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Monk's hair was long, and most clergy had beards, as did many lay men, especially later. Upper-class women mostly wore their hair up, again very often curled and elaborately shaped. If we are to judge by religious art, and the few depictions of other women outside the court, women probably kept their hair covered in public, especially when married.
Cieszyn folk costume, also known as Valachian, is a Silesian folk costume, which used to be worn within majority of the area of Cieszyn Silesia, but mostly by Cieszyn Vlachs. Taking into consideration ornamentation, cutting and materials, it can be observed that it is a replica of historical costumes of the Renaissance . [ 1 ]
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) Arnold, Janet: Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660.
Children's clothing during the Italian Renaissance reflected that of their parents. In other words, kids dressed exactly like the adults and looked like miniature versions of them. As babies and toddlers, children were all put in dresses to make the potty training process easier for parents or maids.
A religious habit is a distinctive set of clothing worn by members of a religious order.Traditionally, some plain garb recognizable as a religious habit has also been worn by those leading the religious eremitic and anchoritic life, although in their case without conformity to a particular uniform style.
Hairshirt cilice of St. Louis at St. Aspais Church, Melun, France Ivan the Terrible's hairshirt cilice (16th century). The tsar wanted to die like a monk. There is some evidence, based on analyses of both clothing represented in art and preserved skin imprint patterns at Çatalhöyük in Turkey, that the usage of the cilice predates written history.
Marama is decorated with white patterns woven onto a white background and often grouped toward the ends. In Argeș, the patterns can include coloured geometric motifs. [14] After the wedding ritual – "bride's binders", "bride undressing" – the godmother traditionally gifts the bride a basma or maramă. [15]
In the first half of the 16th century, German dress varied widely from the costume worn in other parts of Europe. Skirts were cut separately from bodices, though often were sewn together, and the open-fronted gown laced over a kirtle with a wide band of rich fabric, often jeweled and embroidered, across the bust.
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