1450 - 1624
SYMBOLISM AND FANTASY
The Renaissance world revolved around emblems, iconography, and allegories, and people delighted in using these symbolic representations in dress.
Almost any animal, plant, god, object, color, or foreign fashion could be used metaphorically to say something more than itself.
At a time when most people could not read, visual meanings were especially important.
Medieval heraldry had established symbols as distinctive badges of houses and families.
Personal iconography became a poetic, decorative language using emblems such as knots, phoenixes, carnations, and lilies to show a person's virtues along with other abstract ideas.
These could be embroidered or painted on to clothing, or worked into jewelry or armor.
Characters from religion and classical mythology were popular allegorical themes, often used to convey hidden moral or political messages.
At masques (theatrical court entertainments) and costume balls, costumes were an opportunity to draw on different cultures.
RED AND BLACK
Color itself was a symbol with complex meanings.
The most prized shades were true black and crimson or scarlet.
Red denoted power and was used by royalty, nobility, and religious authorities, such as the pope and his cardinals above.
Following 16th-century religious divisions, members of both the Catholic and protestant churches used black to show their piety, humility, and restraint.
But dyeing cloth a deep, rich black was expensive in terms of time and ingredients, so the color was also a fashionable way to show off wealth alongside spiritual values.
BLACKWORK AND EMBROIDERY
As undergarments peeped out from clothing in the 15th century, Italian and Spanish needlework was used to embellish the visible edges.
Blackwork is the English name for an embroidery technique using red or black silk thread in geometric, stylized patterns on linen garments for both sexes, such as shirts, smocks, coifs, and caps.
After the idea came to England local needlewomen built on the technique.
By the Elizabethan and Jacobean periods, complex twining patterns of naturalistic plants and animals covered outer clothing in a tangle of multicolor designs accented with gold.
The exuberance contrasted with the geometric formalism of garments.
公元1450 - 1624年
符號(hào)與幻想
文藝復(fù)興時(shí)期的世界充斥著標(biāo)記，圖像和寓言，人們被這些服飾中的象征性圖像點(diǎn)燃了。
幾乎任何動(dòng)物，植物，神明，物體，色彩甚至外來(lái)時(shí)尚元素都可以隱喻地用來(lái)表達(dá)超脫圖像本身的含義。
在那個(gè)大多數(shù)人無(wú)法閱讀文字的時(shí)候，視覺含義就尤其重要了。
中世紀(jì)紋章已經(jīng)建立了例如像房屋與家庭的獨(dú)特徽章。
個(gè)人圖像變成一種詩(shī)意，裝飾性的象征語(yǔ)言，例如繩結(jié)，鳳凰，康乃馨以及百合來(lái)展現(xiàn)一個(gè)人獨(dú)特的美德以及其他抽象的想法。
這些都可以刺繡或繪畫在服裝上，或者制成珠寶或盔甲。
來(lái)自宗教與古典神話的符號(hào)是時(shí)髦的寓言主題，經(jīng)常用在傳達(dá)隱藏的道義或者政治信息。
在假面舞會(huì)（戲劇性的宮廷娛樂）與化妝舞會(huì)上，裝扮是利用不同文化的好機(jī)會(huì)。
紅與黑
色彩本身就是一種帶有復(fù)雜含義的符號(hào)。
最珍貴的色調(diào)是純黑色，深紅色與鮮紅色。
紅色代表權(quán)力，被皇室與宗教權(quán)威所使用，例如教皇與他的紅衣主教們。
隨著十六世紀(jì)宗教分裂后，天主教徒與新教會(huì)成員都使用黑色來(lái)表現(xiàn)他們的虔誠(chéng)謙卑與克制。
但其實(shí)在那個(gè)時(shí)期，將服裝染成深度又飽滿的黑色是非常昂貴的，所以色彩同時(shí)也是一種炫耀財(cái)富與精神價(jià)值的時(shí)髦方式。
黑色與刺繡
由于內(nèi)衣在十五世紀(jì)從服裝外層顯露出來(lái)，意大利與西班牙的針線活就用來(lái)修飾那些可見的邊緣。
英文名blackwork黑色刺繡術(shù)是一種使用紅色或黑色絲線，在男女同款的亞麻服裝上勾勒幾何或特殊圖案的刺繡技術(shù)，例如襯衫，工作服，頭巾還有帽子。
這后這個(gè)刺繡方式來(lái)到了建立在技術(shù)的英格蘭當(dāng)?shù)蒯樉€女工手上。
在伊麗莎白與詹姆斯時(shí)期，自然主義植物與動(dòng)物的復(fù)雜纏繞圖案，并著重以金色為主的多色彩設(shè)計(jì)被覆蓋在整個(gè)外衣上。
服裝上的幾何形式充滿著豐富的對(duì)比。
