Theory into Practice - De-coding the Hierarchy of Fashion Textiles
I have chosen six paintings from the National Portrait Gallery and will try to 'decode' the textiles featured on the sitters using Lou Taylor's 12-point model of analysis. This model takes into account the social and economical context to different types of textiles and how 12 different qualities can influence the historical status of cloth. The 12 'marks of distinction' are:
Rarity of fibre or cloth type
Novelty
Use at an elitist social-ritual function
Elitist status of wearers
Country of origin
Known elitist designer's and/or manufacturer's name
Known elitist manufacturing names
Unusual or costly manufacturing methods
High price
Newness of pattern and colour
Tactile qualities of delicacy, vulnerability, exceptional softness etc.
Elitist-oriented marketing
An exhibition I saw in October 2014, 'A Century of Style: Costume and Colour 1800-1899' at the Kelvingrove Museum, also gave insight into the effect that different colours had on the status and meaning of cloth.
Ayuba Suleiman Diallo (Job ben Solomon)
by William Hoare, 1733
The fabric worn in this portrait seems to be a plain white cotton, which was not a rare or expensive fibre, so would score low on most of Lou Taylor's distinguishing qualities. However, as the sitter, Ayuba Suleiman Diallo was a deeply religious man who came from a family of Muslim Clerics, the religious status of the wearer and its use at an elitist social-ritual function may imbue the cloth with some status.
George Gordon Byron, 6th Baron Byron
replica by Thomas Phillips, circa 1835 (1813)
The clothing worn in this portrait would score quite highly on a number of Lou Taylor's distinguishing qualities. One feature that implies a high status cloth is the rarity of the fibre or cloth type. Although it's hard to tell from a painting, it looks as though the fabrics in the sitter's attire include silk, velvet and gold embellishments. Due to these kind of materials beings used, there must have been quite a costly manufacturing technique in the making of this outfit, which is also another 'high status cloth' attribute. There is also an aspect of novelty in Lord Byron's costume - it would have been highly unusual for someone of the 'West' to wear clothing associated with another nationality/culture. He had purchased these clothes from Albania a few years before the portrait was painted, which reflects the elitist status of the wearer - he had enough wealth and disposable income to be well-travelled and to purchase what must have been quite a high-cost garment.
Robert Devereux, 2nd Earl of Essex
by Marcus Gheeraerts the Younger, circa 1597
The robes worn by Robert Devereux, 2nd Earl of Essex show the following distinguishing features from Lou Taylor's model of analysis:
1 - Rarity of fibre or cloth type - The red cloth looks as though it is silk velvet, which would have been very rare in the time that the portrait was painted
3 - Use at an elitist social-ritual function - Having your portrait painted was a kind of social-ritual for the aristocracy.
4 - Elitist status of wearer - The subject in the portrait was a memeber of the aristocracy
8 - Unusual or costly manufacturing technique - The elaborate embellishments would have been painstakingly produced by hand.
9 - High price - Silk velvet was one of the most expensive materials to produce because of the amount of extra thread needed to make the raised pile.
Sir (Francis) Leopold McClintock
by Stephen Pearce, 1859
There are only a couple of qualities that point to a high status cloth in the garment worn by the Naval officer and Arctic explorer in this portrait. One is the rarity of cloth type and the high cost of the fur and leather that makes up the mittens. These materials however, are worn for practical purposes against the cold, rather than for mere decoration. This garment would score a minus for the durability of the jacket material. Durability had negative associations - It was anti-fashion because it was made to last. Durable fabrics tended to be worn mainly by poorer people as it was cheaper and needed replacement less often.
Unknown woman, formerly known as Mary, Queen of Scots
by Unknown artist, 1570
I have identified the following qualities from Lou Taylor's 12 distinguishing features of cloth from this portrait:
3 - Use at an elitist social-ritual function - This portrait is believed to have been painted to mark a marriage between aristocratic families.
4 - Elitist status of wearer - From the sitter's elaborate attire, it is obvious that she was of a very high status in society, plus also the fact that she had her portrait painted in the first place.
8 - Unusual or costly manufacturing technique - The pattern on the cloth looks as though is could have been woven into the material. This is quite an unusual pattern and would have probably only have been produced in a small amount
9 - High price - The manufacturing methods of the patterned fabric and also the elaborate lace feature around the decolletage point to the high price of this garment.
Sarah Siddons (née Kemble)
by Gilbert Stuart, 1787
In this portrait of Sarah Siddons, I found the following of Lou Taylor's qualities:
1 - Rarity of fibre or cloth type - It looks as though she is wearing silk organza
4 - Elitist status of wearer - She was a leading actress and celebrity of her time and part of a powerful theatrical dynasty
11 - Tactile qualities of delicacy, vulnerablilty, exceptional softness etc - Silk organza is difficult to care for and to maintain. This level of maintenance would have required the use of maids/servants and therefore reflects the high status of the wearer.
When attempting to understand the status of cloth in contemporary fashions, I found the following of Lou Taylor's 12 qualities most useful:
The elitist status of the wearer - a lot of the fashion ads I see feature celebrities/famous models, actors or musicians
Unusual or costly manufacturing techniques - high-end fashion retailers tend to use these in one-off pieces (as illustratated below in the examples taken from an issue of AnOther magazine)
Known elitist designers or manufacturers name - this mainly applies to fashion designers who only cater for the elite
Novelty - seen in the fantastical creations on the catwalk, and also in new technological advances in sportswear materials for instance
Use at elitist social ritual - royal weddings or royal ceremonies create a spike in popularity for the outfits worn by royal members of family.
References:
A Century of Style: Costume and Colour 1800-1899 (2015) [Exhibition]. Kelvingrove Art Gallery and Museum, Glasgow. 25 September 2015-14 February 2016.
Taylor, L. (2002) 'De-coding the Hierarchy of Fashion Textiles', in Schoeser, M and Boydell, C. (eds.) Disentangling Textiles: Techniques for the Study of Designed Objects. Middlesex University Press, pp. 67-80
Hack, J. (2016), AnOther Magazine, Vol 2 (Issue 4 Autumn/Winter).