Mourning Traditions and Fashion History

1 – What lurks in the shadows this evening? Why, it's #ThreadTalk! And we're going full mourning.

Continuing our theme of #Halloween 🦇, we'll look at the fashion of grief in history, expose some myths, & of course, examine those super extra Victorians.🕸️

CW: death, etc.

© Victoria & Albert Museum - Dress consisting of a bodice and skirt of blue silk velvet. It is trimmed with glass beads and sequin embroidery and bead-embroidered net with a design of butterflies. It is lined with black silk.

2 – For most Westerners, black is synonymous with death & mourning, but that's largely a Victorian PR push (more on that later).

Funerary goods show motifs, like this Greek example, often with mourners along with the deceased, dating from the 6th C BCE.

From the Met Museum: During the middle of the fifth century B.C., the white-ground technique was commonly used for lekythoi, oil flasks placed on graves, and for fine vases of other shapes. As classical painters sought to achieve ever more complex effects with the limited possibilities of red-figure, the white background gave new prominence to the glaze lines and polychromy. The decoration of this pyxis reflects the delight with which an accomplished artist like the Penthesilea Painter depicted a traditional subject.

3 – White is largely the color of mourning in many cultures, including Japan, India, & beyond. And was in many medieval European countries.

Mary, Queen of Scots, famously wore "en deuil blanc" or "white mourning" in 1559 when her father-in-Law, Henri II of France died.

A portrait of Mary Queen of Scots, in a white, pale veil that covers her dress and around her head. It starts at her chin, and is as pale as her face. Her red hair is visible. From the National Gallery.

4 – Which is not to say that black was never worn. But it was *incredibly* expensive. So, for an average layperson, attaining a rich black outfit was very unlikely, let alone more than one.

But if you were a Medici, like Marie here in 1616, it was no biggie. TONS of fabric.

A woman in a deep black satin gown with triangle lace cuffs and wide collar. She wears sheer layers on her hat and parts of the gown, with lots of ruching and layers, volumes of fabric to show her status.

5 – For me, this makes sense as we move from medieval to Early Modern & art explodes across Europe.

One of the most popular themes of the age is the Lamentation of Christ, featuring both the Virgin & Mary Magdalene mourning (Botticelli, 1508-10). Even now, it's moving.

From Wikipedia: The painting depicts the lamentation (expression of great sorrow or deep sadness) [2] over Christ's death. The Virgin Mary sits vertically with the dead Christ on her lap, his body appearing extremely small. The positioning of the two bodies creates the Pieta, which means pity in Italian and is a representation of The Virgin Mary mourning dead Christ.[3] The Three Maries are circling the inner group expressing despair. Mary Magdalen is positioned at the feet of Christ in turmoil. St.John sits above The Virgin Mary and cradles her head in an attempt to soothe her. Joseph of Arimathea stands above the group holding the crown of thorns and three nails. Botticelli paints the figures in contorted and distorted poses. He does not apply the rules of naturalism to the painting. Instead, he focuses on his own personal preference of geometry.[4] This very style of geometry had an influence on third generation renaissance painters to come.

6 – In this context, & in the Classical resurgence as well, women are given space to do something heroic: mourning is a superpower.

Women are brightly dressed in relatively contemporary dresses in blues, greens, reds; veiled & unveiled. Expressive, attentive. (Solario, 1509)

7 – This comes from a long tradition. Death has a strange history in Europe, often dancing alongside the living.

Death art incorporated skeletons everywhere. Both seriously and rather humorous (humerous?). Below, from St. Nicholas' Church, Estonia 15th C.

Skeletons and corpses interpolated with saints and martyrs in late 15th century clothin, holding coffins and scythes, dancing together.

8 – The idea of "memento mori" or "remember death" — the idea that we all must die, was wicked popular, too. Proto goth kids, basically.

This pendant is two-sided & dates from 1500. The peaceful front conceals a skeleton covered with slugs & worms reading, "Alas, I must die."

From English Heritage: The first is a small ivory pendant produced in the Netherlands in around 1500. Aesthetically, its two sides couldn’t be more different. One side is carved with the bust of a rich lady in the prime of her life. She is clad in expensive clothes and carries a small lapdog. A heavy linked chain, doubtless of gold, hangs around her neck. It’s the very image of wealth and worldly pride.

From English Heritage: But a Latin inscription around the veiled head strikes a different chord. ‘Alas, I must die’, it reads in translation.

This prepares the viewer for the horrific image adorning the opposing face. Here we are presented with the hideous reality of death — it shows a decomposing skeletal corpse being devoured by worms, frogs, slugs and salamanders. A Latin inscription on its forehead reads: ‘This is the end’.

9 – And of course, remembering death was a big deal for Christian saints, too. Preserving any bit of any saint was big business (even if they weren't exactly *authenticated*).

My personal favorite is St. Foi, from France, who died in the 3rd century. Her remains lie within. 👀

A picture of the reliquary of St. Foi, a golden statue in the shape of a young woman, covered with gold and jewels.

10 – Okay, so yes, mourning garb was a thing before Queen Victoria, but when Albert died in 1861, it was a matter of incredible fashion timing.

Victoria went into permanent mourning. End stop. She even walked her daughters down the aisle in full deep black. Beatrice, below, 1885

A depiction of Victoria walking accompanying her daughter, wearing full mourning.

From Wikipedia: On the event of her wedding to Prince Henry of Battenberg at Saint Mildred's Church at Whippingham, near Osborne, on 23 July 1885, Princess Beatrice of the United Kingdom wore a wedding dress of white satin, trimmed with orange blossom and lace,[1] the lace overskirt held by bouquets of the blossom entwined with white heather. There was lace on the pointed neck line, and on the sleeves, for the Princess was a lover of, and an expert on, lace. One of her most treasured possessions was a tunic of old point d'Alençon which had belonged to Catherine of Aragon. Knowing her daughter's love of lace, the Queen allowed Princess Beatrice to wear the Honiton lace and veil which she herself had worn on her wedding day. It was a very precious possession to the Queen, and Princess Beatrice was the only one of her daughters to be given the opportunity to wear it.[1] Her veil was emblazoned with a diamond circlet with diamond stars, a wedding gift from her mothe

11 – The 19th century saw huge advancements in dyes, & black was among them. Aniline, among other chemicals, meant that black well-to-do women could commission entire wardrobes of mourning garments.

No longer stodgy widows weeds, eh? This 1860s gown also has Chantilly lace <3

2-pc black silk 1860s evening gown w/ black geometric stripes & Chantilly lace trim to pagoda sleeves, bodice accented w/ lace rosettes on self-fabric decorative button at CF, (side seams taken in, missing hooks, holes in lace on sleeves, light white stain in CB hem) very good. Augusta Auctions.

12 – Mourning rules varied, but women held the most responsibility.

Deep mourning meant all black, representing grief, piety, purity, etc. Saved typically for wives, mothers, of deceased.

Fabrics were dull (no satin or) & the period could last 9 mo-1 year plus. 1840s, below.

Mourning bonnet, black slightly ribbed silk trimmed with folds of black crèpe, one black ribbon tie, (other tie missing).

13 – Ordinary mourning introduced trimmings: satin, jet beads, and other bits of embroidery or accessories.

This jet-encrusted stunner is like… a lot. In a good way. But its owner clearly had $$$. Closeup on those buttons. Jet is traditionally associated with mourning, too.

A classic high-collared 1880s silhouette gown, but with tons of beading, and beaded fringe. Big buttons down the center, a braided-like center as well. From the Met.

14 – Jet jewelry has been thing for centuries, but by the 1850s, it was a powerhouse for the big business of mourning.

It's the fossilized bits of old driftwood, which is goth AF. And honestly, I'm a bit obsessed with it? Can has?

This depiction is of "Night" as a lady. <3

©Victoria & Albert Museum, London - Pair of jet earrings, decorated with female head medallions symbolising 'Night', surrounded by roses and leaves. England (probably North Yorkshire), about 1870.

15 – Half-mourning allowed a slow return to color, including shades of purple, lilac, grey, & black and white.

Fur, and other sumptuous fabrics, also return, like in this half-mourning jacket (1880s) from the V&A. Midnight blue, in this case, is close enough to purple?

©Victoria and Albert Museum, London - Woman's jacket, midnight blue velvet, fastened at the front with five sets of hooks and eyes. Shaped at the back with three seams, fitted at the waist. The front opening, neck, cuffs and hem are trimmed with a wide band of black fur applied onto velvet. Lined with ermine.

Originally tweeted by 🦇 Natania Barron 🦇 (@NataniaBarron) on October 11, 2021.

1 – What lurks in the shadows this evening? Why, it's #ThreadTalk! And we're going full mourning.

Continuing our theme of #Halloween 🦇, we'll look at the fashion of grief in history, expose some myths, & of course, examine those super extra Victorians.🕸️

CW: death, etc.