We think about the twelfth century as being captured by elegance, mystery and creative design. This was definitely shown by their costumes. The twelfth century was a time of intense religious worship, and when they performed on stage, the costumes were a release from their everyday restraints. The costumes of this century brought out the flair and individuality of the people wearing them. This had a great impact on theatre because even today, actors and actresses come alive when they get changed for performance.
To show the
evolution and slow, steady development of costume, it is necessary to go back
to structural beginnings: the trunk-hose, the flat wool caps, and numerous
other equally interesting details of dress in the twelfth century.
The twelfth
century was a magnificent pageantry of exotic and fantastic costumes, and after
the disappearance of classical drama came the age of the liturgical or church
drama of Western Europe. (Hartnoll 36)
Not only was
more attention paid to dress, but cosmetics were introduced from the
Indies. Cosmetics were a way of hiding
or disfiguring one's face to be anyone at all.
Those in the twelfth century adored the fact that they could break away
from their pale faces and dive into vivid colours and fancy make-up.
It is impossible
to illustrate more than a small fraction of the designs that may be found during
this period, because its complexity adorns practically each item of apparel
from hats to shoes. I have aimed to
condense and simplify my essay in hopes of describing typical examples of the
garments which, in all probability, were the wear of our predecessors from
centuries ago.
England at this
period was the sole manufacturer of woolen stuffs; therefore wool, frieze,
rugge, broadcloth, kersey, and similar materials were worn extensively in most
productions. Only the wealthy
actors/actresses could afford such fabrics as cloth of gold or silver, velvet,
satin, tissue, tinsel and fine damask, which were all imported at fabulous
prices from France, Spain and Italy. (Brooke 71)
Velvet and satin
were adored by all because it gave everyone a feeling of relaxation because of
its touch and smooth texture. Actors and
actresses loved wearing velvet and satin more than any other fabric. Women were the most popular purchasers of
them, and most were quite remorseful when they had to remove their garments
after their performance. Some of the
actors/actresses liked to take home the velvet and satin to wear around their
homes...but if anyone caught them, they would have "committed a terrible
sin." Since the religious element
was so strong back then, most awaited the chance to break free from the grips
of everyday life. (Hartnoll 74)
It is
exceedingly difficult to find contemporary examples of the costumes of serving
men and women of this period. The
women's dress is particularly interesting because it is so much more diverse
from their daily dressing routine.
Pleated petticoats were in general use on stage, and the idea of
fastening the skirt to the belt was probably to protect the skirt from getting
unnecessarily spotted fronts. Peasant
women wore simple woolen garments, their shifts were frequently made of
linsey-woolsey.
Gowns were
usually laced up in the front of the dress, and had fairly close-fitting
sleeves and waistlines. Women adored and
fitted costumes because they could finally wear things that didn't cover the
entire body, not to mention with drab colour schemes. Twelfth century religion forbade such exotic
clothing such as those fitted ensembles, but every woman felt free and much
more feminine in them. (Willett 16)
Women's hose
were of cloth and reached just above the knee, where they were tied; shoes were
of cloth and reached just above the knee, where they were tied; shoes were of
loose slippery variety with a flat sole and the toes were open. Open toes were another special plus for those
in the twelfth century theatre. Open
toed shoes were a sign of creativity, and mystery. Women loved to wear open toed shoes on
stage. They had to wear black boot type
shoes every other day which covered up most of their leg and their toes.
(Willett 24)
Near the end of
the century, the "split-sleeve" came into vogue for the ladies of
fashion. The sides were caught together
with gold clasps instead of the more usual clasps. A large apron of hollard or some coarser
fabric was always worn on stage, and the belt or girdle served to carry any
small articles that women may need from time to time. Girdles and belts are still widely used today
in theatre. This shows how twelfth
century theatre has carried on through generations and is still used to costume
and clothe stage performers today.
Precious stones,
gold and silver chains and clasps, and numerous rings were worn
extensively. Gloves, when worn, were cut
at the knuckles to show the rings beneath.
Gloves, and expensive fine gems are still popular today and are still a
vital touch for that finishing piece of a costume. (Hartnoll 52)
The men wore
simply a shirt and tights, the latter of cloth reaching from waist to toe,
covered by a belted doublet of some rough wooden material that finished an inch
or two above the knee and had long sleeves.
Their boots or shoes were usually made of leather and covered the
ankle. Sometimes a cloak or gown was
worn for extra warmth on stage, because some of the plays were held
outdoors. The costumes of the men have
carried on through the years as well.
Men are still quite simple in their dress and they liked to wear
comfortable costumes.
No itchy wool or
cold satin for the men of the stage.
Cloaks were most fashionable, short, barely reaching the hips, and
sometimes worn swathed round in the venetian style. Shoulder padding was general, and
"wings" were added to accentuate the width of the doublet. Venetians were a series of knee-breaches,
bombasted, quilted, and padded. These
usually reached just to the knee, and were either tied with a wide garter or
finished with a small frill or bond.
(Brooke 14)
Probably the
reason for so many changes in fashion and costume about the twelfth century was
that they were so elaborate, and had splendid embroidery.
The religious
content of the theater broke free when the actors/actresses took to the
stage. They felt like a new person. It is so significant because performers feel
that same way today. So, we draw to a
close, the most interesting century in our history, a century shaken by the
discovery of a crazed enthusiasm, wild frenzies, and frantic expenditures.
No sober-minded
stay-at-homes were they. And the spirit
of adventure, originality and extravagance must needs be given expression -
hence the dazzling array of costumes, the exotic materials, and the priceless
decorations set forth in the twelfth century.
It was a period in time for people to let themselves loose when religion
was so predominant in their lives. The
twelfth century will also be significant in theatre history because their era
was the building block to the future costumes that dazzle everyone.
WORKS CITED /
CONSULTED
Brooke,
Iris. Costumes In The Twelfth
Century. London: Adam and Charles Black, 1967.
Hartnoll,
Phyllis. The Theatre: A Course In
History. New York: Thames and Hudson
Incorporated,
1985.
Willet, C. Handbook of English Medieval Costume. London: Faber and Faber Ltd., 1969.
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