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Fashion during the Italian Renaissance was not a simple matter of fabric, color, and a

few tweaks in styles. It marked a turning point in how people perceived themselves

in relation to their family and friends, social circles, local and global communities, and

future generations. A number of factors came together near the beginning of the 13th

century to allow these changes to take place.

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People began to realize the importance of fashion and ap-pearance in preserving their image for future generations as they wanted to be remembered. With greater access to materials, colors, and styles, the individual could shape for themselves the image that they wanted preserved in por-traits to be remembered by.

Renaissance fashion sculpted the new mentality of the Italian people. Individuality, motivation, and pride in oneself were encouraged through this growing awareness of appearance. New identities could be explored and the possibility of blurring the

lines of the social hierarchy began to seem a little less impossible.

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Tailors

he tailors of Florence worked within and around the guild system in which rich merchants and bank-ers topped a socio-economic hierarchy. !e vast majority of people in the clothing and accessories cra"s and trades had come under the control of the guild system by the early 14th century. Guilds were wedged in between shops in a town center or nar-row side streets. Each

guild was responsible for their own special-ty. !e manufacturing and marketing of the luxury items that were produced in Florence were organized, regu-lated, and policed by the guilds of Florence. A tailor combined product with intima-cy, thus occupying a unique and somewhat problematic position in the Renaissance world of work. From the 20th century on, Florence has been a cloth town. Real for-tunes were made by

selling locally #nished and foreign cloth on the international market. Every success-ful cloth merchant in Florence had an in-ventory of cloth avail-able to them. Some had cloth of excep-tional quality. Because Florence was a textile town, tailors had a di$culty. Strict regu-lations were imposed on cloth cutters and garment stitchers. Male tailors dominated the lucra-tive portion of the

garment-making business, while female tailors were relegated to more humble, but still essential aspects of this art. Market places con-sisted of shoemakers, hosiers, belt and purse makers, velveteers and embroiderers. !ere were also wool and silk makers, jewelers, gold and silver shops, and drapers establish-ments. !e Santa Ma-ria Novella was home to the highest amount of embroiderers and menders.

!e Tailor, Giovanni Battista Moroni, 1565

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Come Visit Nino!

He works with all types of fabric, from cotton to

velvet!

Located across from the Santa Croce

Square

Show off those legs fellas with a pair of custom fitted hosiery. If you really want her to notice you, dont forget to get creative! Instead of sticking to plain colors, be bold to accentuate your outfit. Patterned hoses can be a great way to get the right kind of attention, but clever color match-ing can work to your advantage too. Ac-cessorize with lower stocks and a garter to keep them smooth and sexy.

A great alternative to the doublet is the saio. It is very similar to the doublet but with the addition of detachable sleeves and a skirt that em-phasizes your torso. But dont worry, a slit in the skirt ensures that your cod piece wont be covered so the ladies can defin-tely take notice.

Pull together any out-fit with a fitted dou-blet. These linen jack-ets with high collars and double layers of fabric will keep you warm and fashion-

able in any weather. This fashion must have comes with a convenient attach-ment for your tights or breeches. Fashion-able and functional!

doublet

saiohose

a guide to mens fashion

Hats are definitely in right now. They are the perfect addition to any ensemble. Fash-ion meets function with this great acces-sory that comes in many varietys! Dress it up with trimmings and jewelry or dress it down and wear it as is. You cant go wrong with a good cap.

The staple of any good outfit is a great linen shirt. Dont be afraid to dress it up with some detailed embroidery to add some extra class to any outfit. Don;t think that what youre wearing underneath your doublet doesnt matter. With so many outerwear fashions that involve your sleeves poofing out of them, you have to make sure whats being seen is worth being seen!

Do you want to do more with your out-fit than just wearing hosiery? Breeches are the way to go. They can comfortably

attach to your dou-blet and come with a fashionable cod piece to cover your area, or draw attention to it. Whatever you like.

hats

breechesshirt

Every good outfit needs a good under-skirt. This ensemble addition can really add some flair to any of your overdresses. Contrasting the color

of your underskirt and your dress makes for a great attention grabber and fashion statement when it peeps from under-neath your skirt.

Accentuate your body with the veste, a close-fitting over-dress. It is a little bit tighter than the sot-tana dress alternative so you might only be able to wear a skirt and sleeves under it. But with all the atten-tion youll be getting from it, it will definitely be worth it. The veste is the en vogue fash-ion for the youth. But no matter what your age, there is no way the veste wont make you look young and feel young!

The best way to start off any outfit is with a good white linen camicia. Even if it is going on underneath the rest of your outfit, dont forget to dress it up with some em-broidery, pleatings, or gatherings that can really pull it together when it poufs out from your over-clothes. The great thing about a camicia is how versatile it is! Depending on the occassion it can be worn as a domestic day dress or even a nightgown. Noth-ing does day to night fashion like a good camicia

camicia

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This light piece of fabric will add a touch of modesty to any outfit you put on. You can tie it under your arms to secure it and wear one with

a collar to really step up your fashion statement. Feel free to decorate this silky beauty with ribbons, pearls, pleats, or whatever you like!

If youre ever feel-ing a little chilly in your fabulous outfit, a zimarra can simul-taneously solve that problem and make you even more fab-ulous! With this Ot-toman inspired garb, you can be bold and contrast it with your overdress and play match them perfectly together. You can line your zimarra for the winter months or find a fine silk one for the sum-mer. The fashion of the zimarra can last all year long. Why would you want to take it off?

If you ever want to change it up with your zimarra, the mantello is a great alternative. Although the popular-ity of this piece may be going down thanks to the zimarra, this cloak does a great job of keeping your warm and keeping you fashionable. The convenience of the mantello comes from its versatility. It can be draped and fastened in so many ways there is no way you can ever get bored of it. The mantello is perfect for you la-dies who like poufy sleeves and sottanas.

partlet

mantello

zimarra

eniassance Florentines combined velvet with silks, and lined bro-cades with satins, and furs of many kinds. !e most expensive silk brocades and velvets were those colored with crimson and violet dyestu"s. !ere was also a variety of wools avail-able and inexpensive stretchable jersey used for hose.

Washable cotton and linen were used for personal linens, under cloths, chil-drens garments, and the clothing of ser-vants and slaves. Most household members advised that everyone in the home be ap-propriately dressed, including the ser-vents. !ey wore cloth that represented their family role as well. !ere were many opportunities for

decoration in pattern-ing, furs, and jewelry. !e basic fabric is only one element in many fashion options. Fur was considered essential for both warmth and luxury. !e ruling and profes-sional classes wore a wide range of these. !e most com-monly used fur was from squirrels, rab-bits, and dormouses (a large European ro-dent), and over twenty

more types were avail-able in Florence by the mid 1500s. !is also included, fox, wildcat, wolf, and hare. Furs were regulated a#er mid century in Italy to just lining and accent trims. Cloth was used much more domi-nantly. Eventually, tailors began to use $gured silks in place of exotic furs that were hard to obtain.

Materials

R

Fur, silk, velvet and more

ColorsColor in clothes di!er-entiated men and wom-en in the Renaissance. "e most intensely colored cloth used in the most expensive dyes were crimson, scarlet, red violets, blue violets, and purples. "ese col-ors carried with them the association of power and luxury. Dyers also used less dye in some cases to produce a wide range of other hues. Di!erent colors were produced from di!fer-ent materials. Indigo produced dark blue and fumes of sulfurous acid created pearly white silk. "e Florentines than paired these rich hues with strikingly contrasting colors. For example, they wore gold with turqouise, black and gold with white, green with crimson, yellow with violet, and scarlet with gray. "is helped achieve a com-bination of gowns and linings with a bold look. Sleeves o#en contrasted

the gowns. For example, a purple gown could be worn with red and green striped sleeves. Color was used in a symbolic way in uni-form, either political ecclesiastical, or social. Family colors were o#en worn to special events such as wed-dings and communal feast days. In addition, members of religious confraternities wore matching apparel with symbolic color. Speci$c emblems were worn on their shoulds, sleeves, or caps to identify dif-ferent Florentine con-fraternities. Black today is con-sidered the height of elegance and dignity, but it did not read this way in 15th century Florence. Very few garments that could be seen on the outside were made of black cloth. Black was not considered a color, bur rather an absense of one.

"e bride wears green to symbolize her fertility.

It was important to recognize classes and this was achieved by how they dressed. !e upper class felt uneasy about the Florentine populace and the power of clothing, so they created Sumptu-ary Laws. !ese laws refer to the excess of clothing and magis-trates and men were put in charge of mak-ing sure the people followed these rules. !e laws regulated clothing and prohib-ited certain classes from wearing speci-"ed cloths, garments, or ornamentation. In 1559 a rule stated, None shall wear in his apparel any cloth of gold, silver, or tinsel, silk or cloth mixed with gold or silver, not any sables; except earls and all of superior degrees. Rich clothing became a mark of virtue, re-spectability and honor denies to Jews, pros-titutes and people of the lower classes

Who Wore What?

Red- associated with high social status and royaltyOrange- middle class dyed clothing to look redYellow- a law stated that prostitutes had to wear this color Green- young people wore this to symbolize youth, chastity, love and joyBlue- servants wore this as well as women who were available for marriagePurple- royaltyBrown- represented modesty, religious clothing, lower classBlack- nobility and wealthy as a symbol of re"nement and dis-tinction also worn for mourning White- purity in women and chastity in men, used in uni-versities

Sumptuary Laws

Lower Classt Cotton chemise

worn under every-thing

t Skirts that could be tucked up to keep out of the dirt

t Tight-!tting bod-ice or vest with removable sleeves

t Apron to keep clothing clean while working

t Hair covered with a mu"n cap or braided and bun-dled up to keep out of the way

t Opted for practi-cality, light fabrics

Class Distinction

Middle Class t Fine-lined cotton

or silk blouse un-der everything

t Corset and a far-thingale (hoop skirt)

t Decorated under-skirt with tight-!tted bodice and laced on sleeves

t Overskirt to match t Low heel and

headpiecest Embroidery and

beading if could a#ord them

Upper Classt Blouse in the !n-

est fabrics (silks, satins, velvet)

t Farthingale with petticoat

t Tightly laced corset, elaborate underskirt, bodice and sleeves

t Heel in velvet with embellishment or jewels

t Hat, ru$es on necks and wrists

t Abundently jew-eled

t Rarest of furs reserved for royal families and nobles

t paddes sleeves and

!e Tailor, Giovanni Battista Moroni, 1565

enaissance accessories can consist of belts, bags and hosiery, and hats and head wear. Silk purses were very com-mon. Hosiery itself was made of Perpignan cloth, a washable and stretchy woolen jersey fabric. !e ruling di"er-entiated themselves by wearing a wide range of headgear for which Florentines were famous for. !ey also wore personal jewelry, usually

brooches, and other caps and hats. !ese may have served either functional or stylistic purposes. As acquisition of wealth came into vogue in European society, the consumption of luxury goods became the norm. During the mid 1300s, diamonds were being added to the list of trans-ported jewels. Benvenuto Cellini was a Florentine goldsmith who mastered the cra# of jewelry mak-ing. He created works

for Pope Clement VII and Pope Paul II, and many other $gures. He purchased gems such as emeralds, rubies, and sapphires from peasant farmers. !ese jewels were very common in accessories during this time period. !e girdle was anoth-er popular accessory. It is made of leather, textile, or %at metal chain that formed a belt-like strap worn diagonally along the waistline. !is was

then used as an acces-sory with a purse, keys, lockets, and perfume. All of these items could be fastened to the girdle and add for a decorative aesthetic. Rings were also a popular jewelry acces-sory. It was not uncom-mon for both men and women to wear a ring on each $nger. !ere were rings that had religious functions and ones that expressed friendship.

AccessoriesR

How men and women added value and beauty to their out$ts

girdlewide range of headgear

How does Renaissance fashion give us a better un-understanding of its people and their values?

How can this be applied in todays fashion as well?