Ripeschiamo a little men’s fashion which seemed to have been somewhat overlooked with the escape this week between venues and social gatherings.
Today we will talk of men’s shirt. Garment par excellence, one that was much more male virility of slings.
Let me start by saying, although it may seem strange, the shirt was considered an undergarment. Because this juxtaposition that nowadays stoma so much?
Well, for the simple fact that it was worn directly against the skin and all the clothing that had this feature were considered “intimate”.
An interpretation decidedly outdated, but that leaves easily guess how come for a girl was so wrong to see a man in shirt sleeves, was practically half naked!
I find it hard to believe that the puritanissimi men of the Regency era, or even worse, than the Victorian, wore nothing under unprofessional with their beliefs not to be covered by layers and layers of clothing like an onion?
Though I acknowledge the truth and accept it, fascinated as I am by the men in suits and tail coats cannot fail to please me than some of the ones they’re well dressed only with this garment.
What was done the shirt?
With MensShirtsShop, the shirt was woven into linen or cotton; winter wool models also existed, but these were considered “old”, exactly like p ENSA Marianne of Colonel Brandon, two of the main characters of sense and sensibility, Jane Austen Book.
Its shape was not very different from the one used during the middle ages, this garment is not evolved much throughout history, representing an excellent example of elegance and comfort combined.
It was very long, reaching almost to the knees, and large enough to be called “blusante”, with sleeve seam that had to pass across the width of the shoulders.
The barte torso could be decorated with little pleats and pleated shoulders were generally smooth.
The shirt was characterized by long sleeves decorated with lace and lace (to Lady Oscar, for instance) and a collar moll falling turning outward and creating a V-neck chest.
Subsequently this fashion typical of eighteenth century neared giving way to a new way of thinking about the short, stiff collared shirt and cuff completely detached.
What were the parts of the shirt?
The shirt was characterized by a tunic of fabric covering the bust and sleeves on his shoulders.
The century shirt had detached collar and cuffs. The latter had joined the rest through the edge of real collar buttons, that combined the bust, was called piping and was as low as it was sufficient for cucirvi over the knobs to secure the top and, similarly, the cuffs were characterized by a simple strip of fabric that concluded the sleeves.
Separate collar and cuffs were extremely rigid, starched and ironed by steaming and their importance in menswear grew tremendously in the nineteenth century thanks to the invention of the tie that initially consisted of a strip of linen that ran twice around the neck to let then fall limply the flaps on the front.
Subsequently the tie became crucial and most importantly the intricate lacing, the so-called “knot” that could be extremely complex, became the center of male elegance.
The length of the Strip that would formira the tie grew as long as this did not arrive to wrap around the neck of the gentleman. The tie could be replaced by a particularly long handkerchief that ran several times around her neck, in that case, it took the name of cache-col.
Both to knot the tie that the cache-col needed a lot of time.
Some gentlemen resorted to the services of a servant in order to tie perfectly.
The man he arranged on an armchair with the neck backwards [perfect for a murder at Judith and Holofernes] and the waiter provided for personal avvololare around the strip of fabric, this was requested especially for fashions introduced by Beau Brummell, where the collar was extremely high and stiff and reached up to touch the jaw.
Later, with the death of Big Aesthete, fashion changed and began to level off onto a foggia rather comfortable which provided a collar quite high, but the neck was not wrapped by meters of linen and other expensive fabrics, leaving a certain freedom of movement to the head.
Equally the tie resumed a foggia rather simple and returned to being a reasonable sized fabric Strip fastened with a knot in the front.
The knot was still cause for charm, large holders of the ropes of fashion launched every year new combinations to make this personalized bow and also began to play with color, although initially was granted exclusively white, turned progressively in black [Mr Thornton in tie unforgettable North & South by Elizabeth Gaskell] and then in blue, green , brown, red, and so on.
Shirt cuffs were stopped by twins — two plates joined by a small chain in the middle: the first plate was passed by the slot of the flap of the left and the second on the right, the two plates were clutch on the fabric which was kept united by ch that joined.
It was an ingenious and very elegant.
The twins were a very important accessory in a man’s clothing and determined the taste and status. They were often decorated with the family coat of arms, or with lacquers or precious stones.
The front of the shirt was closed by buttons, these could be of wood or, more commonly, bone. They had round shape and could be fixed with two or four holes.
A clarification has to be made on the button panel on the front that could be complete, or fully open his shirt, or up to half.
Where was buying a shirt and who sewed?
Wealthy people purchased the shirts in tailoring or camiciaie.
Every self-respecting took on masculine tailoring of camiciaie, usually girls alone or widows who dealt with cuire shirts.
This profession was carried out almost exclusively by women, one of the few that had enabled them and remained until the mid-20th century female prerogative. The tailors take measurements and women were then baste the fabric and sew the whole thing together.
A luxury shirt was an important business card for a respectable man.