. Lemister, lemster
Lampas, lawmpas, lampors Period: 16th century.
Period: 14th century. A fine woollen used for knitting caps; the Herefordshire
A figured fabric of any type of weave, plain, satin or wool being much used for this purpose.
twill with weft floats, often coloured, bound with a warp See Bewdley caps, Monmouth caps.
thread and partial, as with brocade, or across the whole Leno
width of the fabric. The fibres can be silk, cotton and Period: Late 18th and early 19th centuries.
silk, or just cotton. A gauze-like linen fabric.

255 Lutestring, lustring
Leopard A worsted braid woven with a design peculiar to the

Period: 15th century. household where it was to be worn.
Leopard’s fur; especially popular in the 16th century. Lizard, luzard
Lerion Period: 16th and 17th centuries.
Period: 12th century. The fur of the lynx.
Possibly the fur of the grey dormouse. Llama
Lettice Period: 1889.
Period: Medieval. “An elastic make of cloth of the vicuna class.” Made
A white fur resembling miniver; probably the fur of the from the hair of the South American animal of that name.
snow weasel. Llama cloth
Levantine Period: 19th century.
Period: 1815. Cloths with a llama-wool face, and finished with a long
A twilled sarcenet. In the 1840s it was a rich faced, nap. Used for overcoats.
stout twilled silk fabric similar to the surah of the 1870s. Lockeram, lockram
Levantine folicé Period: 15th–17th century.
Period: 1837. A coarse linen, used for shirts and smocks, worn by the
A soft, rich silk with arabesque patterns. poorer classes.
Liberty Art silks Looking-glass silk
Period: 1870s onwards. Period: 1892.
Originally East Indian tussore silks printed in Europe; “A glacé with a suspicion of moiré on its shining
becoming in the 1880s a generic name for artistically surface.”
designed silks, usually of Indian weave, sold under that Loretto
registered trademark. Period: 18th century.
Limousine A fine silk fabric used for waistcoats.
Period: 1874. Louisine
A thick, rough woollen, coarser than cheviot and hav- Period: 1880s.
ing a hairy surface. A very thin kind of surah silk.
Lincloth Love
Linen cloth. A thin silk with narrow satin stripes in it; used for ribbons.
Lincoln green Lucern
A green cloth used especially by huntsmen, verderers, The fur of the lynx.
etc. Luisine
Linen Period: 1834.
Period: Medieval onwards. A heavy rep silk.
A woven fabric made of flax; made in England from Lumbardine
Roman times or before. Many varieties and qualities. Period: 16th century.
Linsey-woolsey Fine gauze identical with pleasaunce.
Period: 16th century. Lurex
A cloth of linen and wool, said to have originally been Period: 1940s onwards.
made at Linsey, Suffolk. The warp of thread, the weft Trademark name of the American Dow Badische
of worsted. Company for its metallic fibre yarn. Either woven or
Lisle knitted with cotton, nylon, rayon, silk or wool fibres,
Period: Mid-19th century onwards. lurex was and is made into garments, especially
Hand-spun, two-ply cotton yarn, twisted to compact evening-wear.
the fibres; often with a mercerized finish. The name Lustre
reflects its original centre – Lille in France. Used mainly Period: 19th century.
for stockings. A thin kind of poplin, of silk and worsted. In the 1890s
Lisse the term was applied to a variety of mohair with a shiny
Period: 19th century. surface.
An uncrimped silk gauze. Described in 1894 as “the Lutestring, lustring
new name for improved uncrushable chiffon.” Period: Late 16th–19th century.
Livery lace Originally a fine, somewhat lustrous taffeta. In the 19th
Period: 18th century onwards. century, a very fine corded silk with a glossy face.

Lutherine 256
Lutherine A man-made fibre introduced by Du Pont; its elasticity,

Period: 18th century. abrasion resistance and stretch made it a significant
Listed under “Mixed goods” and probably an early form component in underwear and also from the 1970s on-
of lustre. wards in tights, exercise wear and swimsuits.
Luvisca Lynx
A soft, sheeny, artificial silk made by Courtaulds. A greyish-tawny fur with black markings, long and silky
Lycra and used as a lining and trimming for garments.
Period: 1958 onwards. See Lucern.
M
Macabre Mantua silk
A light, silk and wool fabric figured in small designs and “Those glorious Italian silks which our countrymen find
edged with a gothic border. more difficulty in imitating than any other” (1758, A New
Macramé Geographical and Historical Grammar).
Period: 20th century. Marabout, marabou
A type of decorative knotting, originally from Arabia and Period: 19th century.
used on furnishings before its entry into decoration on Feathers of a species of African stork. Also, by 1877,
clothing and accessories in the 1960s. a term descriptive of a woollen soft to the touch but
Madonna looking rough and mossy on the surface.
Period: 19th century. Maramuffe
A fancy alpaca; a plain weave with satin stripes. Period: 17th century.
Madras A cheap kind of cloth; also known as pyramid. Made
Period: 1825. of woollen yarn with a plain weave. Also a type of muff.
A muslin with transparent ground having a pattern in Marble
thick, soft thread embroidered upon it. Madras muslin or Period: 13th–18th century.
Madras net muslin was one of several washable fabrics A cloth woven or dyed in colours to resemble marble
thought suitable for embroidered clothing. From the markings. A similar fabric was made in silk.
late 19th century the term also applied to a lightweight Marbrinus
cotton fabric with non-run-resistant stripes or checks Period: 14th century.
woven through the white ground, used for clothing. Worsted cloths woven with pale-coloured warp and
Malines coloured wefts to imitate a marble appearance.
Period: 1885. Marceline
A fancy canvas, closely woven, having the appearance Period: 1833.
of being interwoven. “A brilliant but slight kind of sarcenet.”
Manchester cottons Marcella
Period: 16th century. Period: 18th to early 20th century.
“Its woollen cloths which they call Manchester cot- A cotton quilting or coarse piqué with a diaper pattern
tons...” (1590, Camden). The genuine cotton fabrics of in relief. Used for waistcoats.
that city date from ca. 1640. Marguerite
Period: 18th century. A dress fabric woven of silk, wool and linen.
Term for a fabric with stripes of cotton and wool. Mariposa
Manchester velvet Period: 1872.
Period: 18th century. A washing sateen with stripes alternately plain and
Cotton velvet. dotted.
Mantling Marocain
Rough, blue-and-white-checked cotton cloth for A plain-weave fabric woven from crêpe yarns with a
aprons. “pebbly” finish. Also a ribbed crêpe fabric of silk, silk

257 Mirror velvet
and wool, or just wool. Messellawny

Marquisette Period: 17th century.
Period: 1906. “A 17th century stuff” (Beck). Possibly a cotton or
“Between ninon and crêpe de Chine”. muslin.
See Grenadine. Mexican cloth
Martiniques Period: 1865.
Period: Late 18th century. Cloth of strong raw silk, washable.
A woollen fabric made at Norwich. Microfibre
Martrons, marters Period: Late 20th century onwards.
Period: Medieval. Exceptionally fine manufactured fibres, eight times finer
The fur of the pine marten; a rich dark brown. than wool and twice as fine as silk, which when used
Matelassé in fabrics offers qualities such as lightness, softness,
Period: 1839. gentle draping. Four such fibres are used for fabrics,
A firm, substantial silk woven to resemble quilting. acrylic microfibre, nylon microfibre, polyester microfibre
Mecca and rayon microfibre.
Period: 1877. Mignonette
Gauze of the thinnest texture with dashes of silk in the Period: 18th century.
wool. A light, fine pillow lace, fashionable for head-dresses
Mecklenburgh after ca. 1750.
Period: 18th century. See Glossary of Laces.
Wool damask with stripes in coloured floral designs. Mikado
Made at Norwich. Period: 1875.
Medley A silk alpaca imitating Jap silk; made by Lister of
Period: 16th–19th century. Bradford.
A cloth made with wools of different colours for the warp Milanese taffeta
and weft. Period: 1880.
Melrose A semi-transparent silk fabric woven on the cross.
Period: 18th century. Milk-and-water
A fabric of silk warp and wool weft. Period: 16th century.
Melton A cloth probably so named from its blue/white colour;
Period: 19th century onwards. possibly a woollen cloth.
A heavily milled woollen cloth with a short dense nap; Minikin
closely woven. Resembling beaver cloth. Period: 17th century.
Melusine A form of baise; a plain-weave worsted made in
Period: 1948. Norwich.
Long-haired felt, used for hats. Miniver
Memphis Period: Medieval.
Period: 1836. The winter fur of the red squirrel which was greyish-
A semi-transparent fabric of very fine cashmere wool. white. Two versions were used; the first with the grey
Mercerization retained, “miniver gros”, and the other with only the
Period: 1850 onwards. white fur retained, “miniver pure”.
A technique developed by John Mercer, a successful Mink
Lancashire calico dyer; this process treats cotton with Period: 15th century.
caustic soda and gives a silky finish and strengthens The black fur of the Putorius lutreola, the European stoat-
the fabric. like creature whose fur resembled sable but was shorter
Merino and glossier. This was gradually replaced in the late 19th
Period: 1826. and 20th centuries by its larger, North American cousin.
A thin, twilled, woollen cloth originally made of wool from It was found wild, or increasingly farmed from around
Spanish merino sheep. A worsted plainback, very soft 1940, and provided a dense, glossy fur. Originally dark
to the touch. “French merino” indicated the better quali- in colour, ranched mink was both bred to provide vari-
ties, though made in England. Inferior qualities contain- ous hues or dyed using the paler furs.
ing cotton appeared under many fancy names. Mirror velvet
Merino crêpe Period: 1890s.
Period: 19th century. A watered velvet having the appearance of reflections
A mixture of silk and worsted, having a shot effect. in its surface.

Mistake 258
Mistake Period: 20th century.

Period: 1806. A firm, woven, cotton fabric with a velvety finish.
A shaded silk used for ribbons. Molleton
Mockado Period: 1865.
Period: 16th to end of 18th century. A thick, smooth flannel in plain weave or two-and-two
An imitation of velvet, usually of wool. twill; used for dressing-gowns. Later often of cotton.
Mock velvet Momie cloth
Naples fustian; a twilled cotton fabric. Cloth of cotton or silk warp and woollen weft, resem-
Modal bling a fine crepe; usually black and used for mourning.
Period: 20th century. Monkey
An alternative to viscose but also using a cellulose base Period: Early 20th century.
for a synthetic fibre which was seen as a good competi- A fur using the skin and long, silky, black hair of the
tor to cotton. Its properties, such as absorbency, drap- Ethiopian monkey.
ing and taking dyes well, recommend it for knitting or Monkey skin
weaving by itself or with other fibres. Period: 1858.
Mohair A fashionable material for ladies’ muffs.
Monks’ cloth
A closely woven stuff of the hair of the Angora goat;
A worsted cloth.
two varieties of the material, one plain, the other wa-
Montpensier cloth
tered. In the 18th century described as “Of silk, both
Period: 1871.
warp and woof, having its grain wove very close” (1738,
A smooth, soft cloth twilled on the wrong side.
Chambers). In the 19th century it was woven with silk,
Moravian work
wool or cotton warps and resembled alpaca. In the 20th
century imitations were produced using synthetic fibres
A revival of the 16th-century cutwork with button-holing
or mixtures, and its appearance was often teased and
at the edges; a forerunner of broderie anglaise.
fluffy rather than smooth.
Moreen, moireen
Mohair lustre
An all-worsted, plain-weave fabric with fine warp and
Black fabric resembling alpaca, with mohair weft and
thick weft, with a “watered” surface.
cotton warp. This was produced in three qualities:
Morelly
closely woven “brilliantine”, which has the most lustrous
surface; “Sicilian”, the heaviest quality; and “lustre”, the
A kind of tabby. “A morelly coate striped yellow and
lightest of all.
black” (1681, Verney Memoirs).
Moiré antique
Morisco work
A heavy, stout, watered grosgrain, the watering being Couched embroidery in gold or silver in arabesque
in irregular waves. patterns. “A pair of sleeves of Morisco work” (1547,
Moiré gauloise Inventory of the Wardrobe of Henry VIII).
Period: 1904. Morocco leather
A soft and subtle type of moiré antique. Period: 17th century onwards.
Moirette Goatskin leather tanned with sumac and generally red.
Period: 1896. Moscow beaver
A worsted fabric, similar to moreen but lighter in weight, Period: 1868.
with a watered surface and slightly stiffened. Used for A shaggy, napped beaver cloth, for overcoats.
“rustling foundations” and petticoats. Moss cloth
Moiré velours Period: 1878.
Period: 1897. A soft, rich fabric of silk and wool with a mossy texture.
A silk and wool, watered velvet with a large, irregular Moss crêpe
design. Period: 20th century.
Moleskin A fabric with an irregular, mossy surface.
Period: 19th century. Motley
A coarse fustian, strong and twilled; resembles bar- Period: 14th century onwards.
ragon. Used for trousers by working-men. A worsted of mixed coloured wool; originally a fine cloth,

259 Nankeen, nankin
later rather coarse. “A cloth which they [the Danish A cloth made from disintegrated woollen rags, espe-
courtiers] call Kentish cloth, we call Motley” (1617, cially those hard-twisted and felted.
Fynes Moryson). See Shoddy.
Moufflon serge Muscord
“A kind of brushed woollen textile”. A woollen cloth.
Moultan muslin Muscovite
Muslin with a woven pattern “worked with a lappet “A handsome thick corded silk.”
wheel, made exclusively at Glasgow”. Muscovite velvet
Mountain moss
Period: 1883.
Period: 1859.
Velvet brocade on a ribbed silk ground.
“Resembles fur beaver but is lighter and softer.” Used in
Muser
mixed and plain colours; e.g. for loose capes.
Mousselaine de laine
A spangle hanging by a thread from the surface of a
Period: 1833.
garment instead of being stitched down.
A fine, light, woollen cloth of muslin-like texture; often
“figured in gay patterns like a calico print”. Of cotton Muslin
warp and worsted weft, if of English make; of all wool Period: 17th century onwards.
if French. A fine cotton fabric having a downy nap on its surface.
Mousselaine de laine chiné “The flimsy muslins from India” began to be imported
Period: 1841. into England ca. 1670, displacing the flaxen linens and
As mousselaine de laine, with chiné patterns. cambrics in the fashionable world. Manufactured in
Mousselaine de soie England and Scotland ca. 1780. The varieties used in
Period: 19th century. the 19th century may be divided into seven categories.
A very fine, soft, silk fabric with an open mesh; an early First, book muslin, similar to Swiss but coarser; sec-
form of chiffon. ond, Indian, which was soft, thin, opaque, with a slight
Mousselaine Thibet “greasy” feel; third, leno with a very open weave, but
Period: 1832. stiff. The fourth type was Madras with its transparent
A silk and wool fabric, semi-transparent, with a watered ground with a pattern in thread darned upon it; fifth was
surface. mull muslin; the sixth variety was organdie, a soft,
Mousselaine velours opaque muslin with a raised spot worked in it; the last
Period: 1832. type was “Swiss muslin”, with a hard finish but nearly
Mousselaine de laine figured with cut velvet stripes. transparent.
Mozambique Musterdevillers, musterdevelin, must deviles
A silk broché, wool grenadine. A mixed grey woollen cloth woven at Montivilliers in
Mull muslin Normandy.
Period: 19th century. Myllion
Soft, thin muslin, not silky; finer than nainsook. Period: 16th century.
Mungo A fustian from Milan. “A piece of millyan fustian...” (1588,
Period: 19th century. Essex County Sessions Rolls).
N
Nacré velvet Nak, naquet
The French term nacré means “pearly”, and this style of Period: Medieval.
velvet has a base colour which is different to that of the A cloth of gold brocade imported from the Near East.
pile, giving a changeable effect. Nankeen, nankin
Nainsook Period: 18th century.
Period: 18th century. A cotton cloth of a yellowish-brown colour, originally
A somewhat heavy Indian muslin. from Nankin.

Nappa leather 260
Nappa leather Perpetuanoes, Bayes”, etc. The “Old Draperies” were

Period: ca. 1895 onwards. textiles such as broadcloth and the kerseys. It ap-
A very soft leather, usually based on goat or pears that some of the so-called “New Draperies”
sheep hides and alum tanned; originally used for were old ones under new names, and that “ a buffyn,
gloves, it is now used for many other items of a catalowne, and the pearl of beauty, are all one cloth;
clothing. a peropus and paragon all one; a saye and pyramides
Naps all one; the same cloths bearing other names in times
Period: 18th century. past” (Complaint by the Worsted Weavers of Norwich,
A term denoting cloths subjected to “friezing” or twisting reign of James VI & I).
the nap into knots. Ninon
Natte Period: 20th century.
Period: 1874. A lightweight, plain-weave fabric, originally silk but later
A firm, substantial silk woven to resemble cane- rayon and nylon.
plaiting. None-so-pretty’s
Nattine Period: ca. 1770.
Period: 1916. A linen tape on which were woven figures in colours.
A thin, fine cloth with a canvas effect. Norwich crepe
Neat’s leather Period: 19th century.
Period: Medieval. A textile with silk warp and worsted weft, of two shades
Leather made from the hide of “neat” cattle, i.e. oxen; of a colour; it had the advantage of being reversible and,
used for footwear. unlike bombazine, had no twill.
Needlework Norwich fustian
Period: Medieval onwards. Period: 16th century.
The craft or art of sewing with a needle to make cloth- A worsted cloth woven at Norwich in imitation of fus-
ing, embroider, or create soft furnishings. The invention tian anapes; the name legalized in 1554.
of the sewing machine in the mid-19th century did not Norwich grograine
end the need to finish garments by hand. Period: 16th century.
Neigeuse A fine worsted cloth made at Norwich.
Period: 1877. Norwich satin
A soft, twilled woollen with a surface speckled or “clot- Period: 16th century.
ted”, and rough-faced. A worsted cloth made at Norwich; the name by which
Net russel satin and satin reverse were known.
Period: 16th century onwards. Novato
A fabric of fine mesh, used for veils, etc. Period: 17th century.
Nettlecloth A fabric of wool or silk. “A paire of ash couller novato
Period: 17th century. hose” (1614, Lismore Papers).
Linen made from nettle fibres in place of hemp; syn- Nun’s cloth
onymous with Scots cloth. “Three linings for partlets, Period: 1881.
of nettle-cloth wrought with red silk” (1553, Hatfield “A fine thin untwilled woollen fabric formerly called
Papers). mousselaine de laine; it is a kind of bunting.”
Network Nun’s thread, sister’s thread
Lace consisting of a ground of net of square meshes on A fine, white thread made in the convents of Italy and
which is worked the pattern, sometimes cut out of linen Flanders and used for netting and lace.
and appliqué, but more usually darned with stitches Nun’s veiling
like tapestry. “A sute of blacke net worke” (1574, Lord Period: 1879.
Middleton MSS). “A suit of network” appears to have A kind of thin, woollen barege; synonymous with voile.
been a set of matching bands, ruffs, ruffles, etc., suf- Later, used as a synonym for nun’s cloth.
ficient to enhance a man’s suit of clothes or a woman’s Nylon
dress. Period: ca. 1930 onwards.
New Drapery Term for a range of synthetic fibres using polyamide
Period: 16th century. structures; discovered around 1930 by Du Pont, the
Refugee weavers, Walloons in 1561 and Netherlanders American company, and used for hosiery and cloth-
in 1568, settled in Colchester, Norwich, Maidstone, etc. ing. A versatile synthetic, as it can be woven in many
and introduced stuffs to which they gave new names; different weights and knitted to eliminate the feeling of
known as “the New Drapery”, to include “Sarges, stickiness associated with early nylon fabrics.

261 Oxford shirting
O
Oiled leather Orphrey
Leather dressed with fish oil, to imitate chamois leather; Gold embroidery; later, a border of narrow strips of any
used for labourers’ breeches. kind of embroidery.
Oldham Osbro
A coarse worsted cloth made in Norfolk, the name Worsted fustian, often mixed with silk.
probably a corruption of Aldham. Osnaburg, Ozenbrig
Ollyet Period: 16th century.
Period: 17th century. A German linen.
A woollen cloth made at Norwich; similar to bombazine. Otter fur
Ondine Period: Medieval.
Period: 1871. The fur of that animal used as a trimming on clothing.
A very soft and brilliant silk and wool mixture. By 1893, Ottoman plush
a corded silk crepon. Period: 1882.
Ondule A silk fabric having a broad, corded ground with plush
Period: 1865. figures of close, thick pile.
Cloth having a wavy appearance in the warp. Ottoman rep
Opossum Period: 1882.
Period: Early 20th century. A lustrous satin rep woven on both sides with flat
Thick fur in shades of brown, grey and black, taken from cording.
a marsupial found in Australia, New Zealand and the Ottoman satin
USA; popular as a coat lining and trimming. Period: 1832.
Orgagis A rich, shaded satin brocaded with flowers.
Period: 18th century. Ottoman silk
A coarse Indian cotton cloth. Period: 1882.
Organdie, organdy “A term loosely applied to every kind of silk with a hori-
Period: 19th century onwards. zontal thick cord and two or three cords in between.”
Crisp-finished fine cotton gauze. Ottoman velvet
See Muslin. Period: 1869.
Organza A velvet with coloured patterns brocaded over it. By
Period: Early 19th century onwards. 1879, a richly repped, uncut velvet.
A light, stiff, translucent silk fabric; in the 20th century Ounce
often a synthetic fabric. Period: 16th century.
Oriental satin Originally the fur of the lynx, but later applied to that of
Period: 1869. other small feline animals.
A soft and thick, all-wool or silk and wool fabric, woven Outnal thread, Wotenall thread
in two colours, one brilliant, the other dark. Period: 16th century.
Orleans cloth Possibly “the Flemish brown flaxen thread”, defined as
Period: 1837. such in the early 19th century.
Resembles an untwilled Coburg, the warp of thin cot- Oxford
ton, and the weft of worsted. Period: Early 19th century.
Orlon A corded cotton and wool fabric.
Period: 1940s onwards. Oxford shirting
Tradename of a Du Pont acrylic fibre which was first Period: 19th century.
made during World War II; often used in knitwear fabrics A cotton cloth, plain weave, with narrow coloured
as a substitute for wool. stripes.

Packing white 262
P
Packing white Paragon, Peropus, and Philiselles may be affirmed to be
Period: 1483. double Chamlet, the difference being only the one was
A woollen cloth mentioned in an English Act of double in the warp and the other in the woof” (ca. 1605,
Parliament of that year. “Allegations on behalf of the Worsted Weavers”).
Padou In the 18th century it was a stuff made from combing
Period: 18th century. wool.
A silk ribbon, imported from Padua. Paramatta
Padua serge Period: 19th century.
Period: 18th century. A fabric at first made with a silk warp and worsted weft,
A cloth for poor women’s gowns. In 1863, a silk serge resembling Coburg. Later, it was made with a cotton
used for linings. warp. Used chiefly for mourning.
Paduasoy, poodesoy, pattisway Parapes
Anglicized from pou de soie, a 17th- century French A fabric which resembled paragon.
term describing a strong, corded or grosgrain silk, often Parchmentier
figured. Later revived as poult de soie. Period: 19th century.
Paillette silk A thin, stiff, wool cloth made at Norwich.
Period: 1904. Paris cloth, toile de Paris
A lustrous silk; the least rich of the satins. Period: Medieval.
Paisley A fine white linen.
Name of a Scottish town which became synonymous A woollen cloth.
with the production of fine woollen cloth woven with a Parisian cloth
distinctive design of a cone (buta in Indian), much used Period: 19th century.
for shawls in the 19th century. The design was printed An English fabric of cotton warp and worsted weft.
on a range of fabrics in the post-1970 period. Parisienne
Palmyrene Period: 19th century.
Period: 1827. A French cloth of merino wool with small brocaded
A textile between a poplin and a barege; embroidered designs; also, in 1842, an English worsted; a figured
in silks. Orleans cloth.
Palmyrienne Passementerie
Period: 1831. Period: 16th–17th century.
A shot wool-and-silk textile, resembling mousselaine Ornamental braids and other trimmings of gold and
de soie. silver, silk or cotton threads.
Pampilion Period: 19th century.
Period: 15th–16th century. Colourful braids and fringes decorated with beads, silk
Black budge fur from Navarre. In the 16th century also and metallic threads.
a species of felt. Patchwork
Panne Period: 18th century onwards.
Period: 1899. Small pieces of fabric of various colours and patterns
A soft, silk fabric between velvet and satin; a term sewn together to form a larger item. Also printed fabric
sometimes applied to satin-faced velvet or silks with in this style, in the later 20th century.
high lustre. Patent leather
See Panne velvet. Period: Late 18th century onwards.
Panne velvet Very glossy leather made from hide coated with layers
Period: Late 18th century onwards. of lacquer or varnish. Usually black, until the 20th cen-
A soft, lustrous fabric woven from silk or rayon with a pile tury when other colours and synthetic substitutes were
flattened in one direction to enhance the shiny surface. introduced.
Paragon Patent thread, Urling’s patent
A kind of double camlet similar to peropus. “The Cotton thread gassed to scorch off the finer fibres; from

263 Philip and Cheney, Philip and China
which Urling’s lace was formed. A cotton fabric between a gingham and a muslin,
Pearl of beauty striped or quadrilled, and printed in colours.
Period: 17th century. Pereale taffeta
A fancy name for “the New Drapery”, but “a buffyn, a Period: 1859.
catalowne, and a pearl of beauty are all one cloth; may A cambric sarcenet.
be affirmed single chamblettes, differing only in breadth” Perkale
(1604). A striped worsted “by colours in the warp and Period: 1818.
tufted in the stripes”. French cambric muslin.
Peau de soie Perlaine
A dull, heavy silk interwoven with a double satin weave Soft woollen fabric resembling a thick face cloth.
with a sateen finish. Perlon
Peeling, peelon Period: 1941 onwards.
Period: 18th century. A proprietary name for a German nylon fibre. In 1960
A kind of thin satin. an advertisement described a woman’s girdle of “light-
Pekin weight Perlon elastic”.
Period: 1830s. Peropus
A silk fabric similar to taffeta, having fine stripes running Period: 17th century.
through it; hence “ Pekin stripes”. By 1879 this term A double camlet, often watered.
also applied to any fabric with alternate dull and lustrous See Paragon.
stripes. Perpetuana, perpets
Pekine lainage Period: Late 16th century.
Period: 1912. One of the “New Draperies”, a glossy-surfaced woollen
A thin oatmeal cloth with a knopped surface. fabric, the warp of combing wool, the woof of carding
Pekin Labrador wool. “The sober perpetuana-suited Puritans” (1606,
Period: 1837. Dekker, The Seven Deadly Sins).
A Pekin silk figured with wreaths. Perse
Pekin point Period: 13th and 14th centuries.
Period: 1840. A cloth, possibly serge, of a dark bluish colour.
A very rich white silk painted with flowers or bouquets Persian
with foliage, with a light mixture of gold in the pattern. Period: 17th–19th century.
Pekin Victoria A thin, soft silk, usually plain; much used for linings of
Period: 1842. coats, gowns, etc.
A silk fabric with a satiné ground, shot in white and Persian lamb
cherry or blue, with patterns in white. See Karakul.
Pelluce Persian thibet
The early form of the word plush. A woollen cloth with embroidered designs similar to
Pellure those on shawls.
Period: Medieval. Perspex
A generic name for furs. Period: 1935.
Pelurin The tradename of a tough, transparent, acrylic plastic,
Period: Medieval. lighter and less easy to splinter than glass; popular with
Purfled or edged with fur. jewellery designers.
Penniston, pennystone Petersham cloth
Period: 16th–18th century. Period: Mid-19th century onwards.
A coarse frieze made originally at Penistone, Yorkshire. “A heavy woollen cloth having a round nap surface”
See Forest white (1904, Tailor & Cutter).
Percale Petersham ribbon, petershams
Period: Early 19th century. Period: ca. 1840.
A fine calico, slightly glazed and often having a small Thick double ribbon; watered, plain, figured or
printed design. By 1863 described as “a fine glazed striped.
linen.” Philip and Cheney, Philip and China
Percaline Period: 17th and 18th centuries.
Period: 1848. A woollen cloth akin to camlet, but it was capable

Philoselle 264
of being watered: “15 yeardes of water’d Philip and Plush

Cheney” (1627). Period: 16th century.
Philoselle A long-napped velvet of cotton or wool or silk; usually
Period: 17th century. of wool and hair (e.g. goat’s) mixed. In the 19th century
A variety of camlet. it was a shaggy, hairy kind of cotton velvet with a long,
See Paragon. soft nap resembling fur.
Pile Poile de chevre
The raised nap or surface on a heavy fabric such as A plain-weave fabric with a goat’s hair weft and silk
plush or velvet, either left as a series of loops or cut. warp; having a shiny, satin-like face.
Pillow Polayn
A kind of plain fustian. Fur of the black squirrel, possibly from Poland.
Pilot cloth Poldavis
Period: 19th century. Period: Late 16th century.
A thick twilled cloth with a nap on one side; of indigo- A coarse linen.
blue colour. Used for greatcoats. Polony wool
Pintado Period: Late 17th century.
Period: 17th century. Used in making imitation beaver hats.
An East Indian cotton fabric printed in colours. Polyester
Piqué Period: 1940s onwards.
Period: 19th century onwards. Discovered in 1941 and after 1946 used for furnish-
Usually a cotton fabric, woven with a raised rib, often in ing fabrics. Once Du Pont of the USA launched
a diamond pattern, also in straight horizontal or vertical dacron in 1963 polyester fibres came to be used
ribs. “Waffle piqué” has a honeycomb pattern. for clothing fabrics. It is second only to cotton in
Plainback worldwide use, due to its strength, resilience and
Period: ca. 1813. ability to dry quickly.
At first an imitation of cotton jean in worsted; later, Pompadour
single-twilled merinos were developed from it. Period: 18th century.
Plastic A rich silk taffeta with satin stripes and floral sprigs in
Period: 20th century onwards. colours. “Mr. Clarke was dressed in pompadour with
Artificial resin-like substances used to create buckles, gold buttons.” (1762, Smollett, Launcelot Greaves)
buttons, jewellery, etc. from the 1930s onwards. PVC Pompadour chiné
was a plasticized fabric used for outerwear from the Period: 1840.
1960s. A woollen twilled cloth with a small chiné pattern and
Pleasaunce striped horizontally in minute, thread-like stripes.
Period: 16th century. Pompadour duchesse
“A fine species of gauze striped with gold” (Strutt). Used Period: 1850.
for head-coverings. A satin with broad stripes divided by other stripes sprin-
See Crisp. kled with tiny flowers.
Plodan Pompadour shantung
A coarse, woollen, checked material. Worn by women A thick washing silk like foulard, covered with
for cloaks. Pompadour designs on a brilliant ground.
Plommett, plummet Pompadour silk
Period: 16th and 17th centuries. Period: 1832.
A woollen or mixed cloth made at Norwich. Possibly a A silk fabric with black ground and a highly raised pat-
form of plunket. tern in detached sprigs, in lemon, rose and green.
Ploughman’s gauze Pongee
Period: 1801. Period: 1870s.
A fine gauze with satin spots; used for ladies’ evening A tussore silk of an ecru colour.
dresses. Poodle cloth
Plunket, plonkete Period: Late 19th century onwards.
Period: Medieval. A fabric, often of a mixture of mohair and wool, with a
A woollen cloth, usually of a blue colour. looped surface.

265 Pyramid
Popel, pople Princetta

Period: 15th century. Period: 1800–1840.
Squirrel fur, from the back of the animal. A worsted of silk warp and worsted weft.
Popes minsters Printed fabrics
Possibly linen imported from Munster. An early reference is: “1535–6. Wardrobe Warrant. For
Poplin making of a shamewe of blacke printed satten”. Printing
Period: 1685 onwards. of textiles began in London in 1676, at first for the print-
A kind of rep with silk warp and wool or worsted weft, ing of calico, using wood blocks. Printed materials for
having a fine cord on the surface. There are three class- women’s dresses were very fashionable in the 1830s
es: the single, the double, and the terry, the last being and at various times in the 20th century.
richly corded and, unlike terry velvet, the same on both Prunella, prunello
sides. Poplin may be plain, watered or brocaded. Irish Period: 17th and 18th centuries.
poplin, of worsted and silk, was made in that country A coarse form of black shalloon, used especially for
from the 18th century, In the 20th century the term is academic, legal and clerical gowns.
applied to the structure rather than content of the fabric, Puke
and cotton poplins are well known. Period: 15th and 16th centuries.
Poplin broché An imported woollen cloth, usually nearly black in col-
Period: 1841. our, dyed before weaving.
A poplin with broché patterning. Pullicat
Poplinette Period: 16th–18th century.
Period: 1859. From Pulicat near Madras. A cotton fabric used at
“Sometimes known as Norwich lustre and occasionally the close of the 18th century for making coloured
as Japanese silk.” Made with a glazed thread and silk. handkerchiefs.
Poplin lactee Puntenado
A poplin shot with white. Italian needlepoint lace.
Poplin lama See Glossary of Laces.
Period: 1864. Pured
Similar to mousselaine de laine, but softer and Period: Medieval.
thicker. A term for the white fur of the underside of an animal.
Porraye Purl, purle
Period: Medieval. Period: 14th century onwards.
A green, imported cloth. The name was used in the 16th “A kind of edging for Bone Lace” (Bailey). “A narrow
century to denote the colour green. braid” (Planché).
Poult de soie Purled velvet, pirled velvet
A pure corded silk of a rich quality. By 1863, “a mixture Velvet enriched with patterns worked in uncut loops of
of silk and alpaca with a shiny surface”. gold thread.
See Paduasoy. Purnellow
President Period: 18th century.
Period: 1870s. A worsted cloth.
A heavy union cloth of two layers (see double-faced); PVC
the face with cotton warp and wool weft. Period: 20th century onwards.
Princess stuff Polyvinyl chloride was discovered in 1844 and was used
Period: 17th and 18th centuries. for domestic floor coverings, furnishing fabrics, etc. PVC
A dress fabric made of goat’s-hair warp and silk weft. fabric, with its easily-cleaned and waterproof surface,
Prince’s stuff became popular for coats in the 1960s.
Period: 18th century. Pyramid
A black woollen cloth closely woven in plain weave, Period: 17th century.
used for clerical and legal gowns and also for mourning. A wide, coarse and thin form of say.

Quiana 266
Q
Quiana cotton; used for petticoats and linings of gentlemen’s
Period: 1960s onwards. coats.
Light and wrinkle-free nylon fibre introduced by Du Pont See Quilting in main dictionary.
and either knitted or woven into fabrics. Quintin
Quilting Period: 17th century.
Period: 18th and 19th centuries. “A sort of French linnen cloth that comes from St.
A ready-made padding, usually of satin interlined with Quentin in Picardy” (1687, Miege).
R
Rabbit A smooth fabric, either of silk and then called “silk rash”,
Period: Medieval onwards. or of worsted and called “cloth rash”; later known as
A popular and inexpensive fur taken from the small shalloon.
rodent found in many countries. In recent times the fur Rateen
has been dyed or patterned to resemble more expen- Period: 17th century.
sive furs. A thick, twilled cloth, usually friezed.
See Coney.
Raccoon
The generic name of a class of coarse woollens.
Ratine
Fur taken from the American mammal; varying in colour Period: 1910.
from pale grey to brown-black; it was especially popular Loosely woven cotton or wool sponge cloth, with a
from 1920 to 1940. rough, uneven surface with a “knopped” or tufted
Radium poplin weave.
Period: 1916. Ratinet
A fabric of silk and wool, resembling silk poplin. Period: 18th century.
Radzimir A thin form of rateen.
Period: 1849. Ray
A black, all-silk fabric used for mourning. Period: 14th century.
Raffia A word indicating that a fabric is striped, but the name
Period: 19th century onwards. appears also to have been applied to a fabric that was
The young leaves of the raffia palm produced a fibre not coloured.
used as an embroidery yarn, for knitting or woven into Raynes
a coarse cloth. Plastic raffia was produced in the 20th Period: Medieval.
century, when real and ersatz raffia bags and hats were A fine quality of linen made at Rennes in France.
popular at various times. Rayon
Ragmas, ragmersh Period: Early 20th century onwards.
Period: 14th–16th century. Originally called artificial “art” silk, this was made from
An oriental fabric figured in gold. cellulose fibre and was used for stockings and then
Raploch white clothing after 1912. It was re-named in 1924 and its
Period: 16th century. production increased as its use became widespread.
A coarse, undyed, woollen homespun. Red work
Ras du More See Black work.
Period: 18th century. Regatta shirting
A heavy, black silk resembling armozeen; used for Period: ca. 1840.
mourning. A cotton fabric with narrow, coloured stripes.
Rash Regence

267 Russienne
A rich, silk textile with a ribbed, satin face. A striped or checked fabric, probably silk.
Renforcée Rosille de soie
Period: End of 17th century. Period: 1840.
A strong, silk fabric akin to alamode, introduced by A dull silk with pattern in network strewn with flowers
French refugee weavers after 1685. in monochrome.
Rep, repp Roskyn, ruskin
Period: 19th century onwards. Period: Medieval.
A cloth with heavily marked transverse ribs. There were The summer fur of the squirrel; a red chestnut colour.
many varieties – of wool, silk, or silk and wool, such as Rug
poplin. In the 20th century cotton rep was popular. Period: 16th–18th century.
Rep bluet A coarse kind of frieze worn by the poorer classes.
Period: 19th century. Rum-swizzle
A dark-blue silk rep figured with black satin cornflowers. Period: 1850.
Rep imperial An Irish frieze made of undyed wool.
Period: 1835. Russaline
A rich silk imitating terry velvet. Period: 18th century.
Rep sarcenet A woollen cloth made at Norwich.
Period: 19th century. Russel cord
A fabric between gros de Naples and a fine-cut French Period: 1880s.
velvet. Originally an all-worsted cloth, but soon with cotton
Resilda fabrics warps. Resembled a coarse, corded alpaca; used for
Period: 1908. linings.
Uncrushable and unspottable alpaca. Russells
Rhadames Period: 16th century, revived in 18th century.
Period: 1883. Worsted with a lustrous surface like satin; made at
A soft satin with a diagonal grain. Norwich. Synonymous with russel satin.
Rhinestone Russel satin
Period: Late 19th century onwards. Period: 16th century.
Glass or paste imitation diamonds, often used as deco- A Norwich fabric of worsted with a lustrous, satin-like
ration on clothing and footwear, especially since the finish.
1930s. See Norwich satin.
Ripple pony cloth Russet
Resembled a finely ribbed mirror velvet with a bright A coarse cloth or homespun (Bailey). Sometimes brown
finish. but sometimes grey. Worn by the poorer classes.
Roanes Russian crêpe
A fine woollen cloth, usually tawny in colour, made at A species of mat cloth, closely interwoven.
Rouen. By the 17th century, a linen cloth from Rouen. Russian duck
Romaine Period: 19th century.
Period: 1928. A fine, bleached linen canvas; used for summer wear.
A French lining fabric of warp satin weave; also “a light Russian velvet
woollen with a dull surface and flat square weave”. Period: 1892.
Rosadimoi A light woollen of even grain and checked, the stripes
Period: 1820. being small, round, raised twists of a different colour
A corruption of the name “Ras de St Maur” and later from the foundation.
called radzimir. Russienne
Rosetta Period: Early 19th century.
Period: ca. 1700–1750. A silk fabric.

Sabelline 268
S
Sabelline A thin, soft silk with a slight sheen on the surface; of
Period: 17th century. plain and twill weave, variously coloured; sometimes
The skin of the zibelline marten. “shot”. Later much used for linings.
Sable Sarciatus, sarzil
Period: Medieval. Period: Medieval.
The fur of an animal resembling the weasel and of a rich, A coarse woollen cloth, worn by the lowest classes
dark, glossy brown; some were black, hence the use of (Strutt).
the word as a synonym for black. Sardinian
Sackcloth Period: 1870.
Period: 16th and 17th centuries. A heavy, twilled, woollen napped cloth, the nap slightly
A hempen material coarser than canvas; of various col- tufted. Used for overcoats.
ours and worn for outer garments, chiefly by the lower Satarra cloth
classes. Period: 1893.
Saddle twist “Like a hop-sack in texture but the surface finished to
Period: 1865. look like a fancy worsted.”
A trousering “with a narrow thread of a rib”. Sateen
Sagathy Period: 1838.
Period: 18th century. A cotton fabric with a shiny, satin-like face.
A slight woollen stuff, a kind of serge; sometimes mixed Satin
with a little silk. Period: Medieval onwards.
Sailcloth A silk twilled fabric woven with the warp or weft yarns
Period: Late 19th century onwards. passing over several of the other direction yarns before
Strong, densely woven, cotton canvas, though some interlacing, resulting in a smooth finish. A smooth,
jute and linen was also used. Lightweight sailcloth was glossy surface is enhanced by the application of heat;
used for clothing from the 1940s onwards. the back of the fabric remains dull. The brilliancy of the
Saint Omer surface is augmented by dressing.
Period: 17th century. Satin Antoinette
An English worsted cloth. Period: 1834.
Salisbury flannel Satin with white ground and satin-shaded rays, and
Period: 18th century. small, detached bouquets of flowers.
“The principal manufactures of this city are flannels, Satin blonde
druggets, and the cloths called Salisbury Whites” Period: 1833.
(1768). Satin flowered in white on coloured ground, resembling
Samite blonde lace on satin.
Period: Medieval. Satin cashmere
A costly silk fabric, frequently interwoven with threads Period: 1893.
of gold or silver. An uncrushable, all-wool fabric with soft, silky surface.
Sammeron Satin de Chine
A fine quality of linen. “A cloth between flaxen and A satin of silk and worsted.
hempen, finer than the one and coarser than the other” Satin de laine, satin cloth
(Halliwell). Period: 1836.
Santoy A woollen cloth with a smooth surface, used for men’s
Period: 1904. pantaloons.
A silk and wool fabric with a rich sheen. Satin doubleface
Sarata shirting Period: 1928.
Period: ca. 1870. A satin which is shiny on one face but moiré on the
A linen shirting material. other.
Sarcenet, sarsenet Satin du Barry

269 Selisie lawn
A satin with alternate stripes of black and figuring. Satin velouté

Satin duchesse Period: 1837.
Period: 1870. A satin “as rich as velvet and as supple as muslin”.
A thick, plain satin, very durable. Satin Victoria
Satine playé A woollen material resembling silk, with narrow stripes.
Period: 1873. Sattinet
A striped cotton and wool mixture, the face very satiny Period: End of 18th century.
and the stripes twilled. Worsted in satin weave; made in Norwich.
Satinesco Saxony
Period: 17th century. Period: End of 18th century onwards.
An inferior kind of satin. One of the many “New The name given to a cloth made from the merino wool
Draperies” originating from Norwich. of Saxony. By ca. 1820, the name in the UK for a type
Satin Esmeralda of cloth of merino or botany quality, a group to which
Period: 1837. soft tweeds and fine whipcords belong. The cloth was
A rich satin of various colours, with applications of velvet noted for being smooth, soft and dense.
of a darker shade. Say
Satinet Period: Medieval.
Period: 17th–19th century. “A thin woollen serge” (Bailey). “A soft light twilled fabric
A thin, slight satin, usually striped; “used by the ladies of wool and silk” (Linthicum). The latter with a silk warp
for summer Nightgowns”. In 1816 also a silk and wool and wool weft.
fabric with a satin stripe. Sayette
Satin fontange Period: Late 16th century.
Period: 1841. One of “the New Draperies”, a fabric of wool and silk.
A satin with broad stripes alternately white and coloured. Scarlet
Satin foulard Period: Medieval.
Period: 1848. Originally a fine woollen fabric; later, a colour.
A silk fabric satined either in stripes or spots. Scotia silk
Satin jean Period: 1809.
Period: 1870. A fabric of cotton and silk resembling broché.
A finely twilled cotton fabric with a satin gloss. Scots cloth
Satin Lisette Period: 17th century.
Period: 1916. Linen woven of nettle fibres.
Fabric with a spun silk face and wool back. See Nettlecloth.
Satin merino Seal
Period: 1846. Period: Late 18th century onwards.
A fabric of which the right side is finer and silkier than Fur from this aquatic mammal began to be used for hats
cashmere; the wrong side resembles plush. in the late 18th century and by the late 19th century the
Satin merveilleux, merv fur, dyed brown or black, was used for sealskin coats; it
Period: 1881. is a dense, luxurious fur.
A soft, twilled satin resembling thick, rich surah, but Seal plush
with a brighter face and duller back. Period: 19th century.
Satin Montespan A type of plush with a dull surface.
Period: 1833. Seersucker
A rich silk of a dull white ground, striped in large squares. Period: 18th century onwards.
Satin pompadour An Indian cotton fabric. “Canterbury Muslins and
Period: 1835. Seersuckers 13/- to 28/- per gown” (1791, Salisbury
A satin with white ground embroidered in coloured Journal). Washable imitations made in other coun-
flowers. tries offered plain or striped crinkled fabrics of cot-
Satin reverse ton, rayon or silk, with puckered warp stripes. It was
Period: 16th century. popular for summer clothing worn by adults and
A synonym of Norwich satin. children.
Satin turc Selisie lawn
A soft and very brilliant woollen cloth. A cambric imported from Silesia.

Selvytine 270
Selvytine Shanks
“Smooth and soft like velvet, waterproof and Black fur from the legs of kids, goats and lambs. For
uncrushable”. lining and bordering garments.
Sempiternum Shantung
A twilled woollen stuff resembling serge; named for its A thin, soft textile of undyed China silk. By 1904 it
durability. also described a coarse-grained variety of tussore
Sempringham silk. Later there were imitations of cotton and man-
Period: 14th century. made fibres alongside silk, all dyed in a wide range of
A Lincolnshire cloth. colours.
Sequin Sharkskin
Period: 19th century onwards. Period: 20th century onwards.
From the Italian zecchino, a small Venetian coin, this A fabric made from rayon, silk or wool, in a twill weave
decorative metallic disc was used on clothing and ac- which produces a smooth surface with a lustrous sheen.
cessories; in the 20th century sequins were made of Sheep’s grey
plastic. Period: 17th century.
See Spangle. A homespun cloth of undyed, black and white wool.
Serche Sheep’s russet
Period: ca. 1600. Period: 16th century.
Possibly a kind of mohair or serge. Probably identical with fearnought. “Sheep’s russet
Serge cloth called friars’ cloth or shepherd’s clothing” (1598,
Period: Medieval onwards. John Florio, A Worlde of Wordes).
A loosely woven, twilled worsted, much used from the Shepherd’s cloth
17th century. Many varieties were imported with their Period: 18th century.
names of origin distorted, e.g. Serge of Chalon (1649) Identical with fearnought.
became shalloon, and Serge de Nimes became den- Shoddy
im. The warp was usually worsted, the weft was wool. Period: 19th century.
Serge dusoy A remade cloth similar to mungo, but composed of rags
Period: 18th century. of worsted and other loosely textured woollen cloths.
“A stout twilled silk, the twill curiously fine” (Perkins). Shot silk
Sergenim Period: Mid-19th century onwards.
Period: 18th century. A fabric woven with different coloured warp and weft
Serge de Nimes. yarns to create a changeable effect.
See Denim. Sicilienne
Serge royale Period: 1870.
Period: 1871. A fine quality of poplin, the warp of silk, the weft of
A fabric of flax and wool, with a bright, silky appearance. cashmere wool.
Shag Silesia
Period: 16th–18th century. Period: 18th and 19th centuries.
A shaggy cloth, generally of worsted. “A thick-piled Thin, coarse linen with glazed surface. In the 18th cen-
cloth with a nap of worsted or silk” (Linthicum). Often tury used for neckcloths and cravats, and in the 19th
used for linings. century much used for linings; usually of a brownish
Shagreen colour.
Period: 18th and 19th centuries. Silistrienne
A silk fabric with a grained ground. Period: 1868.
Shalloon A wool and silk fabric of a firm texture.
Period: 16th–19th century. Silk
“A slight woollen stuff” (Swift), originally made at Chalon; Period: Medieval onwards.
first known as rash. Later, much used for linings of This product of the silkworm has always been imported
men’s clothes. A loosely woven woollen stuff, twilled on into the UK, either in its raw state or as a silk fabric.
both sides. Fabrics from the Near East, France, Italy, Spain, India
Shammy, shamoy and China reflect trade routes across the centuries. The
Period: 17th century onwards. actual manufacture of woven silk fabrics in this country
Chamois leather. was introduced by Flemish refugees in the 16th century

271 Stone-washed
and much increased by every influx of foreign weavers, A mixed striped fabric of silk and cotton, from India.
especially after 1685. Soyeux linsey
Silk damascene Period: 1869.
Period: 1876. A light and brilliant woollen poplin.
A silk and wool fabric with fine stripes of wool and satin Spandex
alternating. Period: 1958 onwards.
Silk delaine Synthetic fibre introduced by Du Pont and used for ho-
Period: 1830s. siery, lingerie and swimwear because of its elasticity and
A fabric of silk and worsted. lightweight qualities.
Silk serge Spangle
Period: 19th century. Period: 15th–19th century.
A thin, twilled silk fabric, much used for coat linings. Small, decorative pieces of glittering material, usually
Silverets metallic; originally lozenge-shaped, later circular, sewn
Period: 18th century. on garments.
A cloth used for mourning garments. Spanish crape
Sindon Period: 18th century.
Period: 15th century onwards. An all-worsted cloth made at Norwich.
A fine linen fabric. Spanish medley
Sipers Period: 17th and 18th centuries.
A fine lawn; also a synonym for cypress. A Dorset broadcloth made of Spanish merino wool
Sirge debaragon mixed with English.
Period: 17th century. Sparta velvet
A light variety of serge. Period: 17th century.
Sirsaka Another name for fustian anapes.
Period: 1835. Spiral Witney
“A silk striped lengthwise in narrow light-coloured stripes Period: 1861.
and traversed horizontally by dark ones.” “A soft material with short curls on the face, somewhat
Siskin between a napped Beaver and a Frieze.”
Period: 14th century. Spun silk
A Flemish cloth of a green colour. Period: Late 19th century.
Sister’s thread A yarn made by spinning short fibres, often from waste;
See Nun’s cloth. sometimes known as “schappe silk”.
Skiver Stamfortis
Period: 18th century. Period: Early Medieval.
A thin kind of dressed leather. A strong and costly cloth.
Sleasy holland Stammel, stamin
A name given to “all thin, slight, ill-wrought hollands” The earlier name of “stamin” denoted a fine worsted
(1741, Chambers). cloth, generally red. In the 16th century, under the name
Sleaved silk of “stammel”, it described a good quality of worsted or
Period: 16th century. linsey-woolsey, generally red.
Raw floss silk. Stockinet, stockingette
Slesia lawn Period: 18th century onwards.
Period: 17th century. A closely woven woollen textile having a mesh resem-
A fine linen resembling cambric. bling knitted material. Used for tight-fitting pantaloons
Slipper satin in the early 19th century. Later made of silk, cotton and
Period: 20th century. synthetics and offering a plain, smooth finish.
A hard-wearing, closely woven fabric with dull back and Stocking-kerseymere
semi-glossy surface. Period: 1836.
Soisette “Has the face and firmness of a Saxony cloth and the
Period: 19th century. elasticity of stocking.” Used for evening-dress trousers.
A fine, muslin-type, cotton fabric; plain weave with a Stone-washed
soft finish. Period: 20th century.
Soosey A technique whereby a fabric is artificially aged or dis-
Period: 18th century. tressed. Usually associated with denim, the original

Strait 272
process involved real stones to abrade the surface and A superior quality of broadcloth made of Spanish me-
reduce colour, but this process was overtaken by a rino wool.
chemical one which was easier to control.
Strait
A West of England broadcloth of merino yarn, fairly
heavy, heavily felted, raised and cropped, with a soft,
Term denoting any “strait” or narrow cloth as opposed
firm handle and lustrous face. It was much used for
to broadcloths; their dimensions were fixed by statute
men’s clothing until ca. 1880.
in 1464.
Surah
Stranlyng
Period: 1873.
Period: Medieval. A soft and brilliant Indian silk twilled on both sides, more
The autumn fur of the squirrel. substantial than foulard.
Strasburg cloth Sussapine
A cotton fabric resembling corduroy but without the A costly silk textile.
plush face. Suzette
Striped plush Period: 20th century.
Period: 1865. A heavyweight chiffon with twisted yarns.
Plush with narrow stripes alternatively dull and shining. Swansdown
Stuff Period: 18th century onwards.
Period: Medieval onwards. Originally the fine down feathers of the swan, used
A term for worsteds made “of long or combing wool” chiefly for muffs and pelerines. In the 19th century a
(Caulfield and Stewart). “Distinguished from other mixed fabric, originally of wool and silk and later of wool
woollen cloths by the absence of any nap or pile.” The and cotton.
distinction was understood early in the 17th century. Swanskin
Suede Period: 18th and 19th centuries.
Period: 19th century onwards. A thick, twilled flannel with a downy surface; used by
Usually calfskin specially treated to produce a silky, working men for trouser-linings.
slightly napped finish, this type of leather originated in Swarry-Doo
Sweden (Suède in French). Used for clothing and ac- Period: 1893.
cessories, such as gloves. “A very bright twilled silk” (Tailor & Cutter) used for fac-
Sultane ings of frock coats.
Period: 1866. Sylvestrine
A fabric of silk and mohair resembling fine alpaca, in Period: 1831.
alternate stripes of clear or satin or chiné. A fabric imitating silk, manufactured from wood; the first
Superfine known attempt to make artificial silk.
Period: 18th century. See Rayon.
T
Tabaret Originally a plain, glossy, silk fabric; later, a thin, glossy
Period: 18th century. silk with a wavy lustre. There were many varieties;
“Worsted Tabaritts, the newest fashion; in imitation of a “changeable taffeta” in the 16th century was shot taf-
rich Brocaded Silk” (1749, Boston Gazette). Similar to feta; “glacé silk” was a taffeta with a very glossy face.
tabbinet; a glazed, brocaded, woollen fabric. 20th-century versions can be made from synthetic
Tabbinet fibres.
Period: Late 18th and 19th centuries. Taffeta coutil
A watered poplin. Period: 1847.
Tabby A mixed fabric of silk and cotton in blue or lilac stripes
Period: 17th to early 20th century. on a white ground.
A thick taffeta, glossy and watered. Taffetaline
Taffeta Period: 1876.
Period: 14th century onwards. A mohair fabric.

273 Tiffany
Tamatiye At first, an uncut velvet; later, a silk fabric having a fine,

Period: 1863. corded surface, with no resemblance to velvet.
A light woollen material resembling grenadine but Terylene
thicker; the warp twisted once between each shoot of Period: 20th century onwards.
the weft, i.e. the gauze weave. The tradename for the polyester fibre discovered by
Tambour UK chemists in 1941 and eventually sold to American
Period: 18th and 19th centuries. manufacturers by ICI. It was used for clothing alongside
A form of embroidery worked on a drum-shaped frame. the earlier nylon.
Tamett The Union
A Norwich cloth. A silk and cotton shot fabric.
Tamine Thibet cloth
A fine silk-and-wool fabric. In the 17th century it was a A soft, thick, flannel-like cloth with long goat’s-hair
fine worsted with a glazed finish. surface. The name also given, early in the century, to
Tamise imitation cashmere first made in Yorkshire and in 1824
Period: 1876. at Paisley.
A soft woollen fabric with a little silk in it. Thickset
Tammy Period: 18th century.
Period: 17th–19th century. A coarse fustian worn by the non-elite.
A worsted; apparently identical with tamine. Thread
Tape
A thin cord for stitching, made of twisted flax, cotton,
A narrow, flat, woven braid of flax or, later, of cotton.
silk or wool; there were many named varieties, includ-
Tarlatan
ing Coleyn from Cologne in the 15th century; Bruges
Period: 1830s.
between the 15th and 17th centuries; Coventry, in the
Thin, gauze-like muslin, much stiffened.
16th century, a vivid blue, used chiefly for embroidery;
Tartarian cachmere
“nun’s thread”, “sister’s thread” and “ounce thread” in
Period: 1823.
the 16th century were terms for a fine, white thread
“For ladies’ dresses, soft and light; never creases; in all
chiefly used in lace-making; many more can be
colours.”
identified.
Tartaryn
Thunder and lightning
Period: Medieval.
A rich silk fabric possibly imported from China.
A serge made of worsted warp and woollen weft; also
Tattersal
known as “German serge”.
Period: 1891.
A cloth in vivid checks resembling a horse-cloth. Ticking
Taunton Period: 15th century onwards.
Period: 16th century. A linen fabric for mattress covers.
A broadcloth made in Taunton. Ticklenburgs
Tavistock, Western dozens Period: 17th and 18th centuries.
Period: 16th century. A coarse linen cloth from Tecklenburg in Germany.
A species of kersey made in Tavistock. Tie-dye
Tawny Period: 20th century onwards.
Period: 17th century. A traditional technique, much earlier than its use in the
A woollen cloth, usually yellowish brown in colour. west, of twisting and knotting fabric and then using a
Terrendam dye. When opened, the original ground colour forms
Period: 18th and 19th centuries. intricate patterns with the dyed areas.
An Indian cotton fabric. Tie-silk
Terry towelling, terry cloth Period: 20th century.
Period: Late 19th century onwards. A firm silk, similar to a foulard, originally used for men’s
An absorbent cotton or linen fabric, often with a looped, ties but also for other items; “Charming and practical
uncut surface and used for beach robes, dressing- Tie-silk shirtwaisters” (1961, Guardian, 30 May).
gowns, etc. Tiffany
Terry velvet Period: 17th century.
Period: 19th century. A transparent silk gauze.

Tigrine 274
Tigrine Treillis
A mixture of silk and cashmere resembling twilled satin; “Otherwise called Buckram.”
very soft and supple. Tricot
Tinsel, tylsent, tilson Period: 19th century.
Period: 16th century. The French term for knitting, applied to a knitted or
A rich silk fabric which could be plain or patterned inter- occasionally woven fabric with fine vertical lines on the
woven with a weft with gold or silver threads or strips. surface and cross lines on the reverse. It was used in
Later a tinselled cloth could be of silk or wool interwo- England in 1838 as “a new material for pantaloons”
ven with gold or silver. The term was also applied to a resembling stockinet. Experiments with man-made
sparkling net, and to cheaper imitations using copper fibres revolutionized its production and use in the 20th
threads which were popular for theatrical costume. century.
Tiretaine See Jersey.
Period: 13th century. Tricot de Berlin
A fine woollen cloth, generally scarlet, much used for Period: 1808.
women’s dresses. A very light form of knitted fabric, said to have resembled
Tissue cotton gauze; used for ladies’ walking dresses. “Shawls
Period: Medieval. of silk net called Tricot de Berlin” (1835).
The most costly form of cloth of gold or silver, woven Tripe
with raised loops of metal thread in various heights and Period: 15th–17th century.
thicknesses above a brocatelle, lampas or velvet Imitation velvet made of wool or thread. Also called
ground. “Eight yerde of sea greene tyssue for double mock velvet, fustian anapes, velure.
slevis for ridinge gownes” (1612–13, Part of the trous- Tripoline
seau of Princess Elizabeth Stuart). Period: 1874.
Period: 18th century onwards. A twilled satin turc.
The term was gradually applied to sparkling but light- Tryko
weight fabrics. Period: 1916.
Tissue matalassé A woollen fabric with a soft, suede-like surface
Period: 1839. Tufted canvas
A cloth of which the surface was “in small squares re- Period: 17th century.
sembling quilting”. Used for gentlemen’s overcoats. “Stript or tufted canvas with thread”, the “striping” or
Tobin, tobine “tufting” done with linen thread or with silk.
Period: 17th century. Tufted dimity
A striped woollen cloth made at Norwich; also of silk. Period: 18th century.
“A silke tobine jerkyn” (1611, Will of Jeremy Wayman). A fustian with a tufted surface; used for under-petticoats.
Period: 18th century. Tuft mockado
A twilled silk resembling Florentine. Period: 16th and 17th centuries.
A mockado, of wool or silk, in which the pattern,
Period: 19th century. instead of being figured, consisted of a geometrical ar-
A heavy twilled silk. rangement of tufts.
Tobralco Tufttaffeta
Washable Egyptian cotton fabric with a silky surface. A taffeta with a pile left on it.
Toile de soie Tukes
Period: 1898.
A thick, silk-and-cotton shot, two-colour fabric with a
A kind of buckram.
thick rib.
Tulle
Toilinet, toilonette
Period: End of the 18th century.
A fine silk bobbin net. First made by machinery in 1768
A fine woollen cloth, plain, striped or checked; some-
at Nottingham. Later imitated with synthetic nets.
what like merino.
Tulle arachne
Period: First half of the 19th century. Period: 1831.
“The warp of cotton and silk, the weft of woollen.” Much A very clear tulle embroidered in light patterns with a
used for waistcoats. mixture of gold and silk threads.

275 Velcro
Tuly Tweed
Period: 16th century. Period: 1825 onwards.
The name of a silk or thread fabric (Beck). A woollen cloth originating in Scotland, the texture open
Turco poplinnes and elastic. “The word “tweel” on an invoice being mis-
Period: 1867. read as “tweed” in 1825 led to the adoption of the latter
A woollen fabric with a soft, silky sheen. as the trade name.” (1875, The Tailor & Cutter)
Turin gauze The cloth is woven from dyed yarns in a variety of grades,
Period: 19th century. from coarse and rough to fine and smooth. Varieties
A gauze woven of raw silk. included homespuns made locally in the Western
Highlands and Ireland, Harris tweed, Donegal tweed
Turin velvet
and West of England tweed. The name was indis-
Period: 1860.
criminately applied to lightweight woollen cloths, but
A silk and wool fabric imitating terry velvet.
regained its original meaning in the later 20th century.
Turkish velvet
Twill
Silk velvet ribbed across the stuff; “a group of ribs sepa- A fabric distinguished by the parallel diagonal ridges
rated from another group by a plain satin bar”. created by passing the weft threads over one and under
Tussore two or more warp threads. Also a cotton fabric of this
Period: 1869. name.
Half wool, half cotton fabric, looking like poplin. Later in Twist
the 19th century the name invariably indicated tussore Period: 16th century.
silk. Thread composed of two or more filaments of cotton,
Tussore silk hemp, silk or similar wound round one another.
Period: 17th century onwards. Tylesent
A “wild” silk of brownish, irregular appearance, originally Period: 16th century.
imported from India and China. Much used for dress Synonymous with tinsel as a fabric glittering with metal-
materials at the end of the 19th century. lic fibres.
U
Umritzur Union
A rough-faced fabric of camel’s hair, soft and light, in art A stout fabric of cotton and linen, much dressed and
colours; introduced by Liberty and Co. stiffened.
V
Vair used for waistcoats (Perkins). By 1850 the name was
Period: Medieval. given to a kind of habit cloth.
The fur of a type of squirrel with a grey back and white Valentine
belly. The whole fur or “gros vair” meant the back and Period: 1833.
belly fur; the “mean vair” (hence miniver) meant the belly A slight, shaded, silk fabric.
fur alone. Vandales, vandelas
Valence Period: 17th century.
Period: 14th century. Coarse linens imported from France and the
A thin cloth, possibly a kind of say. Netherlands.
Valencia Velcro
Period: ca. 1830 to 1840. Period: 1960 onwards.
A fabric with a cotton warp and weft of worsted; much A proprietary name for strip fasteners to hold fabrics,

Veletine 276
leather, etc. together. Velcro is produced in two inter- A closely woven twilled cloth.
locking strips which can be cut to length; one strip is Period: 19th century.
covered with tiny nylon loops, the other with tiny nylon A fine worsted fabric with a lustre finish.
hooks which can be pressed together and pulled apart. Verano cloth
Veletine Period: 1880.
Period: 1812. A kind of ribbed cretonne.
A small-figured silk fabric. Verdours
Velluto Period: 16th century.
Period: 1883. Thought to have been green baise.
A cloth imitating Genoa velvet. Verglas
Velour Period: 1894.
Period: 19th century. A moiré with a peculiar form of watering, resembling
Wool or wool mixture cloth, soft and smooth with a reflections on water.
closely-cut pile or nap resembling velvet. Vermilion
Velours broché Period: 17th century.
Period: 19th century. A cotton cloth dyed scarlet; sometimes called
Velvet having a satin broché pattern on it. barmillion.
Velours de laine Vervise
A fabric with velvet stripes or checks on a woollen A blue cloth similar to plunket.
ground. Vesses
Velours du dauphin Period: Late 15th century.
Period: 1777. A worsted cloth, made in Suffolk.
Velvet with small stripes of different colours; made at Victoria cloth
Spitalfields in London. Period: 1865.
Velours du nord A substantial cloth “replacing meltons or undressed
Period: 1881. cloths”, for men’s overcoats.
A fabric with a black satin ground shot with a colour, and Victoria crape
covered with velvet flowers stamped in relief. Period: 19th century.
Velours épinglé A crape made entirely of cotton.
Period: 19th century. Victoria serge
A terry velvet. Period: 1893.
Velure A fabric which resembled silk serge; used as a lining for
Period: 17th century. lounge jackets.
Imitation velvet. “My velure (breeches) ... that you Victoria silk
thought had been velvet” (1604, The London Prodigal). Period: 1893.
Velveret A silk and wool fabric for petticoats “guaranteed to
Period: 18th century. rustle”.
A variety of fustian with a velvet-like face. Vicugna, vicuna
Velvet Period: 1877.
Period: Medieval onwards. A very soft cloth of llama wool, generally plain. Later,
An imported silk fabric, from Spain, Italy or France, with of worsted warp and woollen weft. “A fine material
a short dense pile, which could be cut or uncut, above known as Vicuna though different houses call it by dif-
a satin ground which might incorporate gold or silver ferent names such as “Saxony Melton”, “Meltonia”, etc.”
threads. With the introduction of synthetic fibres in the (1888, Tailor & Cutter)
20th century velvet was no longer made from silk. Vigogne
Velveteen Period: 19th century.
Period: Late 18th century onwards. An all-wool cloth, twilled and in neutral colours.
An imitation of silk velvet, the pile being silk on a cotton Vigonia cloth
back or all cotton. Period: 1809.
Velvet imperatrice Cloth of Spanish wool, “soft and warm resembling the
Period: 1860. texture of the Indian shawl”. Used for women’s dresses.
A kind of dark terry velvet. Virly
Venetian Period: Late 13th and early 14th centuries.
Period: 18th century. A green cloth made at Vire in Normandy.

277 Wool
Viscose Proprietary brand of 50% wool, 50% cotton mixture,

Period: 20th century onwards. originally manufactured by William Hollins & Co. Ltd.,
The most readily available type of rayon, it is produced Nottingham.
in greater quantities than cuprammonium rayon. “Candy Voile
pink and white cotton and viscose shirtwaister” (1972, Period: 1885 onwards.
Vogue, June edition). A very thin, woollen fabric very similar to, or identi-
Viyella cal with, nun’s veiling. Later made of cotton or
Period: 1894 onwards. rayon.
W
Waborne lace Weft, woof
Period: 16th century. The threads which pass across the warp in weaving in
A braid lace made at Waborne, Norfolk. plain, satin, twill or combination weaves.
Wadmol Whalebone
Period: Medieval. Period: Medieval onwards.
A coarse woollen cloth, used chiefly by the non-elite for A cartilaginous material from the upper jaw of the whale;
their doublets, jerkins, etc. a flexible material used especially for the ribs of women’s
Warp stays until the 20th century.
The threads held lengthways in a loom and usually held Whipcord cloth
tauter than the weft threads which are passed through Period: 1863.
to create a piece of cloth. A large-diagonal ribbed cloth, heavy and stiff. Used for
Wash-leather riding breeches.
Period: 15th century onwards. Whites
Very soft, pliable leather, buff colour; made by splitting Period: Medieval.
sheepskin. A generic term for undyed cloth, particularly in the
Watchet Middle Ages.
Period: Medieval. Wildbore
A kind of blue cloth. Period: 18th century.
Watered stuffs A stout tammy, closely woven.
Stuffs impressed with close wavy lines and generally Wildware
known as tabbies in the 18th century and moirés from Period: Medieval.
the 19th century onwards. Imported furs of various animals.
Waterproof Wilton
Period: Medieval.
Linen from Wilton, Wiltshire.
The use of india-rubber solution applied to a textile was
patented by Charles Macintosh of Glasgow in 1823. Period: 18th century.
“The cloth called waterproof is generally lined with calico A type of woollen cloth.
or figured cotton; these materials are well imbued and Winceyette
stiffened with gum and firmly sewn together. The smell Period: 20th century.
of the gum is not the only unpleasant quality in this kind A fabric, usually of cotton, with a soft, raised nap; made
of cloth for on approaching the fire the lining shrinks.” into nightclothes for adults and children.
(1829, The Gentleman’s Magazine of Fashion) Winsey
Weaving Period: 19th century.
Period: From the earliest period. A cotton and wool mixture resembling linsey-woolsey.
The interlacing of yarns to form a fabric on a loom, Witney blanket
either by hand or driven by machinery. There are three Period: 1844.
basic weaves – plain, satin and twill – and all others A heavy cloth produced at Witney, Oxfordshire, and
are variants of these. Plain weave is the simplest form, used for men’s overcoats.
with warp and weft threads being linked in a one-over, Wool
one-under movement, like darning. Period: Medieval onwards.

Wool barege 278
The hair of the sheep, the quality varying according having distinctive names.
to the breed of the animal and the locality where Wool barege
it was bred. English wool was the staple medieval Period: 1850s.
industry. Wool was imported into the UK from Spain A barege made of fine wool; used for shawls.
from the late 16th century, from Saxony in the sec- Worcesters
ond half of 18th century, and from Australia from ca. Period: 15th and 16th centuries.
1840. Wool can be divided into two principal groups A cloth, usually white, made in Worcestershire.
according to the length of the hairs, producing the Worsted
long-stapled textiles, worsteds, and the short- Period: Medieval onwards.
stapled, woollens. Blends of the two sorts or blends At first known, in the 13th century, as “cloth of
with other materials, such as silk, cotton, goat’s-hair, Worthstede”; a cloth made of long-stapled wool
mohair, etc., have produced innumerable textiles combed straight and smooth before spinning.
X and Y
Yeddo crêpe A fabric made of pure llama wool, resembling French
Period: 1880. merino.
A cotton fabric as thick as linen but soft; printed with Yokohama crêpe
Chinese designs. Period: 1880.
Yeddo poplin A cotton textile printed in stripes with Japanese floral
Period: 1865. designs.
Z
Zephirina
Period: 1841. A very fine flannel with silk warp; for hot climates.
“A new material for coats; a mixture of various colours.” Zephyr silk barege
Zephyr Period: 1840s.
Period: 1880s. A barege of silk and wool with a gauze weave.
A light, fine gingham, thin and silky, often with coloured Zibeline, zibelline
warp and finer weft. Period: 1856.
Zephyr shirting A fabric between a barege and a paramatta; appar-
Period: 1880s. ently a mixture of wool and cotton.

279 Colberteen
Glossary of Laces
Alençon, point d’ petals and a fine looped mesh; also a popular heavier
Period: 18th and 19th centuries. Duchesse bobbin lace of the guipure type.
Fine needle lace with delicate twisted and looped mesh, See Point d’Angleterre.
with floral patterns outlined by buttonhole stitches Buckinghamshire lace
worked over a hair. Period: 18th and 19th centuries.
Antwerp Bobbin lace of the Lille type with a twisted net ground,
Period: 17th century. small patterns with a gimp outline. Called “Bucks
Densely worked bobbin lace, most typically patterned Point”. Similar laces were made in Bedfordshire and
with a vase of flowers (‘potlen kant’). Diminished into a Northamptonshire, all in England.
coarse, cheap lace. Burano
Argentan, point d’ Period: 18th and early 19th centuries.
Period: 18th and 19th centuries. Needle lace, originally of the 18th-century Venetian type;
Related to Alençon lace but heavier and with a hexago- flat and elaborately patterned. In the late 19th century
nal mesh oversewn in buttonhole stitch. various needle laces were produced by the Burano Lace
Binche School.
Period: 18th century. Campane lace
Delicate, soft bobbin lace distinguished by its ‘point Period: 17th century.
de neige’ (cobwebby) ground and tiny, indistinct, floral “A kind of narrow lace, picked or scalloped” (1694,
patterns. Ladies’ Dictionary). The scallops in the shape of little
Black lace bells. From campane, meaning a bell.
Period: 17th century. Carrickmacross
Probably Mechlin or Brussels lace; this and “black Period: After 1850.
and white” lace were fashionable after the Restoration Not a true lace but cut-muslin work; either applied to a
of Charles II in 1660. machine net ground or left as a guipure.
Blonde Catgut lace
Period: ca. 1730–1850. Period: 17th and 18th centuries.
Cream-coloured, silk bobbin lace of Chantilly type but Tradename for a kind of lace, possibly of horsehair;
with more densely worked patterned areas. A very certainly not of catgut. “5¾ (yards) of fine broad
heavy variety was made in Spain, in black as well as cattgutt border at 20/-” (1693, Bill for lace, for Queen
white silk. Mary).
Bobbin lace Chantilly
A generic term for all lace made by the twisting and Period: Late 18th and 19th centuries.
plaiting together of threads wound on bobbins. In the Silk bobbin lace of great delicacy made in Chantilly,
16th century a lace composed of a coarse thread, made Bayeux, and surrounding districts. Fine ground, with the
using bobbins rather than needles. patterned areas outlined by a glossy cordonnet.
Bone lace Chemical lace
Period: 16th and early 17th centuries. See Machine lace.
Another name for bobbin lace; the name derived from Chenille lace
the small bones originally used for bobbins. From the Period: 18th century.
late 16th century onwards this lace was made on a pil- A French lace, the ground silk honeycomb in geometri-
low with bone bobbins. cal designs, filled with thick stitches and outlined with
Brabant lace white chenille.
Period: 18th century. Cheveux de frize
Bobbin lace similar to Brussels lace but worked on a Period: 18th century.
larger, coarser scale. A narrow lace with a vandyke edge, used as a trimming.
Brussels laces Often spoken of as “frize”.
A variety of laces. In the 18th century primarily a fine Colberteen
bobbin lace with a hexagonal mesh (drochel) and floral Period: 17th and 18th centuries.
patterns outlined by a raised “woven” edging. “A kind of open lace with a square grounding” (Randle
Also fine, flat needle and mixed laces. In the 19th cen- Holme, 1688). “A lace resembling network” (1694,
tury Point de Gaze, a delicate needle lace with raised Ladies’ Dictionary).

Cordonnet 280
Cordonnet Gimp
A sharp outline to patterned areas provided either by a Period: 16th–18th century.
thick thread, called gimp in English laces, or by a raised, An open bobbin lace, the threads of which are made
woven strip in Brussels lace, or bundles of threads in by twisting yarns round wire or strips of parchment,
19th-century Belgian lace, or a hair in Alençon lace. etc., giving a stiff texture. The term was also applied to
In needle lace the thread, threads or hair are oversewn the thick thread outlining the pattern in many bobbin
in buttonhole stitch. laces.
Crown lace Guipure
A lace, “the pattern worked on a succession of crowns Originally another name for gimp. It came to mean lac-
with acorns and roses”. es, often with a tape foundation, made without a ground
Cut-and-slash lace mesh: the parts either touching or linked by occasional
Period: 17th century. bars. In the 19th century the term was used loosely for
Cut-work lace; “... apron laced with cut and slash lace” many laces with large patterns.
(1677, London Gazette). Hamilton lace
Dentelle Period: 18th century.
The French word for lace; a term often used in the 19th A coarse lace of diamond pattern made at Hamilton,
century, in books and magazines. Scotland from 1752; named after the Duchess of
Dresden lace Hamilton.
Period: 18th century. Herringbone lace
Mainly used for the very fine white work that was Period: 16th century.
decorated with such elaborate pulled-fabric work that Lace having a chevron pattern.
it resembled Brussels bobbin lace. Some bobbin lace Hollie point
was also made at Dresden. Period: 18th century.
English point lace English needle lace. Small-scale, solidly-worked and
Period: ca. 1670. with a voided pattern. Used particularly to trim baby
A name applied to Brussels lace smuggled into clothes.
England; so called to avoid tax. Honiton
Filet lace, lacis Period: 18th century onwards.
Period: 16th and 17th centuries. Bobbin lace similar to that of Brussels but coarser and
A fashionable darned net; normally hand-made fisher- with more simple floral patterns, particularly roses. With
man’s net, but sometimes a woven net was used. In the a mesh ground in the 18th century, but applied to ma-
18th and 19th centuries it was seen as a peasant art chine net, or made as a guipure, in the 19th century.
rather than fashionable. Huguenot lace
Flemish lace, Flanders lace Period: Early 19th century.
Period: Late 16th and 17th centuries. An imitation lace with a muslin net ground on which
During the 17th century this developed from densely- floral cut-out designs were sewn.
patterned, solid bobbin laces into soft, delicate laces Hungerland lace
from which emerged the distinctive laces of Brussels, Period: 17th century.
Mechlin, Binche, etc. “Madam,” tis right Mechlin ... A lace made at Halle in the Hungarian style. “Your
smuggled ... The State prohibits Flanders Lace” (1709. Hungerland bands and Spanish quellio ruffs” (ca. 1630,
T. Baker, Fine Lady’s Airs). Massinger, The City Madam).
Also, in the second half of the 17th century this denoted Lille
a boldly patterned, fairly large-scale tape lace compara- Period: 18th and 19th centuries.
ble with that of Milan. Simple bobbin lace used mainly for trimmings. Delicate,
Gassed lace twisted net ground decorated with point d’esprit. Small
Period: Early 19th century. floral patterns outlined with gimp.
The thread first was passed through a gas flame to Limerick
scorch off superfluous fibres. “British Gassed Lace Period: 19th century.
commonly known by the name of Urling’s Lace” (1823). Not a true lace but embroidered machine net. Either
Genoese worked with a hooked tambour needle or needle-run.
Period: 16th and 17th centuries. Loom lace
Fairly heavy bobbin lace, usually scalloped and distin- Period: 16th century onwards.
guished by the frequent use of “wheat-ear” motifs and Lace woven on a loom, imitating bobbin or point lace.
circles. “For loome lace to make Mistris Margarett a payre of

281 Pomet lace
ruffez” (1554–5, Willoughby Accounts, Lord Middleton’s Orris lace

MSS). Period: 17th and 18th centuries.
Machine lace A lace woven with designs in gold or silver threads.
Period: 19th century onwards. Parchment lace
The earliest machine-made net was produced on knit- Period: 16th and 17th centuries.
ting frames during the 1760s, but a more important A pillow lace, usually of gold or silver but occasionally
development was Heathcote’s invention of the “Bobbin- of coloured silks.
net” machine in 1808. Machine-made patterned nets See Gimp.
followed and, from the 1840s, increasingly elaborate Patent lace
machine laces were produced. The Swiss invention Period: ca. 1800–ca. 1820.
of “chemical” or “burnt-out” lace in 1883 enabled the A term commonly denoting machine-made lace.
manufacture, by embroidery machine, of exact copies Peak lace
of elaborate needle laces. Period: 16th and 17th centuries.
Madras lace Lace with the outer edge margined by a series of angu-
Period: 1880s. lar indentations.
Bobbin lace similar in style to Maltese lace, the result of Point d’Angleterre
a lace-making school being established in Madras. Period: 17th and 18th centuries.
Maltese High-quality bobbin and also needle laces made in
Period: 19th century. Brussels. In the 19th century the term was also applied
Heavy, silk bobbin lace with wheat-ear motifs and/or to machine net with applied bobbin-lace patterns, again
Maltese crosses. Particularly popular in England after from Brussels. The name was first used for laces smug-
being shown at the 1851 Exhibition. gled into England from Brussels in the 1670s, when a
Marly-lace ban was put on their importation. It remained widely in
Period: 18th and 19th centuries. use after this was lifted. ‘Onze aunes d’Angleterre de
A lace of a hexagonal mesh net powdered with small, Flandre’ (1738, Duc de Penthieve Accounts).
round rosettes. Originally of cotton; later of thread and Point de France
of silk. Period: 1665 to early 18th century.
Maskel lace Originally a copy of Venetian needle lace, but with a
Period: 15th century. distinctive French character by the 1670s. Elaborate,
A spotted lace net. formal designs, sometimes incorporating figures.
Mechlin Developed into Alençon and Argentan.
Period: Late 17th to mid-19th century. Point de Venise
Bobbin lace with a hexagonal ground mesh, distin- Period: From 1660 onwards.
guished by its softness and by the silky gimp thread “I never saw anything prettier than this high-work on
used to outline the pattern. A summer lace. your point d”Espagne. ... “Tis not so rich as point de
Metal laces Venise.” (1676, Etherege, Man of Mode)
Period: 16th–18th century. Point Jean
Bobbin laces, usually decorated with spangles in the Period: From 1660 onwards.
16th and 17th centuries. A bobbin lace found in England after this date.
Milanese Point lace, point
Period: 17th and early 18th century. Period: Late 16th century onwards.
Bobbin lace with a tape-like foundation. Bold, scroll- A thread lace made wholly with the needle on a parch-
ing patterns, normally floral; sometimes with elaborate ment pattern. The term “needle-point” is modern.
fillings. Known as “point lace” from 1660; previously as needle-
Mixed lace work lace to distinguish it from bone lace, cut-work
Lace made with both needle and bobbin techniques. and drawn-work. NB Point lace is the generic term
Naples lace which should only refer to needle lace, as distinct from
Period: 16th and 17th centuries. bobbin lace, but was widely misused to mean any fine
A black silk lace made at Naples. lace, e.g. point d’Angleterre.
Needle lace, needle point Point of Spain
Generic term for all laces made by the needle, not with Period: From 1660 onwards.
bobbins. Spanish point lace.
Needlework lace Pomet lace
Period: Late 16th century to ca. 1660. Period: 16th century.
The name given at that time to point lace. A silk lace.

Punto in aria 282
Punto in aria Trolly lace

Period: 16th and 17th centuries. Period: 17th and 18th centuries.
An early form of needle lace following reticella; made A coarse Flanders bobbin lace; the pattern outlined with
without the linen ground but with free-flowing patterns. thicker thread or with a flat, narrow border composed of
Reticella several thicker threads.
Period: 16th and 17th centuries. Urling’s lace
The earliest form of needle lace. Built-up with button- See Gassed lace.
hole stitches on a rectangular grid of threads formed Valenciennes
by cutting and “drawing” a piece of linen and creating Period: 18th century.
geometric patterns. A delicate, soft bobbin lace, like binche but with distinct
Saint Martin’s lace floral patterns and a mesh ground.
A cheap, copper braid lace made in the parish of St Distinguished by its square, or round, plaited mesh and
Martin’s, in the City of London. very white, clear patterns.
Seaming lace Venetian lace
A moderately wide net lace of cut-work, bone lace or Needle lace developing from reticella, through punto
needlework, without edges; used instead of a seam to in aria, into very elaborate, raised laces with scrolling,
unite the breadths of linen in a shirt or smock. flower-decorated patterns. According to scale, these
Sedan lace were called: “gros point”; “rose point”; “point de neige”.
Period: 17th century. Also worked without the raised elaborations as “point
Cutwork lace made at Sedan in France. plat”. One variety with a pattern of small, branching
Spider work stems was known as “coraline”.
A cheap, machine-made lace. A flat, densely patterned needle-lace of high quality.
Statute lace White work
Lace woven according to the statute enacted in that Initially a synonym for cut-work. However, this white-
year; probably a native-made lace to be worn by those on-white form of embroidery traditionally used other
who were forbidden to wear foreign-made lace. techniques, such as drawn thread and pulled work and
Tape lace shadow work to create effects similar to those of nee-
Period: All periods. dle lace, though white work is now usually considered
Either a needle or bobbin lace, occasionally of woven embroidery.
tapes. A term descriptive of any lace in which the de- See Broderie anglaise.
signs are built up of tape-like forms. Yak lace
Tawdry Period: 19th century.
Period: 16th and 17th centuries. A coarse and rather heavy lace made of the hair of the
A silk lace, originally called St Audry’s lace. yak; fashionable for shawls, etc., ca. 1870–1880.
Torchon lace Youghal point, yougal point
Period: 19th century. Period: After 1850.
Bobbin lace with simple patterns and little net ground, Irish needle lace, flat and rather open, with naturalistic
made by peasants and by amateurs for general use. floral patterns.

283 Sanguin
Glossary: Obsolete
Colour Names
Abraham, Abram Maidenhair
Brown. Bright tan.
Bowdy Marble
Scarlet from the dye house established at Bow, East Parti-coloured.
London, for dyeing scarlet by a new method. Medley
Brassel Period: 16th century.
Period: 16th century. A mixture of colours.
A red colour obtained from the wood of an East Indian Milk-and-water
tree. Period: 16th century.
Bristol Bluish-white.
Period: 16th century. Murrey
Red. Period: 16th century.
Carnation Purplish-red.
Period: 16th century. Orange tawny
A colour “resembling raw flesh”. Period: 16th century.
Cottony Orange-brown.
See Cuttanee. Pear
Crepe, crêpe Period: 16th century.
See Crape. Russet red.
Crocus Perse
A yellow dye obtained from saffron. Bluish-grey.
Falwe Plunket
Yellow. Light blue or sky blue.
Gingerline Popinjay
Reddish-violet. Green or blue.
Goose-turd Puke
Yellowish-green. A dirty brown.
Hair Rats colour
Bright tan. Dull grey.
Incarnate Roy
Red. A bright tawny.
Inde Russet
Azure blue. A dark brown.
Isabelle Sad
Yellow or light buff. A dark tint of any colour.
Lustie-gallant Sanguin
Light red. Blood red.

Sheeps colour 284
Sheeps colour Toley

A neutral colour. Scarlet.
Stammel Vermel
Red. Vermilion.
Tawny Watchet
A dusky brown-orange. Pale blue inclining towards green.

285
Bibliography
Adburgham, Alison. Shopping in Style. London, 1979. Cunnington, C. Willett and Cunnington, Phillis. Handbook
Alexander, Hélène. Fans. London, 1984. of English Costume in the Sixteenth Century, 3rd edn.
Anon. Yesterday’s Shopping: Gamages General Catalogue 1970.
1914. Ware, Hertfordshire, 1994. Cunnington, C. Willett and Cunnington, Phillis. Handbook
Ashelford, Jane. The Art of Dress, Clothes and Society of English Mediaeval Costume, 2nd edn. London,
1500–1914. 1973.
Ashelford, Jane. The Visual History of Costume: The Cunnington, C. Willett. English Women’s Clothing in the
Sixteenth Century. London, 1983 Nineteenth Century. London, 1937.
Blum, Stella (ed.). Ackermann’s Costume Plates: Women’s Cunnington, C. Willett. English Women’s Clothing in the
Fashions in England, 1818–1828. New York, 1978. Present Century. London, 1952.
Blum, Stella (ed.). Victorian Fashions & Costumes from De Marly, Diana. Costume on the Stage 1600–1940.
Harper’s Bazar: 1867–1898. New York, 1974. London, 1982.
Brand, Jan and Teunissen, José (eds.). Fashion Acces Essinger, James. Spell Bound: The Improbable Story of
sories. Arnhem, 2007. English Spelling. London, 2006.
Buck, Anne. Dress in Eighteenth-century England. London, Farrell, Jeremy. Socks & Stockings. London, 1992.
1979. Farrell, Jeremy. Umbrellas & Parasols. London, 1985.
Buck, Anne. Victorian Costume and Costume Accessories, Foster, Vanda. Bags and Purses. London, 1982.
2nd edn. Bedford, 1984. Foster, Vanda. The Visual History of Costume: The Nine
Burman, Barbara and Denbo, Seth. Pockets of History. teenth Century. London, 1984.
Museum of Costume, Bath, 2007. Fukai, Akiko et al. Fashion: The Collection of the Kyoto
Byrde, Penelope and Wilson, Verity (eds.). Costume. The Costume Institute. Cologne, 2002.
Journal of the Costume Society, vol. 43, Leeds, 2009. Harrison, E.P. Scottish Estate Tweeds. Elgin, 1995.
Byrde, Penelope. The Visual History of Costume: The Hashagen, Joanna and Levey, Santina. Fine & Fashion
Twentieth Century. London, 1989. able: Lace from the Blackborne Collection. The Bowes
Calasibetta, Charlotte Mankey and Tortora, Phyllis. The Museum, County Durham, 2006.
Fairchild Dictionary of Fashion. New York, 2003. Haye, Amy de la. Fashion Source Book. London, 1988.
Carroll, David. The Dictionary of Foreign Terms in the Hayward, Maria. Dress at the Court of Henry VIII. Leeds,
English Language. New York, 1973. 2007.
Clabburn, Pamela. The Norwich Shawl. London, 1995. Herald, Jacqueline. Renaissance Dress in Italy 1400–1500.
Clark, Fiona. Hats. London, 1982. London, 1981.
Coleridge, Lady Georgina (intro.) The Lady’s Realm: A Holding, T. H. Coats, 4th edn. London, 1902.
Selection from November 1904 to April 1905. London, Ironside, Janey. A Fashion Alphabet. London, 1968.
1972. Kennan, Brigid. The Women We Wanted to Look Like. New
Cumming, Valerie. Gloves. London, 1982. York, 1978.
Cumming, Valerie. The Visual History of Costume Acces Levitt, Sarah. Victorians Unbuttoned: Registered Designs
sories. London, 1998. for Clothing, their Makers and Weavers 1839–1900.
Cumming, Valerie. Understanding Fashion History. London, London, 1986.
2004. Lynam, Ruth (ed.). Paris Fashion: The Great Designers and
Cunnington, C. W. & P. E. and Beard, Charles. A Dictionary their Creations. London, 1972.
of English Costume. London, 1972 and 1976 edns. Mansfield, Alan & Cunnington, Phillis E. Handbook of
Cunnington, C. Willett and Cunnington, Phillis. Handbook English Costume in the 20th Century 1900–1950.
of English Costume in the Eighteenth Century, 3rd edn. London, 1973.
London, 1972. McDowell, Colin. McDowell’s Directory of Twentieth
Cunnington, C. Willett and Cunnington, Phillis. Handbook Century Fashion. London, 1984.
of English Costume in the Nineteenth Century, 3rd edn. Mendes, Valerie & de la Haye, Amy. 20th Century Fashion.
London, 1970. London, 1999.
Cunnington, C. Willett and Cunnington, Phillis. Handbook Mulvagh, Jane. Vogue History of 20th Century Fashion.
of English Costume in the Seventeenth Century, 3rd London, 1988.
edn. London, 1972. Mulvagh, Jane. Costume Jewelry in Vogue. London, 1988.

Bibliography 286
Newman, Alex & Shariff, Zakee. Fashion A to Z. London, Ribeiro, Aileen. The Gallery of Fashion. London, 2000.
2009. Rieff Anawalt, Patricia. The Worldwide History of Dress.
Newton, Stella Mary. Health, Art & Reason: Dress Reformers London, 2007.
of the 19th Century. London, 1974. Saunders, Ann (ed.). Costume. The Journal of the Costume
O’Hara Callan, Georgina. The Thames and Hudson Dic Society, vols 1–9, London, 1967–1975; vols 10–39,
tionary of Fashion and Fashion Designers. London, London, 1976–2005; vols 40–42, Leeds, 2006–2008.
1998. Scott, Margaret. Late Gothic Europe. London, 1980.
Oxford English Dictionary. Oxford, 2009, paper and online Scott, Margaret. The Visual History of Costume: The
edns. Fourteenth and Fifteenth Centuries. London, 1986
Ribeiro, Aileen & Cumming, Valerie. The Visual History of Swann, June. Shoes. London, 1982.
Costume. London, 1989. Thornton, Peter. Baroque and Rococo Silks. London, 1965.
Ribeiro, Aileen. Dress in Eighteenth Century Europe 1715– Vergani, Guido (ed.). Fashion Dictionary. New York, 2006.
1789. London, 1984. Wardle, Patricia. Victorian Lace. London, 1968.
Ribeiro, Aileen. Fashion and Fiction. London, 2005. Worsley, Harriet. Decades of Fashion. Köln, 2000.

The Dictionary of Fashion History - Cunnington, P - 231127 - 184407

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

The Dictionary of Fashion History - Cunnington, P - 231127 - 184407

Uploaded by

Copyright:

Available Formats

Oxford • New York

All materials not appearing in A Dictonary of English Costume 900–1900 © Berg

All rights reserved.

Berg is the imprint of Oxford International Publishers Ltd.

Library of Congress Cataloging-in-Publication Data

British Library Cataloguing-in-Publication Data

ISBN 978 1 84788 534 0 (Cloth)

Typeset by JS Typesetting Ltd, Porthcawl, Mid Glamorgan

Preface to First Edition xiii

Guide to Using the Dictionary xv