Eisspeedway

Justacorps

A justacorps or justaucorps (/ˈʒuːstəkɔːr/)[1] is a knee-length coat worn by men in the latter half of the 17th century and throughout the 18th century. It is of French origin, where it had developed from a cape-like garment called a casaque.[2] It was introduced into England as a component of a three-piece ensemble, which also included breeches and a long vest or waistcoat. This ensemble served as the prototype for the modern-day three-piece suit. The justacorps itself evolved into the frock coat.[3]

Luis Francisco de la Cerda (later Duke of Medinaceli) in a red justacorps with horizontal pockets and lavish decoration, c. 1684.

The fabric selection and styling of the justacorps varied over time, as fashions altered through history.[4] Elaborated forms featuring rich embroidery and embellishments were influenced by Indo-Persian and Turkish garments, which cultures influential Europeans were increasingly in contact with, through travel, trade, and diplomatic missions.[5][6] East European garments of similar cut became fashionable around the same time as the justacorp arrived in Western Europe, and its construction and decoration were also influenced by "oriental" modes.[7]

Origins

The casaque, a voluminous travellers' cloak,[8] became popular during Louis XIII's time for protection from the elements. It had evolved from the simple smock and now had separate front, back and shoulder pieces so that could be worn as a semicircular cape or, with simple adjustments, as a jacket.[9][10] While adaptable in general use, and a mainstay of the military wardrobe, from the mid-17th century developments in weaponry meant the casaque was now proving too cumbersome as soldiers' clothing, its bulk impeding easy access to their weapons. A redesigned version was given a more fitted cut, from which it acquired a new descriptive name just-au-corps, lit. 'just to the body', and a full-length central front opening with button fastenings. This practical military garment with enhanced freedom of movement, went on to be elaborated into a style of coat that became popular with civilians. Its success outside the military was greatly aided by Louis XIV's promotion of it.[2][11]

Context and parallels

Display of various styles of achkan and angarkha worn by men, Delhi textile museum.

The justaucorps, according to historian Susan Mokhberi, was influenced by a similar Persian coat,[4][6] which also featured floral embroidery and tight-fitting body and sleeves.[12]

Similar coats known as achkans and sherwanis had been worn in India for centuries, and could be either sleeved or sleeveless. These were often worn by wealthy travellers who visited the East during the early 1600s, and some may have been brought back to Europe.[13][14]

A garment that came into fashion in Poland and Hungary at the same time was the żupan or dolman with its distinctive turn-back cuffs and decorative gold braid. The żupan started out as a long and heavy winter gown[15] before becoming shorter and more fitted during the 16th century.[16][17] These Polish garments (kontusz and żupan) were also based on oriental influences, due to the Polish cultural ideology of Sarmatism.[7][18] These Central European and Indian long coats probably influenced the design of the justacorps later favored by Louis XIV of France[19] and King Charles due to their exotic appearance, comfort and practicality.[7]

Development

In France

The spread of the justacorps throughout the French army was accelerated by Louis XIV's military reforms which included standardised uniforms for the first time. Worn in regimental colours, the justacorp was an essential element of the new uniforms.[20] By 1660, the garment, made in luxurious fabrics and ornamented lavishly was standard wear in the French court.[21] Louis instituted an intricate and regulated system of ceremonial and court dress, under which his courtiers vied with one another in the splendour of their attire, and the approval of king.[22] From 1662 Louis created the justaucorps à brevet ('warrant justacorps'), to an exclusive design, changed annually.[23] As the Persian rulers had done with their native garment, King Louis XIV bestowed this special garment upon key subjects as an emblem of his favour.[24] Strictly limited in number, the nobles awarded it had privileged access to the king. In this way the justacorps came to be associated with absolutism in France, highlighting links and commonalities between the Safavid and Bourbon absolutist regimes.[12]

Despite sumptuary laws aimed at restricting the bourgeois wear of prestige fabrics and garments, growing wealth in the mercantile sector gave non-aristocrats the means to clothe themselves luxuriously.[23] The king and his court set the fashions, while attempts to keep them exclusive to the nobility met with limited success. Wealthy merchants adopted justacorps in ornate styles and fine fabrics; over the 18th century the justacorps became the standard outer garment for men in France, persisting until the French Revolution.[25] A shorter form of the justacorp, together with culottes, veste and cravat became so much the norm it was called habit à la française.[26][27]

In Britain

Under King Charles II of England a plainer, more sober take on the earlier but similarly-cut justaucorps, veste and culottes outfit which had been imposed by King Louis XIV in the French court was also introduced to England. [28][29] In 1666, Charles had made a deliberate effort to differentiate men's fashions in England from those of France, which up to then had been the major influence in the English court and fashionable society. He declared a new garment, referred to as a vest or waistcoat, to be the appropriate garment for gentlemen. The vest was knee-length, worn in conjunction with breeches and an overcoat of equal length. This outfit is considered to be the prototype of the modern-day men's three-piece suit.[3]

The justacorps was a short-lived trend upon Charles' initial introduction of it, lasting only six years. The king and his court gradually became more closely influenced by French fashions from around 1670 and from there French fashion spread to the English public. As a popular component of the Englishman's dress, the justacorps did not establish itself a until around 1680, when the French style was reintroduced.[30]

In Scotland there were two similar garments: the "jeistiecor" (a jacket; a waistcoat with sleeves) and the "justicoat" or "justiecor" (a sleeved waistcoat).[31]

17th century

It replaced the doublet, a previously popular shorter style of coat. In the 17th century the justacorps was worn to the knee, covering an equal length vest and breeches underneath. It opened center front, typically having many buttons and buttonholes lining the entire length of the opening. The sleeves were fitted, and featured deep cuffs. Some styles of the justacorps remained fitted throughout the bodice, though other versions feature a more accentuated, flared skirt through the addition of gores and pleats.[32] Justacorps also featured decorative pockets, often placed too low for the wearer to take functional advantage. Worn primarily by aristocratic, wealthy men,[33] justacorps were very ornate in design and made of luxurious fabrics. Colourful silk, satin, brocade, damask, and wool were commonly used textiles. Justacorps often were accented with contrasting fabrics of different colours and patterns, displayed through turned back cuffs or a decorative sash worn across the shoulders. By the early 18th century, the silhouette of the justacorps had become wider, with a fuller skirt, and laid the foundation for men's fashion throughout the rest of the century.[32]

18th century

In the first half of the 18th century, the justacorps altered in appearance. The garment's opening remained at center front, however the buttons only extended to the waist area, allowing extra room for the extension of a fuller skirt. The cuffs became tighter and no longer folded back, and pockets were functional, located at a more accessible, hip-level region. The opening of the justacorps was rounded towards the mid chest, and flared away from the body.[3]

In the second half of the 18th century, the justacorps skirt decreased in fullness, becoming narrower. A straight edge, similar to 17th-century-style openings, replaced the rounded opening of the coat, and sleeves reverted to a deep, turned back cuff. Textiles for the justacorps varied by use. Durable fabrics, like wool, were used in ordinary, everyday situations, and typically had less ornamentation compared to ones worn in elegant, formal settings. These coats were made of ornate fabrics like silk and brocade, and decorated with elaborate embroidery and lace.[3]

The justacorps should be distinguished as different from the frock coat, which was less ornate, differed in cut and silhouette, and not worn popularly until the late 18th century.

See also

References

Citations

  1. ^ "justaucorps". Dictionary.com Unabridged (Online). n.d. Retrieved 10 October 2020.
  2. ^ a b Back (1998).
  3. ^ a b c d Tortora & Eubank (2010).
  4. ^ a b de Marly & Laver (1998).
  5. ^ McCabe (2008), p. 254.
  6. ^ a b Yarwood (1992), p. 48.
  7. ^ a b c Biedrońska-Słota (2019).
  8. ^ Larousse (2014).
  9. ^ Doering (2015).
  10. ^ Batterberry (1982), p. 93–94.
  11. ^ Kohler (1930).
  12. ^ a b Mokhberi (2019).
  13. ^ Knowles (2006), p. 115.
  14. ^ Howarth (1997), p. 232.
  15. ^ McGann (2006).
  16. ^ Varvounis (2015).
  17. ^ Forster (1840).
  18. ^ Pasek (2022).
  19. ^ Geczy 2013, pp. 34–35.
  20. ^ Boucher (1967), p. 286.
  21. ^ Batterberry (1982), p. 148.
  22. ^ Paresys (2012).
  23. ^ a b Boucher (1967), p. 258.
  24. ^ FitzGerald (2023).
  25. ^ de Marly (1987), p. 127.
  26. ^ Yarwood (1992), p. 48.
  27. ^ Boucher (1967), p. 431.
  28. ^ Boucher (1967), p. 274.
  29. ^ Capalbo (2018), pp. 39–40.
  30. ^ Claydon & Levillain (2016), pp. 64–68.
  31. ^ Warrack (1911).
  32. ^ a b Condra (2008).
  33. ^ Ribeiro (2005).

Sources

  • Back, Francis (1998). "Un justaucorps du règne de Louis XIV". Cap-aux-Diamants: La revue d'histoire du Québec (in French) (55): 54–55. ISSN 0829-7983.
  • Batterberry, Michael (1982). Fashion, the mirror of history. New York: Greenwich House; Crown Publishers. ISBN 978-0-517-38881-5.
  • Biedrońska-Słota, Beata (2019). "Between justaucorps, żupan and kontusz. Exchange of information on styles of garments based on drawings in Polish tailor's books". In Elise Breukers (ed.). Innovation and Fashion: Proceedings of the 2018 ICOM Costume Committee annual meeting. 10–15 June 2018: Annual meeting, Utrecht, The Netherlands. ICOM International Committee for Museums and Collections of Costume, Fashion and Textiles. pp. 13–22. ISBN 978-2-491997-17-5.
  • Boucher, François (1967). 20,000 Years of Fashion: The History of Costume and Personal Adornment. New York: Harry N. Abrams Inc.
  • Capalbo, Cinzia (2018). "Men's Fashion Changes: From the Bourgeois Suit to the Innovations of Italian Tailors and the Birth of 'Made in Italy'". In Giovanna Motta; Antonello Biagini (eds.). Fashion through History: Costumes, Symbols, Communication. Vol. II. Cambridge Scholars Publishing. pp. 38–48. ISBN 9781527511965.
  • Claydon, Tony; Levillain, Charles-Édouard (2016). Louis XIV Outside In: Images of the Sun King Beyond France, 1661-1715. Routledge. ISBN 9781317103240.
  • Condra, Jill, ed. (2008). The Greenwood Encyclopedia of Clothing Through World History. Vol. 2: 1501-1800. Greenwood Publishing Group.
  • de Marly, Diana J. A.; Laver, James (July 1998). "Dress – European Fashion, 1500–1800". Encyclopaedia Britannica. (Updated 11 June 2024). Between 1665 and 1670 came a quite different masculine style that presaged the three-piece suit of modern times. Initiated in France, this began as a knee-length coat called a justaucorps, an idea deriving from the Persian caftan. It had no collar and was worn open in front. The short sleeves ended in cuffs.
  • de Marly, Diana (1987). Costume and Civilization: Louis XIV & Versailles. London: B. T. Batsford Ltd.
  • Doering, Mary D., ed. (2015). Clothing and Fashion: American Fashion From Head to Toe. [4 Volumes]. Vol. 1: Precolonial Times through the American Revolution. José Blanco F., series editor. Bloomsbury, ABC-CLIO. ISBN 9798216062158. OCLC 904505699.
  • FitzGerald, Ciara (1 September 2023) [First published 19 June 2023]. "The Quirky Fashion of the Royal Court of Versailles". Culture Frontier.
  • Forster, Karol (1840). Pologne (in French). Firmin Didot frères. p. 192.
  • Geczy, Adam (2013). "Early Orientalism and the Barbaresque": §§ "Charles II and the Origins of the Vest"; "Chinoiserie and Orientalism in Louis XIV's France". Fashion and Orientalism: Dress, textiles and culture from the 17th to the 21st century. London: Bloomsbury. pp. 15–40. ISBN 9781847886002.
  • Howarth, David (1997). Images of Rule: Art and Politics in the English Renaissance, 1485–1649. University of California Press. ISBN 978-0-520-20991-6.
  • "Définitions: casaque". Dictionnaire de français Larousse (in French). Larousse Éditions. 2014. casaque – nom féminin (turc: kazak) 1. Au xvie et au xviie s., ample manteau d'homme.
  • Knowles, James (19 September 2006). "'The faction of the flesh': Orientalism and the Caroline Masque". In Ian Atherton; Julie Sanders (eds.). The 1630s: Interdisciplinary Essays on Culture and Politics in the Caroline Era. Manchester University Press. pp. 111–137. ISBN 978-0-7190-7158-4.
  • Kohler, Carl (1930). A History of Costume. New York: G. Howard Watt.
  • McCabe, Ina B. (2008). Orientalism in Early Modern France: Eurasian Trade, Exoticism, and the Ancien Régime. Oxford: Berg. ISBN 978-1-84520-374-0.
  • McGann, Kass (December 18, 2006). "16th and 17th century Polish Dress — Żupan". Reconstructing History. Archived from the original on September 24, 2015.
  • Mokhberi, Susan (2019). The Persian Mirror: French Reflections of the Safavid Empire from the Seventeenth to Early-Eighteenth Centuries. Oxford University Press. pp. 105–106, 132. ISBN 9780190884796.
  • Paresys, Isabelle (2012). "La cour de France, fabrique de normes vestimentaires à l'époque moderne". In Véronique Beaulande-Barraud; Julie Claustre; Elsa Marmursztejn (eds.). La fabrique de la norme: Lieux et modes de production des normes au Moyen Âge et à l'époque moderne (in French). Presses universitaires de Rennes. pp. 223–238. doi:10.4000/books.pur.127806. ISBN 978-2-7535-6869-3.
  • Pasek, Jan Chryzostom (2022). Memoirs of the Polish Baroque: The Writings of Jan Chryzostom Pasek, a Squire of the Commonwealth of Poland and Lithuania. University of California Press. p. xliii. ISBN 9780520367647.
  • Ribeiro, Aileen (2005). Fashion and Fiction: Dress in Art and Literature in Stuart England. New Haven, US; London: Yale University Press. ISBN 0-300-10999-7.
  • Tortora, Phyllis G.; Eubank, Keith (2010). Survey of Historic Costume: A history of Western dress. New York: Fairchild Publications. ISBN 978-1-56367-806-6.
  • Varvounis, Miltiades (3 March 2015) [First published in Visegard Insight 26 February 2015 as "'Sarmatism' and Poland's national consciousness"]. "Islam's Long-lasting Influence on Polish Culture". Muftah.
  • Warrack, Alexander, ed. (1911). "jeistiecor"; "justicoat"; "justiecor". Chambers Scots Dictionary. Edinburgh: W. & R. Chambers. pp. 292, 298.
  • Yarwood, Doreen (1992). Fashion in the Western world 1500–1990. London: B. T. Batsford. ISBN 978-0-7134-5685-1. p. 48: The wearing of this coat, of eastern, notably Persian origin, was initiated in France where it was called the justaucorps.

Further reading

Quelle: https://en.wikipedia.org/wiki/Justacorps