The term “macaroni” was once as familiar a label as “punk” or “hipster” is today. In this handsomely illustrated book devoted to notable 18th-century British male fashion, award-winning author and fashion historian Peter McNeil brings together dress, biography, and historical events with the broader visual and material culture of the late 18th century. For thirty years, macaroni was a highly topical word, yielding a complex set of social, sexual, and cultural associations. Pretty Gentlemen is grounded in surviving dress, archival documents, and art spanning hierarchies and genres, from scurrilous caricature to respectful portrait painting. Celebrities hailed and mocked as macaroni include politician Charles James Fox, painter Richard Cosway, freed slave Julius "Soubise," and criminal parson Reverend Dodd. The style also rapidly spread to neighboring countries in cross-cultural exchange, while Horace Walpole, George III, and Queen Charlotte were active critics and observers of these foppish men.   

Costumes Of Frankish Women Courtiers From The Sixth To The Tenth Centuries. is a licensed reproduction that was printed on Premium Heavy Stock Paper which captures all of the vivid colors and details of the original. The overall paper size is 22.00 x 38.00 inches. This print is ready for hanging or framing and would make a great addition to your home or office decor.

The Fun Costumes Renaissance Nobleman Costume We love the Ren Faire almost as much as we love Halloween. That means any opportunity to blend the two together is a winning moment for us. That's why we are so happy to offer you this Renaissance Nobleman Costume. We use high-quality materials and careful construction to ensure that you can enjoy this look whether at the Faire, a costume party, or chilling out in your own noble den year 'round. Attention to Detail This Renaissance look includes everything you'll need to look amazing and feel even better. The tunic is a velour fabric with attached, billowing sleeves to make sure you don't get overheated. It has a faux fur trim and an attached purple tunic to give you the noble flair and maybe get you ahead of the lines, too. The boot tops transform your regular shoes into Renaissance style and the hat tops the look off while fitting comfortably with an elastic band. Accessorize with some jewelry and you're bound for nobility. Product Details: 100% polyester Pull on velour tunic with attached white sleeves Faux fur trim Decorative chain attached to tunic Cape attaches to tunic with hook and loop fastener at shoulders Elastic band inside ... [Read More]

By the sixth century of the common era the Roman Empire already had many hundreds of years of accumulated ceremony embedded in its government, and practical science embodied in its army.The transition from Republic to Imperium and the more hierarchical structure that entailed, and the absorption of Christianity into state processes, had pushed the development of court ceremonial apace, and particularly driven its embodiment and display in ever more opulent regalia. The regalia embraced not only garments of distinctive form and decoration, but also both dress and non-dress accessories. It was crucial in displaying rank and function on an everyday basis, yet was also varied considerably for special occasions. Military dress largely reflected forms current amongst ordinary men, but with an emphasis on functionality, eschewing the excesses of fashion.Detailed literary and artistic sources, archaeology and insights derived from reconstruction and practical experience has gone into creating an incredibly lavish picture of the clothing of the longest-enduring political entity in history.

Examines the role of clothing in medieval society and discusses trends in clothing styles and the characteristic dress of different classes of people.

English costumes from late fifteenth century. From left Judge gentleman lady of rank courtier lady of quality. From the national and domestic history of England by William Aubrey published London circa 1890 is a licensed reproduction that was printed on premium heavy stock paper which captures all of the vivid colors and details of the original. The overall paper size is 17.00 x 12.00 inches. This print is ready for hanging or framing and would make a great addition to your home or office decor.

This is an Asian size,We recommend adding 2 to 3 sizesYear season:Spring 2017 Gender:Men Material:Viscose Model Number:w654 Dance Type:Chinese Folk Dance Item Type:Yangko Dance Costume Color Classification:White laceWish you all the best in your work and shopping a happy day

In 1759, the Qianlong Emperor of China commissioned a catalog of comprehensive, illustrated regulations for ceremonial garments and accessories worn by the members of the imperial household. Not since the HUANGCHAO LIQI TUSHI was written have we seen a more stunning look at the colors, designs, and insignias of China's last imperial dynasty. With detailed descriptions and exquisite illustrations, this invaluable reference preserves the fashionable side of China's dynastic history for generations to come. With beautiful color illustrations culled from public and private collections and a helpful glossary of Chinese terms, IMPERIAL WARDROBE is an ideal reference book for collectors, scholars, and Chinese history enthusiasts.

Medieval courtiers defined themselves in ceremonies and rituals. Tournaments, Maying, interludes, charivaris, and masking invited the English and French nobility to assert their identities in gesture and costume as well as in speech. These events presumed that performance makes a self, in contrast to the modern belief that identity precedes social performance and, indeed, that performance falsifies the true, inner self. Susan Crane resists the longstanding convictions that medieval rituals were trivial affairs, and that personal identity remained unarticulated until a later period.Focusing on England and France during the Hundred Years War, Crane draws on wardrobe accounts, manuscript illuminations, chronicles, archaeological evidence, and literature to recover the material as well as the verbal constructions of identity. She seeks intersections between theories of practice and performance that explain how appearances and language connect when courtiers dress as wild men to interrupt a wedding feast, when knights choose crests and badges to supplement their coats of arms, and when Joan of Arc cross-dresses for the court of inquisition after her capture.

Costumes Of Frankish Women Courtiers From The Sixth To The Tenth Centuries Canvas Art - Ken Welsh Design Pics (11 x