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“What if gay marriage were legal in the s and the most popular honeymoon spot was Japan?” I collaged images of Japanese woodcuts created in the.
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These are probably vestiges of buttons that were once of use, and to seek an explanation it might be well to study some uniforms of the past. We shall find that in the eighteenth century it was customary to button back the revers of the uniform coat, as in the case of the French coast-guard officer of Fashion afterwards decreed that the coats should be fastened again with hooks, but the two rows of buttons remained. In the coat of the postilion there is no trace of the revers which showed the lining, and were consequently of a different colour from the rest of the coat.

We find, however, in the peculiar uniform of the Lancers that there are the two side rows of buttons, to which is fastened a red front. This appears to represent the two revers combined. In some ceremonial dresses and uniforms there are [40] cross stripes on the breast see Figure 61 which, it has been pointed out, represent series of buttonholes which have become hypertrophied, and are now exaggerated beyond recognition.

The braid on the cuff of the London Scottish Volunteers seems also to represent buttonholes. In other cases buttons seem to appear which have, it would seem, no hereditary right to their position; but it may be well, before dismissing them, to see whether they have not a pedigree. We might cite the case of the buttons that are sewn on to the frocks a little below the knee. They are often at the head of a plait, and it would be worth while to look into their history. Let us carry on our work of dissecting the clothes of a modern man, and as we once more survey our subject, we may glance a little higher than heretofore, until our eyes rest upon the collar of his coat.

This structure passes into the lapels, and at the point of junction there is a curious nick which is repeated in the waistcoat if this be similarly provided with lapels. It was undoubtedly a custom of the Jews to rend their garments, but it does not, on the face of it, seem likely that the practice would have influenced modern costume. It would appear, however, that the slit in the lapel has a much more prosaic origin, and owes its existence rather to a practical requirement than to a sentimental observance.

When the collar of a coat is made to stand up, it is absolutely necessary that a piece should [43] be cut out of the cloth, or the lapel will not lie down. A trifling experiment will indicate that at the present day the cut is not usually made deep enough to allow of the collar being turned up without disturbing the lapels. Another remarkable variation is to be found in the collars of some dress suits. This structure is probably a survival of some particular kind of collar. It might be pointed out here that the facings and collar that are of silk or velvet represent the lining of the coat which came into view when the collar was [44] turned down and the lapels turned back.

The case is quite similar to that of the cuffs on uniforms, and to be quite consistent, the whole coat should be lined with what is usually used now only as a kind of trimming. It is but a short step from the features that we have been discussing, to the linen collar and the shirt front. The cutting away of the outer garment to bring the shirt into view is a relic of the time when only those who were very well to do could afford to wear linen, and they showed it, in order to indicate their social position, or at any rate their financial resources.

At the same time, the women cut their dresses low so as to show their underlinen; and not content with this, they further, at the end of the thirteenth century, slit their gowns from the armpits to the hips. The openings thus made were laced across, so that the linen garments beneath could easily be seen. The white shirt has long survived, and in spite of its depreciated value has up to quite recently posed as a badge of respectability. Now at last there are signs that its sway is over, and that soon it will come to be only a garment of ceremony. The linen collar of to-day is quite a small affair compared with some of its forerunners.

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An interesting relic is to be seen in the two little linen flaps which we call bands see Figure These are still worn by preachers in conjunction with the Geneva gown, by barristers, and by Blue-coat boys see Figure 36 , and [45] we can easily trace their relationship to the collar. Until a few years ago the choristers at Jesus College, Cambridge, wore a peculiar collar which ended in two flaps much resembling bands, and the descent of this from the large structures which were called falling bands is not difficult to trace.

The portrait of Jan Steen, which we reproduce, shows bands which are less stiff and formal, but of ampler proportions.


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Going a little further back, we find the collar that covered the shoulders, such as Milton wore, and which is shown in our picture of John Pym. At this point we may pause to recall a simple article which is known as a bandbox, but which has been diverted from its original purpose of holding bands, and is now commonly used as a receptacle for hats. Though not itself part of dress, the bandbox furnishes an interesting instance of adaptation to circumstances. It was well suited to contain articles of dress other than those for which it was primarily intended, and [47] hence it has survived in the struggle for existence.

We must not, however, jump to the conclusion that bands are now only represented by vestiges, for they are still to be seen in their full glory on very small boys see Figure 41 , and the writer recalls a lad of fourteen or so who had reached the dignity of trousers who wore the same kind of collar. As linen collars are one of the articles of dress in regard to which the wearer is allowed in a great [48] measure to follow his own taste, it is not surprising that a great many forms have from time to time been invented. Quite a number are still to be seen here and there, while the development of the more fashionable shapes one from the other would, in itself, form a chapter in the Evolution of Dress.

The clerical collar may be singled out, as it fastens behind like the bands, though the reason for this is not at all obvious. These, like the huge creatures of bygone ages, die out, but differ in this respect that they sometimes revive for a time. Those who have written upon dress from an artistic point of view have recognized that costume and architecture are affected by the same influences. When we come to the hat, we find that its name is connected with a building of a primitive character, namely, a hut. Allan Poe Newcombe, an architect, some years ago pointed out the curious resemblance which has existed, and is still to be found in many countries, between headgear and habitations or other buildings.

It may be that the same taste, or lack of it, has given rise to the similarity of style, or in the beginning, the designer of the hat may have taken the hut as a model. In the Hawaiian Islands, long before the inhabitants troubled about clothes, they built themselves grass houses, and at the present time the characteristic [50] Hawaiian hat is remarkably like the hut. The turbans of Eastern Church dignitaries are still of the same shape as those worn by the high priests among the Jews, and are remarkably like the characteristic dome which surmounts a mosque. Looking about in other countries we shall find further instances that support Mr.

Again going back into European history, we find that the high pointed spires of Gothic churches were cotemporaneous with the high horn-like head-dress known as the hennin see Figure It is claimed, moreover, that like results will be found after a comparison of other styles of architecture with the costume of the period in which they flourished. Leaving this suggestive line of research, and coming to hats as we have them at the present day, we find that they offer several remarkable vestiges for our consideration.

First of all there is the hat-band outside, which sometimes ends in two tails or streamers that hang from the back of the hat see Figure From the bow usually present it is evident that the hat-band was tied, and the streamers represent the loose ends. As a matter of fact, primitively, a head-dress was made from a piece of cloth, round which a fillet was tied so that it fitted the head.

In this connexion Figure 45 is most interesting. It represents [53] the back view of the head of the Egyptian woman of the Sixth Dynasty, who is seen in Figure 76 , and shows a head-dress which is confined with a fillet that is tied at the back so as to make two tails. From a figure of the Sixth Dynasty, B. A twelfth-century head-dress shown in a manuscript Figure 48 has a great similarity to the Scotch cap, as the band forms a kind of binding to the article in both cases, and there are streamers to both.

The strings or streamers are to be found in many other head coverings, including the mitres of bishops see Figure The particular mitre illustrated is that of the See of Durham, which is distinguished from others in being plumed.

An interesting suggestion as to the origin of the slit in the top of the mitre may be mentioned here. On looking at the inside of a modern hat, a little bow of silk ribbon will usually be found at the back where the two edges of the leather lining meet.

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Here, again, is a vestige. In some hats the ribbon does not simply make the bow, but it is threaded through a greater or less number of holes in the leather, though now fulfilling no useful purpose. In a hunting hat, however see Figure 53 , the lacing is continuous round the hat, and the lining can be made to fit the wearer.

It helps to form a buffer, should the huntsman unfortunately fall on his head, and it is claimed that many lives have been saved by this small detail. It may be gathered from the description that in times when hats could not easily be got to fit their wearers, the lacing inside would be most useful, as it ensured that the size could be adjusted. It is possible also that in the lacing we have a means by which a hat was originally shaped, and that the lace is really a hat-band threaded through the material of the head-dress instead of being tied round outside.


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The first diagram on page 57 shows a flat piece of leather cut into a circular form; the [57] next shows it perforated and a lace put through the openings; the third indicates how by tightening the string a crown could be made to the hat. In time, when the crown was made in different ways, it would be easy to transfer the lacing to the lining as seen already in the hunting hat Figure Sir George Darwin has shown why plumes are, and used to be, on the left side of a hat only.

In the days when the feathers were particularly long there was also plenty of fighting, and it only needs the attention to be drawn to the point, to make one realize that if the plume had been on the right side, it might often have got in the way of a sword and thereby caused the overthrow or even death of its wearer.

At the present day in the army see Figure 59 , the plumes will be found on the left side as in the days of cavaliers.

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Sir George Darwin 8 has traced the origin of the [59] busby, and has shown that the little red flap that hangs on the left side as a useless appendage is really the original cap. Busbies were the special attributes of the Hussars, who were originally Hungarian soldiers. As time went on, the fur on the cap, which was adopted in the end by various regiments, became wider and wider, and the original red cap got smaller and smaller until the form of the modern busby was reached.

In some cases even the flap already mentioned has gone, though the fact that the top of the busby is made of cloth instead of fur still points to its origin. See Figures 60 and Though we are not discussing armour at the [60] moment, we may say while speaking of military head-dresses that metal helmets are still in use in a few regiments.