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Camilo Quizeno: Final Timeline

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on 26 July 2017

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Transcript of Camilo Quizeno: Final Timeline

1750-1780
1789-1820
1901-1915
1660
1870-1889
Camilo Quizeno: Final Timeline
Cavalier
Rococo
Ancien Regime/Georgian
Romantic
Crinoline
Bustle
Turn of the Century
This portrait of a woman as a Cavalier with a man Cavalier. The woman is holding a jug and has her sleeves rolled up. Women’s clothing became much
less

restricting
in this time period. Flexible stays replaced hard, tight-fitting corsets.
Flowing lace collars
replaced stiff ruffs. Large farthingales were abandoned while
skirts
were merely layered or padded at the hips to produce a
full, flowing look
. The woman was dressed to be
comfortable
while being
attractive
to her husband.
"Cornelis Bisschop | A Young Woman and a Cavalier | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/435670
Cavalier
This art image is of a male cavalier. It was much less restrained than Renaissance time period clothing and was like a replica of women’s styles of the earlier period with
high waists
,
wide lace collars
, and
lace

cuffs
. This style for men also featured
knee-high boots
, often turned down with lace, wide-brimmed hats with feathers.
Long, loose hair, pointed beards
and
mustaches
was the typical look for a male cavalier. Wigs were considered. The
capes
if worn by a male were to be over one shoulder. This was the look of a majority of men during this time period. Dressing like this was to show
loyalty
and
support
to the King.
"Anonymous, Swiss, late 16th to early 17th century | A Standing Cavalier | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/380391.
1700
Restoration/Baroque
This image is of a Mantua, dress worn by a woman. The stiff constricting boned bodice and skirt style previously worn by women was replaced with the Mantua, which was more of a
loosely
draped style of gown. It was gradually draped back over the hips to reveal the
petticoat
beneath. The Mantua were reserved for
formal occasions/events
. Also women wearing the mantua were obliged to
slide sideways through doors
.
"Mantua | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Accessed July 25, 2017. http://www.metmuseum.org/toah/works-of-art/1991.6.1a,b/.

Restoration/Boruqe
This portrait of a men is wearing a
lace cravat
. The large, wide collar gave way to a
separate necktie
(cravat). Costly lace styles were used for
formal occasions
. A
Steinkirk
: a long, plain linen cravat was popular and worn by both men and women. A
wig
could be worn to go alongside with the cravat in order to give a
pleasant, formal
look when going to an occasion.
"Portrait of a Man with a Lace Cravat." Portrait of a Man with a Lace Cravat | Art UK. Accessed July 25, 2017. https://artuk.org/discover/artworks/portrait-of-a-man-with-a-lace-cravat-86415#image-use.
This portrait is of Alexander Charles Emmanuel de Crussol-Florensac. He is wearing a blue sash and collar from the order of the Saint-Esprit and the Maltese cross of the order of the Knights of Malta. Most likely he is wearing a
French court suit
. These suits consisted of a
coat
,
waistcoat
(vest), and
knee breeches
that worn with a
white shirt
, a
jabot

frill
,
ruffled cuffs
, and
silk stockings
. This would be worn by the upper-class men to represent
wealth and royalty
.
"Alexandre Charles Emmanuel de Crussol-Florensac (1743–1815) | Élisabeth Louise Vigée Le Brun | 49.7.53 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Accessed July 25, 2017. http://www.metmuseum.org/toah/works-of-art/49.7.53/
Rococo
This portrait is of Madame de Pompoadour. She is wearing an
overskirt
. The
overskirt
could be lifted up and draped in
swags
, similar to a pair of curtains.
High heels
would be worn with it and is made out of
silk
or
leather
. Women during this time period preferred a
plainer, light fabric
to be
comfortable
.
Stamberg, Susan. "More Than A Mistress: Madame De Pompadour Was A Minister Of The Arts." NPR. May 10, 2016. Accessed July 25, 2017. http://www.npr.org/2016/05/10/477369874/more-than-a-mistress-madame-de-pompadour-was-a-minister-of-the-arts.

1789
This portrait is the
Robe a la Francaise
. Women with coquettish airs were imposing in this skirt between 1720 and 1780. The Robe a la Francaise was derived from the loose negligee sacque dress, which was worn from the shoulders at the front to the back. The
silhouette
, composed of a
funnel-shaped
bust feeding into wide rectangular skirts. This dress represents
beauty
for a variety of different women.
Ancien Regime/Georgian
"Robe à la Française | French | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/159485.

This image is of the
French suit
that was worn in the late 18th century. It featured more decoration and colors than previous suits worn by men. This was a
formal look
at
court
during the ancien régime style perio. Politically and economically motivated, this suit was calculated to boost the
foundering fashion-related industries
in France. This suit has
shorter sleeves
and the jacket vest has a
shorter waistline
in comparison to other jacket suits.
"Court suit | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Accessed July 25, 2017. http://www.metmuseum.org/toah/works-of-art/1983.384.1a-c/.

Revolution/Directorie/Empire
A woman's dress would consist of a gown and petticoat. The gown consisted of the bodice (vest) and skirt joined together, with the skirt open in the front to reveal the separate petticoat. The upper part of the dress would show skin or cleavage.
"A Colonial Lady's Clothing: A Glossary of Terms." A Colonial Lady's Clothing: A Glossary of Terms : The Colonial Williamsburg Official History & Citizenship Site. 2017. Accessed July 25, 2017. http://www.history.org/history/clothing/women/wglossary.cfm.

Revolution/Directorie/Empire
This portrait of
Charles Maurice de Talleyrand Périgord
was drawn in 1807. The insignia of the Legion d’honneur is sewed on his coat and across his
waistcoat
is a
red sash
of the Grand Cordon of the order, given to him in 1805. He also wears the
emblem
of the Golden Fleece, presented to him at the Congress of Vienna. Most men would have
curls
and have different coats worn depending on the occasion occurring. Charles also has on a
undershirt
which was always worn under a coat, as well as the
stock and cravat
shown here.
1820- 1855
"Charles Maurice de Talleyrand Périgord (1754–1838), Prince de Bénévent | François Gérard, called Baron Gérard | 2012.348 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Accessed July 25, 2017. http://www.metmuseum.org/toah/works-of-art/2012.348/.

This portrait is of
Queen

Adelaide
, wife of King William IV. The dress worn during this time period consisted of
gigot sleeve
being expanded to its fullest. A
whaleboned

corset
was back in place. Women were considered "prized" if they had a
tiny waistline
that made them
attractive
to men. This also saw the return of the
separate

pockets
and the
waist petticoats
were multiplied to support
still fuller skirts
.
"Adelaidia." Queen Adelaide | Adelaidia. 2013. Accessed July 25, 2017. http://adelaidia.sa.gov.au/people/queen-adelaide.

Romantic
This image is a
frock coat
. The coat would be worn over an outfit for a
stylish look
. This frock coat's purpose was for
warmth
but was worn in the summer or hot days. The frock coat shown here displays
corded frogging
for
fastening
and
trimmings
. Frogging is a military hussar reference, and show up in velvet smoking jackets. The
waist area
of the coat would be tucked in and the
skirt

areas
would be long.
"Frock coat | American | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/91908.

1855-1870
This dress shown would be worn in 1855. Black had relations of
mourning
, though it could also represent
worldly elegance
or
luxury
due to the costliness of black dye. Broadly worn as the color of grief during the nineteenth century, black could be perceived as both
humble
or
sophisticated
. The black dress attire was an ideal attire in the
morning
.
"Mourning dress | American | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/173904.

Crinoline
Charles Frederick Worth
was an English fashion designer who founded the House of Worth, one of the foremost fashion houses of the 19th century. He revolutionized the business of fashion. Worth’s creations included
frothy ball gowns
and outfits combining
taffeta, velvet
, and
Lyons silk
, with detailing such as
wood beads
wrapped in
silk
thread. He pioneered the
flat-fronted, bustle-backed skirt silhouette
in this time period.
Vogue. "Designer: Charles Frederick Worth." VOGUE. October 11, 2013. Accessed July 25, 2017. http://www.vogue.de/fashion-shows/designer/designer-charles-frederick-worth.

This
sports bustle silhouette
had its first appearance in the late 1860s and early 1870s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in
ties for walking
that created a
fashionable puff
. This puff expanded and was then built up with supports from a variety of different things such as
horsehair, metal hoops
and down. This dress would be worn by women when participating in
tennis, yachting
or

general
seaside walking.
"Dress | American | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/157306.

Bustle
In this time period there wasn't much change to the clothing of men as it was similar to the Victorian Era. It consisted of a silk overcoat over a business attire or casual outfit as shown by William Henry Jackson here. It was a three-piece suit with the coat, vest, undershirt with tie.
"William Henry Jackson." International Photography Hall of Fame. Accessed July 25, 2017. http://iphf.org/inductees/william-henry-jackson/.

1890-1901
The
bathing

suit
was a popular look and style of choice for women who wanted to
bath
and take a
swim
. Even though swimming wasn't a huge demand, it started to be in the 1900s. This bathing suit for women was made out of
cotton
, and was a
loose ankle-length
and
full-sleeve
outfit. It retained
coverage
and
modesty
when the bathing suit was made of
wool
or
flannel
.
"Bathing suit | British | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/86446.

Turn of the Century
The
swimwear
of men was similar to women in the way
no

clothes
were taken off and it could be rented at the beach.
Light—colored edgings
and
horizontal

stripes
characterized jersey knit costumes that stretched to fit a
range of sizes
for men. It was at this time period swimwear became accessible since demand was high at the turn of the century.
Morgan, David . "Swimwear through the ages." CBS News. August 08, 2015. Accessed July 25, 2017. http://www.cbsnews.com/pictures/swimwear-through-the-ages/.

Edwardian
The suit during the 1900s and 1910s were unchanged from previous time periods. Many men wore
tall
,
top

hats
made out of
silk
for
day

wear
. Accessories worn with three piece suits like this one shown involved
gloves
,
umbrella
, or a
cane
.
Wide

mustaches
were often curled for style and formal look. Jackets were
collarless
which gave it a different look.
Imgur. "A History of Men's Suits From 1900 - 2013." Imgur. July 30, 2013. Accessed July 25, 2017. http://imgur.com/gallery/u9N66.

Edwardian
The
cotton
and
silk
dress from the early 1900s was a simple look.
Ribbons
and
laces
were slowly discarded to reveal not only a more
pared-down style
but also
women's feet
. Women were more
comfortable
wearing simple dresses as this one as it allowed them
more

movement
and to
stand

upright
again from the tight waistline clothing worn.
"Dress | American | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. Accessed July 25, 2017. http://www.metmuseum.org/art/collection/search/156784.

WWI
1915-1918
In World War I, women were given the opportunity to join the war alongside their counterpart gender. World War I accelerated the trend toward
less restrictive
and
decorative
day wear as many women became accustomed to wearing practical uniforms or work wear. Women have helped out in war before but not in uniform as the uniform worn in WWI represents
opportunity
and
equal

rights
.
Barton C. Hacker, September 8, 2011. "Women in uniform, World War I edition." National Museum of American History. May 12, 2016. Accessed July 25, 2017. http://americanhistory.si.edu/blog/2011/09/women-in-uniform-world-war-i-edition.html.

WWI
In this time period men would wear suits when working outside of the war. They would continue wearing top hats but it would be
flat
.
Short

hair
was considered
formal
and the continuing mustache look was still present during the war. Many men wore
waistcoats
underneath their jackets to keep
warm
from the brutal cold weather in Europe.
"What clothes did people wear?" BBC News. January 27, 2014. Accessed July 25, 2017. http://www.bbc.co.uk/schools/0/ww1/25268184.

The Great Depression
Fashion in the 1930s took a huge hit due to the economy being downhill. Widespread economic hardships resulted in a less wealth and a smaller variety of fabrics and lifestyle. Men had to be careful in their spending. Clothes like the
sweater
worn in the image were
hand knitted
and were
thick-cable
knit to keep warmth.
"1930s Fashion for Men: Style Shaped by the Great Depression." The Fashionisto. February 24, 2015. Accessed July 26, 2017. https://www.thefashionisto.com/1930s-fashion-men-style-shaped-great-depression/.

The Great Depression
The

evening dress
was designed by Madeline Vionnet during the 1930s. Individual graduated lengths of
silk thread
passed and looped through the fabric, with each thread forming two drops of
fringe
. Even though it had two
wide shoulder straps
, it had a
low back design
to show
back skin
of the woman. But it was normal as dresses were often precariously suspended from the thinnest of shoulder straps and left the backs of their wearers completely exposed.



"Evening dress | Madeleine Vionnet | C.I.52.18.4 | Work of Art | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Met's Heilbrunn Timeline of Art History. Accessed July 26, 2017. http://www.metmuseum.org/toah/works-of-art/C.I.52.18.4/.
1930-1939
1919-1929
The Roaring Twenties
Even though there weren't additions to the way men dress in the 1920s, the move towards increasing
informality
continued in that decade. In the casinos of French resorts or at the dinner tables of ocean liners, a dinner suit or tuxedo was now considered
appropriate
when previously only full dress would have done. Henry Ford as shown in the picture is wearing a
business

attire
suit, which was a
relaxed
variation of the suits offered during the 20s. A
hat
wasn't worn with this suit, compared to other suits that did.
"1920s Men's Fashion." 1920's Men's Fashion: Styles, Trends and Clothes ***. February 2017. Accessed July 26, 2017. http://www.american-historama.org/1913-1928-ww1-prohibition-era/1920s-mens-fashion.htm.

The Roaring Twenties
The use of two different fabrics shown here meant that this wrap coat could be mistaken for a
skirt
and
jacket
combination.
Fur
was a popular material for outerwear in the 1920s but ' has been used here for just the
collar
on a jacket. The attire worn as shown in the image is considered an
evening dress
.
Hats
gave a similar look to those of men.
Scarfs
would often match with the jacket. This time period meant
complete freedom
in the choice of what to wear for women.
Alchin, Linda. "1920's Fashion for Women." 1920's Fashion for Women Facts: History, Designers and Pictures of Dresses ***. February 2013. Accessed July 26, 2017. http://www.american-historama.org/1913-1928-ww1-prohibition-era/1920s-fashion.htm.

WWII
During WWII about 400,000 women joined I the U.S army and nearly half a million women served in the British armed forces; an even greater number was involved in voluntary services. Women had to ensure that their
hair
was
cut
or
coiffed
so it did not touch their jackets. This was done for a
safety
measure. Some services even tried to ban makeup. Fabric was also rationed so
Rayon
was the fabric mostly used for women's clothing during the war.
Monet, Dolores. "Fashion History - Women's Clothing in the 1940s." Bellatory. December 02, 2016. Accessed July 26, 2017. https://bellatory.com/fashion-industry/Fashion-History-Design-Trends-of-the-1040s.

WWII
During this time period while the war was occurring, men would wear
business
or
sport

suits
as shown in the image. The fabric used for the single-breasted suit was a
thick

wool
which signs the sustainability for
informal
occasions. The
snap

brim
,
porkpie

hat
was used instead of the
top
hats. The
wide

pants
were worn for
comfortableness
in men and move around without complications.
1940-1946
1947-1964
The New Look/50s
Sessions, Debbie. "1940s Men's Fashion Clothing Styles." VintageDancer.com. June 28, 2017. Accessed July 26, 2017. https://vintagedancer.com/1940s/1940s-mens-fashion/.
In 1947, Christian Dior presented the bar suit. The collection was a repudiation of the styles of the 1920s and 1930s, and it was also clearly similar to the styles and body-shapers of the late nineteenth century. The New Look collection included
rounded or sloped shoulders
; a
tiny, nipped—in waist
,
padded and rounded hips
, and a very full skirt with
heavy pleating
.
Extra fabric
and a
slip
helped create the skirt's fullness.
"Heilbrunn Timeline of Art History." The Met's Heilbrunn Timeline of Art History. Accessed July 26, 2017. http://www.metmuseum.org/toah/works-of-art/C.I.58.34.30_C.I.69.40/.

The New Look/50s
Two distinct, mainly male, style tribes,
hipsters
and
teddy

boys
both dressed in their own type of "suits" to rebel against the social order of wearing
suits
and dressing "
formal
." Men were tired of the norm of society that they had to follow orders from before the war. They rebelled against fashions and wanted complete freedom and no judgments in what they desire to wear. It was a different look to what previous time periods provided in wearing suits for occasions. In the 50s it gave teenagers something to fight for.
Leather

jackets
,
ripped

jeans
,
motorcycles
was the style for the rebel.
Quartz, Steve. "How the rebel, the beatnik and the hipster became their own status symbols." PBS. September 10, 2015. Accessed July 26, 2017. http://www.pbs.org/newshour/making-sense/shift-consumerism-1950s-brought-rebel-cool/.
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