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As in the previous centuries, two styles of dress existed side-by-side for men: a short (knee-length) costume deriving from a melding of the everyday dress of the later Roman Empire and the short tunics worn by the invading barbarians, and a long (ankle-length) costume descended from the clothing of the Roman upper classes and influenced by Byzantine dress.
Young men wore them short and older men wore them calf- or ankle-length. These houppelandes, giorneas and gowns were pleated thanks to different techniques but the most common ones were using a fabric ring and fastening the gown to it in a way that pleated the garment [ 42 ] and adding a layer of interlining (either densely woven linen or low ...
A houppelande or houpelande is an outer garment, with a long, full body and flaring sleeves, that was worn by both men and women in Europe in the late Middle Ages. Sometimes the houppelande was lined with fur. The garment was later worn by professional classes, and has remained in Western civilization as the familiar academic and legal robes of ...
The general styles of Early medieval European dress were shared in England. In the later part of the period, men's clothing changed much more rapidly than women's styles. Clothes were very expensive, and both men and women were divided into social classes by regulating the colors and styles that various ranks were permitted to wear.
Early medieval European dress, from about 400 AD to 1100 AD, changed very gradually. The main feature of the period was the meeting of late Roman costume with that of the invading peoples who moved into Europe over this period.
Small geometric patterns appeared early in the period and, in England, evolved into the elaborate patterns associated with the flowering of blackwork embroidery. German shirts and chemises were decorated with wide bands of gold trim at the neckline, which was uniformly low early in the period and grew higher by midcentury.
A fashion in men's clothing for the dark furs sable and marten arose around 1380, and squirrel fur was thereafter relegated to formal ceremonial wear. [14] Ermine , with their dense white winter coats, was worn by royalty, with the black-tipped tails left on to contrast with the white for decorative effect, as in the Wilton Diptych above.
Arnold, Janet: Patterns of Fashion: the cut and construction of clothes for men and women 1560-1620, Macmillan 1985. Revised edition 1986. (ISBN 0-89676-083-9) Ashelford, Jane: The Art of Dress: Clothing and Society 1500-1914, Abrams, 1996. ISBN 0-8109-6317-5; Ashelford, Jane.
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