The complete costume dictionary

Popular from 1860s to 1890, man’s overcoat cut like frock coat with three-inch-wide velvet collar, short waist, long skirts, andflap hip pockets.. In 1856, a woman’s velvet cloak with ab

Without him, I would be a lesser person.

of evil, than attracted by the prospect of good; to be exposed to censure, without hope ofpraise; to be disgraced by miscarriage or punished for neglect, where success would havebeen without applause and diligence without reward

Among these unhappy mortals is the writer of dictionaries; whom mankind have considered,not as the pupil, but the slave of science, the pioneer of literature, doomed only to removerubbish and clear obstructions for the paths through which naming and Genius press forward toinquest and glory, without bestowing a smile on the humble drudge that facilitates theirprogress Every other author may aspire to praise; the lexicographer can only hope to escapereproach; and even this negative recompense has been yet granted very few

—Dr Samuel Johnson, preface to The English Dictionary

Many people made this book possible I want to offer my special thanks to the followingpeople for their inspiration and assistance: to my husband, Dan, for his computer wizardry; toDan and to Aaron Solomon for their assistance in making many of the 19th-century illustrationspossible; to Jessica McCleary and Stephen Ryan at Scarecrow Press for believing in thisproject and prodding me regularly to keep at it; to the interlibrary loan librarians atMidwestern State University who never turned me away when I came asking them for yetanother obscure book; to the reference section librarians at libraries across Texas who helped

me with access to their rare book collections; to LaLonnie Lehman, fellow costume designer,who encouraged me to turn this project from a private list of fun words into a book; to myfellow faculty members at Midwestern State University who encouraged me to finish thisdaunting task; to the members and officers of the U.S Institute for Theatre Technology (USITT)who constantly challenge themselves and others to improve themselves and expand the world

of theater; and to my dear friends who understood when I went into hibernation to finish thisproject

The illustration of the shako is dedicated to the memory of Karen Tursi (1959–2010) Sheused to wear a shako like this, and she made it look good

Finally, my thanks to my parents, Dr Donald R and Caroline Schertz, both educators, whoinstilled in me from a very young age the desire to read, learn, ask questions, and challengemyself to continually grow intellectually

When I began this project 15 years ago, it started in my search for understanding theterminology used in an 18th-century diary written by one of my ancestors As the years passed,

I began to run across more costume terms that were new to me I jotted them down and begancollecting them on notecards When the notecards threatened to take over my office, the projectmoved to computer files When the computer files grew, the project became a book You neverknow where the search for knowledge will take you!

In the appendices, I have categorized the terms in three ways (when possible): by country oforigin, by type of word, and by time period of origin The time periods were chosen using Lucy

Barton’s Historic Costume for the Stage (Boston: Walter H Baker, 1935), a standard referred

to in many texts of the 20th century

In my research I have accessed as many books as were available to me I have attempted tocategorize these terms as carefully as possible, but inevitably there will be mistakes Theseerrors are mine alone—the errors of a researcher lost in their passion for the project Errata,additional terms, definitions, and other comments can be sent to the author by visiting

mostlyharmlessweb.com Along the way, I learned that each new age creates its own fashionsand its own language for the fashions of the past The pace at which these fashions change israpidly accelerating In five or 10 years, the world will have added hundreds of new clothingterms I challenge the next generation of lovers of fashion and costume to record those wordsfor posterity

à la Grecque corsage: Crinoline (1840–1865 C.E.) France Popular from 1850 to 1867, a

bodice with a low, square, off-the-shoulder décolletage The bodice had vertical pleatsextending from the shoulders to the center front waist

à la jardiniere: Romantic (1815–1840

C.E.) Austro-Hungarian Empire An1830s sleeve style featuring short, tightsleeves that were ruched just below theshoulder

à la Louis XV corsage: Crinoline (1840–

1865 C.E.) France A bodice with thecenter section in the a shape of astomacher

à la Maintenon: Early Georgian (1700–

1750 C.E.) France Coiffure madefashionable by Mme de Maintenon

à la Titus: Directoire and First Empire (1790–1815 C.E.) France A woman’s hairstyle

resembling the hair of a person condemned to the guillotine It was often worn with a redribbon tied snugly around the neck

Adelaide boot: Romantic (1815–1840

C.E.) United Kingdom Popular from

1830 to 1865, an ankle-high,

side-laced boot with patent leather toe and

heel It was sometimes fringed or fur

trimmed at the top Named for

Adelaide of Saxe-Coburg

Adelaide wool: Fine merino wool from

Adelaide, Australia

Adèle: Crinoline (1840–1865 C.E.) 1 In

April 1856, a woman’s moiré scarf en

tablier trimmed with a puff of ribbon

and a deep fringe 2 In May 1856, a woman’s light mantle with three flounces It wasintended for wear at watering place

muslin dress held closed with clasps on the shoulders and worn open on the left over theskirt It had snug-fitting short sleeves.

agave: Mexico Fleshy leaved plant used to create cordage.

agbada: 1 Yoruba man’s heavyweight gown worn over the buba It is also called gbariye 2.

Nigeria Man’s cape of brilliantly colored cotton with printed motifs It is worn with loosetrousers

agemaki: Meizi (1867–1912 C.E.) Japan Literally “rolled-up locks,” a woman’s formal

ailbheag: Ireland Gaelic word for a ring.

ailbheag cluais: Ireland Gaelic word for an earring.

aile: France Wing.

aile de pigeon: Late Georgian (1750–1790 C.E.) France Popular in 1750s and 1760s, a

man’s pigeon-winged wig with two stiff horizontal rolls of hair above the ears (pigeonwings) and smooth on the top and sides

Albert riding coat: Crinoline (1840–1865 C.E.) United Kingdom Introduced in 1841, man’s

single-breasted, full-skirted coat with wide collar, narrow lapels, and hip pockets

Albert shoe: Crinoline (1840–1865

C.E.) United Kingdom Named for

Prince Albert, a man’s slipper with a

vamp that formed a tongue on the

instep

Albert top frock: Crinoline (1840–1865

C.E.) to 1900 United Kingdom

Popular from 1860s to 1890, man’s

overcoat cut like frock coat with three-inch-wide velvet collar, short waist, long skirts, andflap hip pockets In 1893, it became a double-breasted, very long, close-fitting coat

Albert watch-chain: Bustle (1865–1890 C.E.) United Kingdom Introduced around 1870, a

heavy chain worn by men that reached across the front of the vest from one welted pocket tothe other

albói: See touca.

Alboni: Crinoline (1840–1865 C.E.) 1 In 1853, a rich, one-piece mantilla that was slightly

gathered at the shoulders and had a small hood with an ornate tassel at the point 2 In 1855,

a scarf-like mantilla cut in a narrow crescent shape It had a gathered tulle border and wastrimmed with ornamental gimp or braid on tulle 3 In 1856, a woman’s velvet cloak with aborder of moire antique trimmed with looped and tasseled fringe The hood was lined withvelvet and trimmed with a bow

albornoz: 1 Renaissance (1450–1550 C.E.) Spain Hooded cape that is worn with a marlota.

2 Spain Bathrobe

Albuera: Crinoline (1840–1865 C.E.) In 1854, a square-fronted silk mantilla with a wide

neckline, scalloped hem, and bow at the front of the neck It was embroidered and trimmedwith fringe

albusado: Spain Blousing.

alcah: India To be striped.

Alcamina: Crinoline (1840–1865 C.E.) In 1857, a woman’s muslin summer scarf with a

scalloped edge embroidered with polka dots and two volants edged in the same way

alceste: Crinoline (1840–1865 C.E.) Introduced in 1862, a woman’s white silk bonnet

covered in white crepe and trimmed with black lace and white feathers The inside of thebonnet was trimmed with lobelia blue velvet and black lace

alchah: India Corded silk fabric.

alcorque: Elizabethan (1550–1625 C.E.) Spain Cork-soled shoe.

aleejah: Early Georgian (1700–1750 C.E.) Corded silk fabric from Turkestan.

Alençon lace: France Floral design on fine net ground; referred to as queen of French

handmade needlepoint laces The original handmade Alencon was a fine needlepoint lacemade of linen thread It was made in Alencon, France

Alençon point: Two thread lace, forming octagons and squares.

alepin: 1 United States of America Turkish-Syrian fabric imported into the Southwest via

Alexandra jacket: Crinoline (1840–1865 C.E.) United Kingdom Introduced in 1863, a

woman’s postillioned day jacket made with small revers and collar The sleeves hadepaulettes and small cuffs

Alexandra petticoat: Crinoline (1840–1865 C.E.) United Kingdom Introduced in 1863, a

like a vest and was loose in the back like a mantle It was heavily embroidered and hadheavy twisted fringe.

(1930–1939 C.E.) Combination brassiere and corselet made from lastex, a two-way stretchfabric It was made without stays

(Undergarments).

alma brown: Crinoline (1840–1865 C.E.).

Copper brown

Alma Escharpe: Crinoline (1840–1865

C.E.) In 1856, a shawl with a vandykedflounce The shawl was trimmed withcheckered galloon

almain coat: Renaissance (1450–1550

C.E.) Germany Man’s short, snug, jacketwith flared skirts and long hangingsleeves

almain hose: Elizabethan (1550–1625

C.E.) Men’s very loose, paned hose withlarge pullings-out

almain rivet: Elizabethan (1550–1625

C.E.) Suit of light half armor made withbreast and back split

almayne rivet: Renaissance (1450–1550

C.E.) Suit of light half armor

almenadas: Renaissance (1450–1550 C.E.).

Spain Battlemented edges

almerian: Crinoline (1840–1865 C.E.).

Introduced in 1862, a woman’s heavyblack silk shawl edged in six rows of ruffles around the outer edge and trimmed withruching down the center front

amadis: 1 Late Georgian (1750–1790 C.E.) Snug sleeve that fastened at the wrist 2.

Directoire and First Empire (1790–1815 C.E.) Woman’s long, full sleeve with puffs atintervals down the arm

amadis sleeve: Restoration (1660–1700 C.E.) Introduced in 1684 by Mlle le Rochois,

actress, a snug sleeve that continued onto the back of the hand It was fashionable again in1830s and 1850s

amageta: Japan Rainy weather sandals with high wooden cleats and protective toe covers amalia: Greece Woman’s national costume of an embroidered chemise that shows at the neck

amazon collar: Crinoline (1840–1865

C.E.) Woman’s standing collar with agap in the center front It was particularlypopular on blouses when finished off with

a black ribbon necktie

amazon corsage: Crinoline (1840–1865

C.E.) Popular for informal attire in 1840s, a plain buttoned bodice with a small whitecambric collar and cuffs

amictus: Roman (753 B.C.E.–323 C.E.) Generic term referring to all draped outer garments amido: Portugal Starch.

amigaut: Early Gothic (1200–1350 C.E.) France Slit at the neck of a woman’s surcoat.

amincir: France To make thin; to look slender.

Amish dress: Characteristic plain dark dress of Christian Mennonites or “Plain People”

consisting of garments that fasten with hooks and eyes, having no buttons or other form ofdecoration Because of their use of hooks and eyes, the Mennonites were once referred to ashookers

amsuka: India 1 A smooth, shining veil 2 A generic term for clothing See also vastra.

amsu-patta: India Fine silk.

amsuyam: India A generic term for cloth amulet: Object worn as protection against

bad luck or evil

amuleto: Portugal Amulet.

amusse: Byzantine and Romanesque (400–

1200 C.E.) Small cape with hood worn

amyan ikondo: Tiv Man’s dark blue cloth with red checks.

amys: See almuce.

an nouveau desire: Late Georgian (1750–1790 C.E.) Trim with interlacings of ermine or

striped gauze The name derived from the son hoped for in the pregnancy of MarieAntoinette in 1778

outdoor silk cape trimmed in volants of crepe lisse

Andalusia: Crinoline (1840–1865 C.E.) In 1855, a woman’s embroidered velvet cloak that

was trimmed at the yoke with three strand tassels The sleeves were cut in reverse scallops.The skirt was box pleated to the yoke

andalusian: Romantic (1815–1840 C.E.) Introduced in 1825, a fine open washing silk with

broché pattern

Andalusian: Crinoline (1840–1865 C.E.) 1 In 1856, a poult de soie mantilla with the back

cut in gores The flounce was pleated in reverse folds The mantilla was trimmed with gimp,rosettes, and looped fringe 2 In 1857, a woman’s talma with a deep lace bertha and richpassementerie 3 In 1858, a lace mantilla with a deep flounce that ended in scallops

andalusian casaque: Directoire and First Empire (1790–1815 C.E.) United Kingdom.

Introduced in 1809, a woman’s evening wear tunic that fastened down the center front andsloped away to below the knees in back

andrienne: See sack gown.

androsame: Switzerland Swiss military hat that resembles a bicorne with a spout-like crease

in the center front In France, the androsmane; in United Kingdom and the United States, thekevenhuller

androsman: See androsame.

androsmane: See androsame.

anelace: See anlace.

Aneline shawl: Crinoline (1840–1865

C.E.) In 1861, a square shawl of silk,crepe, or grenadine, plain orembroidered It was trimmed with aflounce of lace

angi: India A blouse.

angia: India Light, waist-length jacket with

elbow-length sleeves

anglaise: Crinoline (1840–1865 C.E.).

Used from 1840 on, the term applied tothe collar and its fold on a waistcoat

angle-fronted coat: Bustle (1865–1890

C.E.) United Kingdom Popular from

1870 to 1880, a variation of the man’ssingle-breasted morning coat in which thefront was cut away to expose thewaistcoat beneath The bottom corners ofthe coat were cut at obtuse angles ratherthan curves

Anglesea: Trade name for curve in men’s

antigropolis: Crinoline (1840–1865 C.E.) United Kingdom Popular in the 1850s, a man’s

apodesme: Greek (3000–100 B.C.E.) Wool, linen, or chamois leather band worn as a

apron: Length of fabric hemmed at the bottom edge, gathered or pleated to a waistband, and

tied in the center back It may or may not have a bib It is worn for both utilitarian anddecorative purposes

arched collar: Directoire and First Empire (1790–1815 C.E.) Introduced in 1814, a high

Small iron or steel helmet with

movable visor in front and a brim in

back 2 Elizabethan (1550–1625

C.E.) Round helmet worn by horsemen

in the tiltyard

armil: See armilla.

armilausa: Late Gothic (1350–1450

C.E.) Short cloak or cape worn over

mail gussets in place beneath the armpits, in the elbows, and in the knees

arming-bonett: Renaissance (1450–1550

C.E.) Padded cap worn under the helmet

arming-hose: Renaissance (1450–1550C.E.) Long hose worn under leg armor

arminho: Portugal Ermine.

armino: Spain Ermine.

armoire: Bustle (1865–1890 C.E.).Introduced in 1880, a very thick cordedsilk

armoisin: France Silk taffeta fabric used

for linings

aronui: New Zealand Maori A fine cloak of the best quality flax worn only by the leading

chiefs The body of the cloak is made of unbleached flax and the borders were of black,white, and red flax

arpillera: Spain Burlap.

arqalix: Iran Woman’s short, tight jacket.

arracadas: Mexico Crescent-shaped earrings.

Arragon: Crinoline (1840–1865 C.E.) In 1857, a woman’s checked, two-thirds circle

pardessus with a flounce and a bias cut hood The hood was trimmed with three largetassels

Arragonese: Crinoline (1840–1865 C.E.) 1 In 1854, a yoked velvet cloak The skirt was

box-pleated in front The cloak was embroidered and had a narrow collar 2 In February

1860, a black silk pardessus with unusual bagged sleeves, bertha trim, and crocheted fringe

arras: France Tapestry, originally designed in Arras, France.

Arras lace: France Bobbin lace originating in Arras.

Arrasene embroidery: Embroidery done with chenille cord creating a velvet appearance arrêter: France To fasten.

Company began commercial development of a fabric similar to pure silk; produced fromwood pulp, corn protein, and chemical compounds It was named rayon Rayon firstappeared in garments in a 1915 line by Gabrielle Chanel.

artificial wool: (1920–1929 C.E.) Introduced in United States of America in 1926, short

bertha The wrap was gathered on a string at the waist and trimmed with black velvet on ataffeta ground.