Basque (clothing)

Basque (clothing) 

A basque is an item of women's clothing. The term, of French origin, refers to a type of bodice or jacket, and in modern usage a long corset, characterized by a close, contoured fit and extending past the waistline over the hips. It is so called because the fashion was adopted from Basque traditional dress, initially by the French and then throughout Western fashion.

A modern lingerie basque 

In Victorian fashion, basque refers to a closely fitted bodice or jacket extending past the waistline over the hips; depending on era, it may be worn over a hoopskirt (earlier Victorian era) or bustle (later Victorian era). A basque bodice (i.e., when considered as a dress component, to be worn with a specific skirt) could also be referred to as a "corset waist", because of its close fit.

In modern usage, basque may also refer to clothing details reminiscent of lingerie such as frilly lace and cutout, "peekaboo" 

Torsolette

In 20th century and contemporary attire, the term is used to refer to certain articles of lingerie, particularly a type of corset known as a torsolette, or alternately a torso-hugging camisole that resembles a corset (typically featuring decorative front or back lace-up detail), but of more delicate construction and offering little or no figure-molding compression.

The undergarment is similar to a Victorian-era corset, but with less compression of the ribs. The modern-day torsolette features lace-up or hook-and-eye fastening, as well as boning or vertical seams for structure and support. It usually, though not always, has brassiere cups, and is distinguished from the bustier by its length. It sometimes features detachable garters, or suspenders. In American English, it is sometimes known as a "merry widow" (or "merrywidow").

Atilla Jacket (2)

Atilla (clothing)

The atilla is a fancy, braided Hungarian shell-jacket or short coat, decorated with lace and knots. Its become part of the official uniform of the Hungarian cavalry, hussar (or huszár), but was a part of the everyday wear of countrymen as well as nobility and officials.

It was made in many styles and many colors including black, gray, blue, green, red and white.

The origins of atilla believed to go back to the 16th century when Hungarians started wearing their short coats on one shoulder.

Michael Kovats, wearing an atilla.

One opinion is a romantic legend, explained by an English general to the effect that one night a Hungarian cavalry unit was attacked by the Turks and they had no time to dress properly. Instead they just threw on the short coat half shouldered and this is how they went to the battle. One of the deciding factor in their victory was the fact that the Turks, seeing the "flying sleeves of the short coats" thought that they are fighting men who had more than two arms, which in turn got them scared and made them run away.

Others believe that the cavalary wore their short coat on half shoulder to use it as a shield, like their ancestors did, wearing animal skins for the same purpose.

After 1850, the atilla worn by the cavalry men became longer.

In 1892, the atilla also became part of the Hungarian forester's ceremonial uniform. It was dark green or black with seven golden braids and golden buttons.

Mid 19th century it became the ceremonial tenue of the Royal Netherlands East Indies Army

An interesting fact is that Michael Kovats, the Hungarian hussar, who recruited, trained, organized, and led some of the first American cavalry into battle, wore an atilla as part of his uniform.

Imperial Hussars Atilla Jacket

A-2 jacket (1)

A-2 jacket

The Type A-2 leather flight jacket is a military flight jacket closely associated with World War II U.S. Army Air Forces pilots, navigators and bombardiers, who often decorated their ja

ckets with squadron patches and elaborate artwork painted on the back. Sometimes casually referred to as a bomber jacket, its original designation was "Jacket, Pilot's (summer)", and its wartime usage was limited neither to pilots nor to bomber crews.

History of A-2 Jackets

The Type A-2 flying jacket was standardized by the U.S. Army Air Corps as the successor to the Type A-1 flying jacket adopted in 1927. The Type Designation Sheet lists the dates for Service Test as September 20, 1930, and Standardized (adopted as standard issue) on May 9, 1931. The military specification number for Type A-2 is 94-3040. The Drawing Number was given as 31-1415, but the spec. labels found in the jackets themselves show this to be 30-1415.

On April 27, 1943, Type A-2 was declared Limited Standard, meaning that only replacements for in-service units could be ordered. New units would now be supplied with cloth-shelled jackets such as Types B-10 and B-15.

The U.S. Army Air Forces Class 13 Catalog listed the garment as "Jacket, Flying, Type A-2," with Spec. No. 94-3040. It describes the jacket's construction as "seal brown horsehide leather, knitted wristlets and waistband (skirt)." Broadly similar in construction to the A-1, it replaced the A-1's buttoned front and pocket flaps with a zipper and hidden snap fasteners (although some very early A-2's retained the pocket buttons). The A-1's stand-up knitted collar, which buttoned closed, was supplanted in the A-2 by a shirt-style leather collar, with hidden snaps at the points and a hook-and-eye latch at the throat. Stitched-down shoulder straps were also added to the design. Sizes were listed as ranging in even numbers from 32 through 54.

Design and construction

Although the actual design would vary slightly depending on the manufacturer, and even among contracts within a single manufacturer, all A-2 jackets had several distinguishing characteristics: a snap-flap patch pocket on either side that does not have hand warmer compartments (hands in pockets were considered unfit for a military bearing), a shirt-style snap-down collar, shoulder straps, knit cuffs and waistband, a back constructed from a single piece of leather to limit stress on the garment, and a lightweight silk or cotton inner lining with a leather hang strap (not a loop) and military spec tag attached just below the back collar.

Prior to World War II the collar was sewn to a neckband or "stand" like those found in dress shirts, a time-intensive operation. Wartime contracts generally had "simple attached" collars, sewn directly to the back panel and rolled over, although Rough Wear and Perry continued using the collar stand throughout. Similarly, most pre-war (and some wartime) A-2s had inset sleeves, attached at a better attitude for body movement. This too was time-intensive and gave way to "flat attached" sleeves whose bottom seams met up with the body side seams.

Most pre-war and wartime A-2s were constructed of horsehide, which was either vegetable- or chrome-tanned. Some original A-2's were made from goatskin (as was the Navy G-1 jacket), and others possibly from cowhide (which can be very difficult to tell from horse if tanned identically). All Spiewak and Doniger jackets are of goat, as are many Cable, Dubow, Bronco, Perry, and Rough Wear examples.

Wartime-issued A-2 jackets appear in a wide range of color tones and hues, although all are based on two distinct colors: Seal (dark brown to almost black) and Russet (pale red-brown to medium brown). Most seal jackets were russets re-dyed during the war to cover scuffing and discoloration, although some contracts, like the Aero Leather 21996, were dyed seal right from the start. Original knit cuffing typically matched the leather or came close, but exceptions exist, such as Aero Leather's eye-catching rust-red cuffing on seal brown hide.

Early A-2's had linings made from silk, per the original specification. This was likely spun silk, a thin, breathable shirt-like fabric. The lining changed to cotton later on. A letter from the Materiel Division of Wright Field, dated 7 January 1939, states that the use of silk in flying jackets had been discontinued "as its procurement was found not to be feasible." The letter does not say when this happened, but it makes clear that the vast majority of original A-2 jackets have cotton linings. (Reference?)

The A-2 was one of the early articles of clothing designed expressly to use a zipper. Zippers were made of steel or brass, and some were nickel plated. Known zipper suppliers were Talon, Crown, Conmar, and Kwik, with Talon providing the majority of zippers used in wartime A-2 construction. Until about 1940, Talon zippers with riveted or grommeted metal bottoms were used.

Unlike modern, loose-fitting jackets, the original A-2 looks to us today a rather trim-fitting jacket. Period photos and films reveal a jacket which could be worn fitted and sharp looking or a bit baggy and loose in the body. It was designed to fit the thinner male of the time- original A-2 jackets worn by modern men may seem a bit snug in the shoulders. This is particularly true of pre-war contract garments such as the 1933 Werber and the 1938 and 1940 Aero Leathers. Period photos and films show that the A-2 was typically worn over a shirt or a shirt and flight suit; airmen were more likely to switch to a sheep-lined jacket or, later, an electrified flight suit for wintertime or high-altitude operations.

Reproductions

Just as a cottage industry appeared during the war to meet the need for A-2 jackets, so too does such an industry still exist today. Because the A-2 never 

went out of style, production of it never really ceased. Over the years it has varied in style and accuracy relative to the original war-era design, but it has 

remained visible in popular movies and TV shows of the 1950s and 1960s.

In the mid-1970s several small companies catering to purists began undertaking the job of designing and constructing highly authentic reproductions that were 

as close to the original war era A-2 as possible. Duplicating wartime patterns,often obtained through "reverse engineering" from dissected originals, and using 

correct hides, all-cotton thread, and even actual the World War II-era-old stock Talon zippers, they have effectively recreated a wartime-era jacket that can be 

worn daily without fear of damaging a valuable original. Some manufacturers have even gone so far as to reproduce the particular details of specific World War II 

A-2 production contracts. Such attention to detail doesn't come cheap, as such jackets regularly cost $800 or more. Manufacturers in this highest-quality bracket include the following.

• A-2 Leather Flight Jacket (Europe) Sells USAF-spec A-2 jackets in horsehide only and AN6505-1 Aviators Kit Bag
• Cockpit USA (New York, USA)
• US Wings (Hudson, Ohio, USA) Sells USAF-spec A-2 jackets in horsehide and goatskin
• Lost Worlds Inc. (New York, USA)
• Eastman Leather Clothing (Devon, UK)
• Aero Leather Clothing (Scotland)
• Buzz Rickson's (Tokyo, JAPAN)
• The Real McCoy's (Kobe, Japan)
• Toys McCoy (Tokyo, JAPAN)
• Pherrow's Sportswear (Tokyo, JAPAN)
• Good Wear Leather Coat Company (Seattle, Washington, USA)
• Gibson & Barnes (El Cajon, CA) Makes several Historical A-2s made from either horsehide or goatskin
• Bill Kelso Mfg Co. (Europe)

Cirrus (Norfolk, England)

There are jackets that are somewhat less expensive. These do not reproduce any specific World War II A-2 production run, but they do use correct World War II 

design features (correct construction, collar, pockets, snap style, clasp style, hides, thread, cotton liners, colors, wool wrist and waist bands, etc., even 

newly manufactured Talon-brand zippers). Jackets in this range are sold by:

U.S. Authentic Manufacturing Co. (New York, USA)

Repro A-2s are most popular in Japan, where there is a collector market for reproduction American vintage clothing. Much of it is limited-edition and 

unavailable in the West, and priced up to twice the value of high-end repros in other countries. Both the limited availability and the inflated prices increase 

their prestige appeal to Japanese collectors.

Hold-ups (Hosiery)

Hold-ups

Hold-ups or stay-ups (in the United States also referred to as thigh highs) are stockings with an elasticized band at the top, designed to hold the stockings up when worn, without the use of a garter belt or garters. Thigh highs are held up by one or more bands sewn to the top that is backed with silicone on its inner surface. This ensures the thigh highs stay in position because of the elastic and the friction of the silicone against the skin. The silicone can become ineffective by contact with body lotions, oils and talcum powder, as they all reduce the friction of the silicone. Thigh highs are designed so that the elastic band exerts just the right pressure on a woman's thigh, avoiding any uncomfortable tightness or unflattering muffin-top effect. Sometimes thigh highs are preferred to pantyhose for hygiene reasons, because they reduce excessive microbial growth around the groin due to humidity and warmth.

Thigh highs may be chosen because of the classic popular "stocking top" line, and there are no suspender bumps to be seen through a skirt or dress. Like stockings and pantyhose, the thickness of thigh-highs is measured in denier.

History

With the invention of nylon, thigh high stockings took center stage in women's fashion. While high-end consumers never lost their fascination with silk thigh highs, their nylon counterparts were so ubiquitous that they ended up baptizing the entire stocking family. In popular use, stockings were referred to as 'nylons' in the 1940s.

In the 1960s, thigh highs retreated towards a more marginal place in women's fashion. It is accepted that the popularity of the mini-skirt was an important factor in this. As the skirt was growing shorter-and-shorter, revealing the top-line of the stockings silently was relegated to the realm of the osé, being superseded by pantyhose.

As a term, "hold-ups" was first used by “Pretty Polly” in 1967 for its self-supporting stockings. The company never registered the term and it has become a generic trademark for the stocking style.

Manufacturing process

Modern stockings, pantyhose, and thigh highs are made by either flat knitting or the use of circular machines. Flat knitting is the original hosiery manufacturing technique of the 1930s - 50s. After the fabric has been produced, each thigh high is individually seamed. The top of the seam has a 'finishing loop', a small hole that every seamed thigh high has as a result of the machinist turning the welt——the thigh high top–—inside out, in order to finish off. Once sewn, the thigh highs are 'boarded'. This is a process where each thigh high is stretched over a flat metal leg form and 'set' with steam. The knit tightens, creases are eliminated and the leg is correctly shaped. Because the process is time consuming, seamed thigh highs are never cheap. Also, around a third of production—especially during the production of sheer stockings—is discarded during quality control.

Thigh highs are now most often produced on circular machines that eliminate back seams by knitting tubes that are then 'set' to the shape of the leg. While the first circular machines produced sheer stockings with a reinforced heel pocket, modern machines have eliminated this, offering a better fit regardless of the wearer's shoe size.

The addition of lycra to the stocking yarn was possibly the biggest break-through in hosiery manufacturing, the result being thigh highs that combine elasticity with the ability to cling to the leg

Garter (stockings) Hosiery (3)

Garter (stockings)

Garters (or suspenders) are articles of clothing: narrow bands of fabric fastened about the leg, used to keep up stockings, and sometimes socks. In the eighteenth to twentieth centuries, they were tied just below the knee, where the leg is most slender, to keep the stocking from slipping. The advent of elastic has made them less necessary from this functional standpoint, although they are still often worn for fashion. Garters have been widely worn by men and women, depending on fashion trends.

Garters in fashion

Garters were popular in the 1930s and 1940s, and were a convenient way for ladies to carry small valuables, in place of a small purse.

In Elizabethan fashions, men wore garters with their hose, and colorful garters were an object of display. In Shakespeare's Twelfth Night, "cross braced" garters are an object of some derision.

In male fashion, a type of garter for holding up socks has continued as a part of male dress up to the present, although its use may be considered somewhat stodgy.

Use in wedding traditions

There is a Western wedding tradition for a bride to wear a garter to her wedding, to be removed towards the end of the reception by the groom. This ceremony is often interpreted as symbolic of deflowering, though some sources attribute its origin to a superstition that taking an article of the bride's clothing will bring good luck. In the Middle Ages, the groom's men would rush at the new bride to take her garters as a prize.

Today, the privilege of removing the bride's garter is traditionally reserved to the groom, who will then toss the garter to the unmarried male guests. This is performed after the tossing of the bouquet, in which the bride tosses her bouquet over her shoulder to be caught by the unwed female guests. According to superstition, the lady who catches the bouquet and the man who catches the garter will be the next man and woman among those in attendance to be married (though perhaps not to each other). The ceremony often continues with the man who catches the garter obliged to place it on the leg of the lady who caught the bouquet. Traditionally, the pair are obliged to share the next dance.

Use at high school proms in the United States

Prom garters were common in the 1960s & 70s, and often conferred on the date as a souvenir. If the date received the garter, it was typically hung from his rear-view mirror.

Beginning in the mid-2000s,it has become common in the United States for young women attending a high school prom to wear a garter, usually designed to match the style and color of the young woman's dress. The prom garter may be worn throughout the evening and is sometimes given to the young woman's date as a souvenir. A young woman may also choose to keep the garter rather than give it away, as a token of her prom night. In some cases, young people may participate in a "garter and tie" dance (often hosted by the high school as part of the prom), during or after which either the young woman herself or the young woman's date removes the garter and exchanges it for the date's tie. In cases like this where the garter is given early in the evening, the young woman's date may wear it on his arm for the remainder of the evening. In areas where prom garters are common, it has become a tradition for young women to pose for a picture with other female friends before the prom, in which they pull up the skirts of their dresses to display their prom garters, which are generally worn a few inches (half-dozen centimetres) above the right knee. The giving or taking of the prom garter may or may not have the same sexual implications that are associated with wedding garters; however, the giving of the prom garter is often interpreted as publicly designating the pair as a romantic couple.

Wearing suspenders or garter belts and stockings

Suspender belts or garter belts are a usually a woman's undergarment consisting of an elasticated material strip usually at least 2" to 3" wide, but can be deeper, that is worn around the waist, to which 2 or 3 elastic suspender 'slings' are attached on each side, where the material is shaped to the contours of the body. The suspenders are typically clipped to the stockings with metal clips into which a rubber disc is inserted through the stocking material effectively 'locking' the stocking in place. These are normally attached to a length of elastic allowing for adjustment. These clips, also known as suspender slings, are best attached to stockings with a simple welt that do not have lace, or 'hold-ups' with a silicon rubber lining. Suspender belts for men do exist, usually for when a man needs to wear support hosiery for medical reasons.

It is best to wear suspender / garter belts at the waist line or just slightly below. If worn too low on the hips, there is a chance of the belt sliding down, as they are being pulled downward by the stockings. The garment should fit closely on the waist, but not too tight. Some retailers can supply garments associated with more traditional underwear, such as corselettes or girdles, in the 21st century referred to as shapewear, with suspender slings attached.

In the 21st century, pantyhose or tights are more commonly available than stockings; retail suppliers from supermarkets to department stores or lingerie and hosiery specialist shops claim the demand for stockings is 'relatively limited'. Hold-ups are an alternative way for keeping stockings up, with a band of latex rubber moulded in to the stocking top. Nevertheless, suspenders continue to be used by wearers who prefer not to wear tights for health reasons. Women who suffer from Thrush or Cystitis are often advised not to wear tights as nylon worn close to the vaginal area can exacerbate any infection present. Similarly latex rubber in hold ups may irritate some people's skin. A suspender (garter) belt is the only option in these cases. Any person with these infections should consult their doctor.

The other reason for wearing support stockings is for medical reasons associated with varicose veins or poor circulation, this may be related to heart disease. While information on these conditions can be found on line, sufferers should talk to their doctor or GP, who will probably refer the patient to the practice nurse to be measured to ensure the correct grade and size of stocking is worn.

Stockings are often considered to be a reflection of sensuality, particularly as photographs of women in fancy lingerie are often considered erotic. Again fashion has gone a full circle making these fancy suspender belts or basques readily available for special occasions, and many women enjoy 'dressing up' in attractive underwear, again an item where on line suppliers find there is a growing market.

History  19th century

Some women wore stockings with a plain elastic garter or narrow material tied tightly, not suspenders, or by simply rolling the top of the stocking, because it seemed more practical or they could not afford classic corsetry, thus creating a kind of predecessor of the modern hold ups. This was particularly common among servants and housemaid, particularly until the mid 1920s when the more modern suspender became readily available

During the world's first long distance journey by automobile in 1888 Bertha Benz, the wife of the inventor of the automobile Dr Carl Benz, used a garter to insulate a broken wire of the Benz Patent-Motorwagen Nr. 3. In remembrance of this historic road trip today's official German scenic byway Bertha Benz Memorial Route follows the tracks of Bertha Benz from Mannheim via Heidelberg to Pforzheim (Black Forest) and back. Stockings have also been used as an emergency replacement for a car's fanbelt'

History 20th century

During World War II, WAAFs (Women's Auxiliary Air Force) were issued inexpensive suspenders.

From the 1940s to '60s, suspenders became a common, popular alternative to the girdle, especially among teens and young women. Amid concerns girdles might cause abdominal flabbiness, suspender belts offered a simpler, more practical, and more comfortable choice when used simply to hold up their stockings.

Since the early 1960s, many men's magazines featured images of women in underwear, with models in suspenders and stocking, often with slips, petticoats, corsets or a bra and knickers or panties in erotic prose. These images may have an erotic element and are sometimes presented as fetish fashion and also in publications often deemed as pornography.

Compression stockings Hosiery(2)

Compression stockings

Compression stockings are a specialized hosiery, designed to help prevent the occurrence of, and guard against further progression of venous disorders such as edema, phlebitis and thrombosis. Compression stockings are elastic garments worn around the leg, compressing the limb, exerting 

pressure against the legs, reducing the diameter of distended veins, and causing an increase in venous blood flow velocity and valve effectiveness. 

Compression therapy helps decrease venous pressure, prevents venous stasis and impairments of venous walls, and relieves heavy and aching legs.Unlike traditional dress or athletic stockings and socks, compression stockings use stronger elastics to create significant pressure on the legs, ankles and feet. Compression stockings are tightest at the ankles and gradually become less constrictive towards the knees and thighs. 

By compressing the surface veins, arteries and muscles, the circulating blood is forced through narrower circulatory channels. As a result, the arterial pressure is increased, which causes more blood to return to the heart and less blood to pool in the feet.

There are two types of compression stockings, gradient and anti-embolism.

Medical uses :- Treatment is usually prescribed by a physician to relieve 

all manifestations of chronic venous disease and prevent venous troubles.

Gradient compression stockings

These stockings are designed to remedy impaired "Musculovenous pump" performance caused by incompetent leg vein valves. They are woven in such a way that the compression level is highest around the ankle and lessens towards the top of the hose.

Doctors will typically recommend these stockings for those who are prone to blood clots, lower limb edema, and blood pooling in the legs and feet from prolonged periods of sitting or inactivity.

They are worn by those who are ambulatory in most cases, where they assist the calf muscles to perform their pumping action more efficiently to return blood to the heart. In some cases, they are worn by those at increased risk of circulatory problems, such as diabetics, whose legs are prone to 

excessive swelling. A common indicator for the prescription of such stockings is chronic peripheral venous insufficiency, caused by incompetent perforator veins. Low pressure compression stockings are available without prescription in most countries, and may be purchased at a pharmacy or medical supply store. Stockings with a higher pressure gradient, say, above 25-30mmHg, may require a prescription from a doctor.There are several crucial cautionary steps that need to be taken before 

using compression stocking:

A patient's ABI (Ankle Brachial Index) must be >1.0 per leg to wear compression stockings, otherwise the stockings may obstruct the patient's arterial flow. The ABI indicates how unobstructed a patient's leg and arm arteries are. Any competent doctor or nurse can measure and calculate a patient's ABI.

It is crucial that compression stockings are properly sized. The compression should gradually reduce from the highest compression at the smallest part of the ankle, until a 70% reduction of pressure just below the knee.

Vascular doctors & nurses may use special pads to ensure uniform higher pressure around the circumference of the ankle (to smooth out the irregular cross-sectional profile.) Self-prescription is reasonably safe assuming that the compression gradient is 15-20 mmHg, the ABI (for both legs) is 

>1.0 and that the stockings fit correctly. "Firm" gradient stockings (20-30 mmHg and 30-40 mmHg) should generally be worn only on medical advice.Although current research reports mixed results of compression socks on athletic performance, there is anecdotal evidence from athletes that they 

can benefit from such stockings.

Styles

Knee-high (AD)

Thigh-high (AG)

Pantyhose (AT)

Maternity Pantyhose

Waist Attachment/CHAPS

Churidar Hosiery (1)

01-Churidar

Churidars  or more properly churidar pyjamas are tightly fitting trousers worn by both men and women in South Asia. Churidars are a variant of the common salwar pants. Salwars are cut wide at the top and narrow at the ankle. Churidars narrow more quickly, so that contours of the leg are revealed. They are usually cut on the bias, making them naturally stretchy. Stretch is important when pants are closefitting. They are also longer than the leg and sometimes finish with a tightly fitting buttoned cuff at the ankle. The excess length falls into folds and appears like a set of bangles resting on the ankle (hence 'churidar'; 'churi': bangle, 'dar': like). 

When the wearer is sitting, the extra material is the "ease" that makes it possible to bend the legs and sit comfortably. The word churidar is from Hindi and made its way into English only in the 20th century.  Earlier, tight fitting churidar-like pants worn in India were referred to by the British as Moghul breeches, long-drawers, or mosquito drawers.

The churidar is usually worn with a kameez (tunic) by women or a kurta (a loose overshirt) by men, or they can form part of a bodice and skirt ensemble.

Hosiery

Hosiery

Hosiery, also referred to as legwear, describes garments worn directly on the feet and legs. The term originated as the collective term for products of which a maker or seller is termed a hosier; and those products are also known generically as hose. The term is also used for all types of knitted fabric, and its thickness and weight is defined in terms of denier or opacity. Lower denier measurements of 5 to 15 describe a hose which may be sheer in appearance, whereas styles of 40 and above are dense, with little to no light able to come through on 100 denier items.

The first references to hosiery can be found in works of Hesiod, where Romans are said to have used leather or cloth in forms of strips to cover their lower body parts. Even the Egyptians are speculated to have used hosiery as socks have been found in certain tombs.

Roller derby athletes shortly after a bout in Boise, Idaho wearing fishnet and patterned pantyhose
Most hosiery garments are made by knitting methods. Modern hosiery is usually tight-fitting by virtue of stretchy fabrics and meshes. Older forms include binding to achieve a tight fit. Due to its close fit, most hosiery can be worn as an undergarment, but it is more commonly worn as a combined under/outer garment.

Types

• Body stockings
• Compression stockings, aka support stockings
• Hold-ups (British English), Stay-ups (British English) or Thigh-high stockings (American English)
• Knee highs
• Leggings
• Socks, tube socks (American English), knee highs and over-the-knees
• Stockings, held by a suspender belt, also known as "sussies"
• Tights (British English) or Pantyhose (American English)
• Toe socks
• Legwarmers

Thawb Gown(26)

Thawb

A thawb or thobe  is an ankle-length garment, usually with long sleeves, similar to a robe. It is commonly worn in Iraq and Arab countries bordering the Persian Gulf. An izaar is typically donned underneath.

The word thawb is the standard Arabic word for 'a garment'. It is the traditional Arabian clothing for men. It is sometimes spelled thobe or thaub. It is a tunic, generally long. The word is used specifically for this garment in the Persian Gulf region. There has been some debate regarding the correct length of the thawb.

Prevalence

The thawb is commonly worn by men in the Arabian Peninsula, Iraq, and other Arab countries in the Persian Gulf. It is normally made of cotton, but heavier materials such as sheep's wool can also be used, especially in colder climates in Iraq and Syria. The style of the thawb varies slightly among the various regions within the Persian Gulf. The sleeves and the collar can be stiffened to give a more formal appearance. Other names may be used for this garment. In Souraqia and Oman, dishdasha is the most common word for the garment; in the UAE, the word kandura is used. In Morocco, the sleeves tend to be much shorter so that the thawb may seem more like a long T-shirt and is locally called gandora. Also the neck tends to be more open than in its Saudi counterpart and is often embroidered as is the breast pocket. Also it might lack buttons altogether.

The term thawb is also used to refer to similar women's garments. The traditional Palestinian woman's long tunic is called thawb. Another example is a very long, over-sized woman's garment with a heavily embroidered front panel and billowing back, also known as a Khaleeji dress, which is most commonly seen in the West worn for performance of the Saudi women's social-style dances, in which manipulation of the large thawb is a key component.

This garment is also known as Kanzu in Swahili, and is commonly worn on the Swahili Coast by Swahili men.

Other occasions

A thawb or thaub can sometimes be worn with what is known as "besht" or in other parts of the Arabian Peninsula abat "عباة" which means a robe. It is usually worn in ceremonial occasions or by officials; a "besht", "بشت" can be worn in a wedding, Eid, and funerals. It may refer to a status of wealth and royalty, or sometimes a religious position. It was originally manufactured in Syria, Iraq and Jordan, and it is usually worn in Jordan, Syria, Iraq and the Arabian peninsula.

Surplice Gown(25)

Surplice

A surplice (Late Latin superpelliceum, from super, "over" and pellis, "fur") is a liturgical vestment of the Western Christian Church. The surplice is in the form of a tunic of white linen or cotton fabric, reaching to the knees or to the ankles, with wide or moderately wide sleeves.

It was originally a long garment with open sleeves reaching nearly to the ground, as it remains in the Anglican tradition, but in the Catholic tradition, the surplice often has shorter, closed sleeves and square shoulders. Anglicans typically refer to a Roman-style surplice with the Medieval Latin term cotta [meaning 'cut-off' in Italian], as it is derived from the cut-off alb. English-speaking Catholics, however, typically do not make the distinction between the two styles, and refer to both by the term "surplice".

Origin and variation

It seems most probable that the surplice first appeared in France or England, whence its use gradually spread to Italy. It is possible that there is a connection between the surplice and the Gallican or Celtic alb, an ungirdled liturgical tunic of the old Gallican Rite, which was superseded during the Carolingian era by the Roman Rite. The founding of the Augustinian Canons in the second half of the eleventh century may have had a special influence upon the spread of the surplice. Among the Augustinian Canons the surplice was not only the choir vestment, but also a part of the habit of the order.

The surplice originally reached to the feet, but as early as the 13th century it began to shorten, though as late as the 15th century it still fell to the middle of the shin, and only in the 17th and 18th centuries in Continental Europe did it become considerably shorter. In several localities it underwent more drastic modifications in the course of time, which led to the appearance of various subsidiary forms alongside the original type. For example:

the sleeveless surplice, which featured holes at the sides to put the arms through

the surplice with slit arms or lappets (so-called "wings") instead of sleeves, often worn by organists today, due to the ease of maneuvering the arms

the surplice with not only the sleeves but the body of the garment itself slit up the sides, precisely like the modern dalmatic

a sort of surplice in the form of a bell-shaped mantle, with a hole for the head, which necessitated the arms sticking out under the hem.

The first two of these forms developed very early; and, in spite of their prohibition by synods here and there (for example that of Liège circa 1287), they survive in various places to the present day. The latter two only appeared after the close of the Middle Ages: the first of them in South Germany, the second more especially in Venetia, where numerous pictorial records attest its use. As a rule, however, only the lower clergy wore these subsidiary forms of surplice. They came about partly under the influence of secular fashions, but more particularly for convenience.

Smock-frock Gown(24)

Smock-frock

A smock-frock or smock is an outer garment traditionally worn by rural workers, especially shepherds and waggoners, in parts of England and Wales from the early eighteenth century. Today, the word smock refers to a loose overgarment worn to protect one's clothing, for instance by a painter.

The traditional smock-frock is made of heavy linen or wool and varies from thigh-length to mid-calf length. Characteristic features of the smock-frock are fullness across the back, breast, and sleeves folded into "tubes" (narrow unpressed pleats) held in place and decorated by smocking, a type of surface embroidery in a honeycomb pattern across the pleats that controls the fullness while allowing a degree of stretch.

Types of smock-frocks

1. The round smock is a pullover style with an open neckline and a flat, round collar. This smock is reversible front-to-back.
2. The shirt smock or Surrey smock is styled like a man's shirt, with a collar and a short placket opening in the front. It is not reversible.
3. The coat smock worn by Welsh shepherds is long and buttons up the front in the manner of a coat

Development

It is uncertain whether smock-frocks are "frocks made like smocks" or "smocks made like frocks"—that is, whether the garment evolved from the smock, the shirt or underdress of the medieval period, or from the frock, an overgarment of equally ancient origin. What is certain is that the fully developed smock-frock resembles a melding of the two older garments.

From the earlier eighteenth century, the smock-frock was worn by waggoners and carters; by the end of that century, it had become the common outer garment of agricultural labourers of all sorts throughout the Midlands and Southern England. The spread of the smock-frock matches a general decrease in agricultural wages and living standards in these areas in the second half of the eighteenth century. The smocks were cheaper than other forms of outer garments, and were both durable and washable.

Embroidery styles for smock-frocks varied by region, and a number of motifs became traditional for various occupations: wheel-shapes for carters and wagoners, sheep and crooks for shepherds, and so on. Most of this embroidery was done in heavy linen thread, often in the same color as the smock.

By the mid-nineteenth century, wearing of traditional smock-frocks by country laborers was dying out, although Gertrude Jekyll noticed them in Sussex during her youth, and smocks were still worn by some people in rural Buckinghamshire into the 1920s. As the authentic tradition was fading away, a romantic nostalgia for England's rural past, as epitomized by the illustrations of Kate Greenaway, led to a fashion for women's and children's dresses and blouses loosely styled after smock-frocks. These garments are generally of very fine linen or cotton and feature delicate smocking embroidery done in cotton floss in contrasting colors; smocked garments with pastel-colored embroidery remain popular for babies.

Sleeved blanket Gown(23)

 Sleeved blanket

A sleeved blanket is a unisex body-length blanket with sleeves usually made of fleece or Vellux material. It is similar in design to a bathrobe that is meant to be worn backwards (i.e., with the opening in the back). The product has been marketed by various brands as the Snuggie, Snuggler, Doojo, Toasty Wrap, and Slanket, with varying sizes, colors and qualities of materials but similar basic design.The "Snuggie" brand itself also became a phenomenon of pop culture, outselling other brands and being referenced or imitated by many comedians or TV shows.

Popularity

In late 2008 and early 2009 the Snuggie brand of sleeved blankets became a pop culture phenomenon, sometimes described humorously as a "cult" 

The product became famous after a direct response commercial promoting the product was aired. It was featured on television programs like Today where cast and crew donned Snuggie blankets for a segment which was described as looking like a gospel choir. Others have described mass-snuggie wearing as looking like a Harry Potter convention.The Associated Press likened it to a "monk's ensemble in fleece" and proclaimed it the "ultimate kitsch gift". The Snuggie initially sold singly for $14.95, and later in sets of two for $19.95.

Commercial variations

The Slanket was created by Gary Clegg using a sleeping bag in Maine in 1998 (before the Snuggie). Clegg's mother made him a blanket with a single sleeve for use in his cold dorm room. Clegg later developed that into the Slanket with two sleeves.

The Snuggie sleeved blanket product has been sold in the United States, Canada, and Australia. It was marketed primarily through a memorable television commercial. As of January 2009, over 20 million of the product had been sold.

Travel blanket for children (up to size 5) which complies with federal safety regulations for car seats and strollers. GO-GO Blankets were created in 2007 by a grandmother in New Jersey who wanted to find a solution to keeping children safe and warm in a car seat without bulky winter wear.

There is also an Italian version sold in Europe, Canada, and Japan called the "Kanguru" with a pocket in the middle

Sack-back Gown(22)

Sack-back gown

The sack-back gown was a women's fashion of the 18th century. 

At the beginning of the century, the sack-back gown was a very informal style of dress. At its most informal, it was unfitted both front and back and called a sacque, contouche, or robe battante. By the 1770s the sack-back gown was second only to court dress in its formality. This style of gown had fabric at the back arranged in box pleats which fell loose from the shoulder to the floor with a slight train. In front, the gown was open, showing off a decorative stomacher and petticoat. It would have been worn with a wide square hoop or panniers under the petticoat. Scalloped ruffles often trimmed elbow-length sleeves, which were worn with separate frills called engageantes.

The loose box pleats which are a feature of this style are sometimes called Watteau pleats from their appearance in the paintings of Antoine Watteau. The various Watteau terms, such as Watteau pleat, Watteau back, Watteau gown etc., date from the mid-19th century rather than reflecting authentic 18th century terminology, and normally describe 19th and 20th century revivals of the sack-back.

Notable wearers

A popular story, traced back to the correspondence of Élisabeth Charlotte d'Orléans, Duchess d'Orléans, is that the earliest form of the sack-back gown, the robe battante, was invented as maternity clothing in the 1670s by Louis XIV's mistress to conceal her clandestine pregnancies. However people would comment: "Madame de Montespan has put on her robe battante, therefore she must be pregnant.

Brief 

The sack, or sacque, gown evolved from a very informal dress of the late seventeenth century into a formal dress by the mid-eighteenth century. The sack gown was first a loose, tent-like robe worn in the home or by pregnant women. The volume of the gown came from gathers near the shoulders and along the back. The front of the gown skirt was worn either open in the front to reveal a petticoat or stitched closed from the waist down to the hemline. As the century continued, these gowns became more formal, featuring fitted bodices, long full skirts, and a long box-pleated piece of fabric hanging from neck to ankles along their backs. These dresses were so often depicted in the paintings of French painter Antoine Watteau (1684–1721), the man who created the Rococo painting style that emphasized romantic love, that the pleats in back took his name: Watteau pleats. As the dresses became more fitted through the bodice, the gown came to be known as the robe à l'anglaise. The robe à l'anglaise was especially popular in England (anglaise means English in French) and featured a many-pieced bodice with a low neckline. The sack gown went out of style by the end of the century when Greek inspired dresses, such as the robe en chemise, became popular.

Rochet Gown(21)

Rochet

A rochet is a white vestment generally worn by a Roman Catholic or Anglican bishop in choir dress. It is unknown in the Eastern churches. The rochet is similar to a surplice, except that the sleeves are narrower. In the Roman Catholic tradition, the rochet comes below the knee and its sleeves and hem are sometimes made of lace; in the Anglican tradition, the rochet comes down almost to the hem of the cassock and its sleeves are gathered at the wrist.

The word stems from the Latin rochettum (from the late Latin roccus, connected with the Old High German roch, roc and the A.S. rocc; Dutch koorhemd, rochet, French rochet, German Rochett, Chorkleid, Italian rocchetto, Spanish roquete), means an ecclesiastical vestment.

Catholic use

The Catholic rochet is a tunic of white, usually fine linen or muslin (batiste, mull) reaching about to the knee, and distinguished from the surplice mainly by the narrower sleeves which make its arms tight-fitting, and is frequently trimmed with lace. The lower edge and the sleeves may also be garnished with lace, lined with violet or red silk in the case of prelates, or more rarely with embroidered borders.

The rochet is proper to, and distinctive of, prelates and bishops, but the right to wear it is sometimes granted by the pope to others, especially the canons of cathedral churches. It is not a vestis sacra, and cannot therefore be used as a substitute for the surplice, e.g. in the administering of the Sacraments (Decree of the Congregation of Rites of January 10, 1852). Nonetheless, since it is used at choir services and is ordered to be worn over the everyday dress at Mass (Missa rom. Rit. celebr. i. 2), it may be included among liturgical vestments in the widest sense. It is worn instead of a surplice by Canons Regular as part of their habit for liturgical use alone.

The rochet was originally a robe-like tunic, and was therefore girdled, like the liturgical alb. So as late as 1260 the provincial synod of Cologne decreed that the vestis camisialis must be long enough entirely to cover the everyday dress. A good example of the camisia of the 12th century is the rochet of Thomas Becket, preserved at Dammartin in the Pas de Calais, the only surviving medieval example remarkable for the pleating which, as was the case with albs also, gave greater breadth and more elaborate folds. In the 15th century the rochet only reached halfway down the shin; in the 16th and 17th to the knee; in the 18th and 19th often only to the middle of the thigh.

In the Middle Ages it was always plain.

Anglican use

In the Anglican Churches the rochet is a vestment peculiar to bishops and is worn by them in choir dress with the chimere, both in ministration in church and also on ceremonial occasions outside, e.g. sitting in the House of Lords, attending a royal levee, or commencement ceremony. It may be worn with a stole, cope and mitre for more dignified occasions (such as Baptism outside the context of the Eucharist, Solemn Evensong, royal weddings and the coronation of the Sovereign).

In general it has retained the medieval form more closely than the Roman rochet and more resembles the alb, insofar as it is of plain, very fine linen, and reaches almost to the feet. The main modifications have been in the (usually) baggy 'lawn' sleeves that are gathered at the wrists with a band of black or scarlet cloth. At the time of the Reformation these were still narrow, though already showing a tendency to expand. The portrait of Archbishop Warham at Lambeth, for instance, shows a rochet with fairly wide sleeves narrowing towards the wrists, where they are confined by fur cuffs. This fashion continued until, in the 17th century, the sleeves became much fuller; only in the 18th century did they develop into the familiar exaggerated balloon shape, confined at the wrists by a ribbon, beyond which a ruffle projected. About the same period, too, arose the custom of making the rochet sleeveless and attaching the lawn sleeves to the chimere. This remained the fashion most of the 19th century, but there has since been a tendency to revert to the earlier less exaggerated form, and the sleeves have been reattached to the rochet. The ribbon by which the wrist is confined is red, except when conducting or participating in a formal, public funeral (e.g. of a head of state), when it is black.

The rochet is worn without the chimere under the cope by those bishops who use this vestment. At his consecration the bishop-elect is, according to the rubric, presented to the consecrating bishops vested in a rochet only; after the laying on of hands he retires and puts on the rest of the episcopal habit; i.e. the chimere.

One exception to the normal Anglican-style is the rochet worn by the previous Archbishop of Canterbury, Rowan Williams which has open-ended narrow sleeves in the manner of the Roman rochet.

Peignoir Gown(20)

Peignoir

Different Types

A peignoir is a long outer garment for women which is frequently sheer and made of chiffon or another translucent fabric. The word comes from French peigner, to comb the hair (from Latin pectināre, from pecten, pectin-, comb) describing a garment worn while brushing one's hair, originally referring to a dressing gown or bathrobe.

Very high-end peignoirs were occasionally sold with sheer long gloves and stockings made of the same material as the peignoir itself for wear to bed or on occasions where the wearer would be seen in her nightclothes; such as visiting or while sharing accommodations during travel.Contemporary peignoirs are usually sold with matching nightgown or panties.

Nightshirt Gown(19)

Nightshirt

A nightshirt is a garment intended for wear while sleeping. It is somewhat longer than most regular shirts, reaching down to the thighs or below the knees,leaving some of the legs uncovered. It is generally loose-fitting to avoid restricting the wearer's movement while sleeping.

Until the 16th century men slept naked or in a day-shirt; subsequently a night-shirt, varying in quality, was worn in bed. Nobles in the 16th century wore embroidered shirts or "wrought night-shirts". By the 19th century the night-shirt resembled a day-shirt with a loose, turned-down collar, or a loose, ankle-length nightgown was worn. A most notable cartoon character who wears a nightshirt is Squidward Q. Tentacles. To this day, they are still know as being a comfortable form of nightwear. 

Occasionally worn in the 20th and 21st centuries by women as well.

Nightgown (18)

Nightgown

A nightgown, nightie or nightdress is a loosely hanging item of nightwear, today almost exclusively worn by women. A nightgown is made from cotton, silk, satin, or nylon and may be decorated with lace appliqués or embroidery at the bust and hem.

A nightgown may have any neckline, and may have sleeves of any type, or be sleeveless, and any shoulder strap or back style. The length of a nightgown may vary from hip-length to floor-length. A short nightgown can be called a "shortie" or a "babydoll", depending on the style. A slip nightgown may be used as a nightgown or as a full slip. Nightgowns may be worn with a matching outer garment, a robe, sheer chiffon peignoir or dressing gown, to make them appropriate for receiving guests

major classess are

• Negligee
• Olga Night Gown
• Sleep Shirt
• Slip Gown
• Baby Doll Gown etc.

Negligee Gown(17)

Negligee

The negligee or négligée, from the French: négligée, literally meaning "neglected", is a form of women's clothing consisting of a sheer usually long dressing gown. It is a form of nightgown intended for wear at night and in the bedroom. It was introduced in France in the 18th-century, where it mimicked the heavy head-to-toe style of women's day dresses of the time.

By the 1920s it began to mimic women's satin single-layer evening dress of the period. The term "negligee" was used of a Royal Doulton run of ceramic figurines in 1927, showing women wearing what appears to be a one-piece knee-length silk or rayon slip, trimmed with lace. Although the evening-dresses style of nightwear made moves towards the modern negligee style—translucent bodices, lace trimming, bows, exemplified in 1941 by a photo of Rita Hayworth in Life—it was only after World War II that nightwear changed from being primarily utilitarian to being primarily sensual or even erotic; the negligee emerged strongly as a form of lingerie.

Modern negligees are often much looser and made of sheer and semi-translucent fabrics and trimmed with lace or other fine material, and bows. Multiple layers of fabric are often used. The modern negligee thus perhaps owes more to women's fine bedjackets or bed-capes, and up-market slips than to the nightgown. It spread to a mass market, benefitting from the introduction of cheap synthetic fabrics such as nylon and its finer successors. From the 1940s to the 1970s, the trend was for negligees to become shorter in length (e.g. the babydoll of the 1970s). Negligees made from the 1940s to the 1970s are now collectible vintage items.

In the UK in 2004, negligees accounted for only four percent of women's nightwear sales, women's pyjamas having dominated since the mid-1980s. However, UK negligee sales are said to have been the fastest increasing sector of the market since 1998

Mantua Gown(16)

 Mantua Gowns

A mantua (from the French manteuil ) is an article of women's clothing worn in the late 17th century and 18th century. Originally a loose gown, the later mantua was an overgown or robe typically worn over stays, stomacher and a co-ordinating petticoat.

Evolution of the mantua

The earliest mantuas emerged in the late 17th century as a comfortable alternative to the boned bodices and separate skirts then widely worn.

The mantua featured elbow-length, cuffed sleeves, and the overskirt was typically drawn back over the hips to expose the petticoat beneath. In the earliest mantuas, the long trained skirt was allowed to trail. From about 1710, it became customary to pin up the train. The construction of the mantua was altered so that once the train was pinned up, the exposed reverse of the train showed the proper face of the fabric or embroidery. One of the earliest extant examples of this, dated to 1710–1720, is in the Victoria and Albert Museum's collections.

By the mid-18th century, the mantua had evolved into a formal version principally worn for court dress. The draping of the overskirt became increasingly stylized, with the back panel of the train almost entirely concealed.

The final version of the mantua, circa 1780, bore little resemblance to the original mantuas of nearly a century earlier. Instead of earlier elaborate draperies and folds, the train had evolved into a length of fabric attached to the back of the bodice, as illustrated in an example in the Victoria and Albert Museum.

Semantics

The origins of the term mantua to mean a robe are unclear. The garment may have been named after Mantua, in Italy, a centre of production for some of the expensive silks that would have been used to make up such garments. The term may also derive from manteau, the French term for a coat.

From this garment arose the term mantua-maker, an early term for a women's dressmaker.

The indian, kerala folk art Kadha kali is performed using a mantua base dress. 

Kirtle Gown(15)

Kirtle

A kirtle (sometimes called cotte, cotehardie) is a garment worn by men and women in the Middle Ages or, later, a one-piece garment worn by women from the later Middle Ages into the Baroque period. The kirtle was typically worn over a chemise or smock which acted as a slip and under the formal outer garment or gown/surcoat.

Kirtles were part of fashionable attire into the middle sixteenth century, and remained part of country or middle-class clothing into the seventeenth century.

Kirtles began as loose garments without a waist seam, changing to tightly fitted supportive garments in the 14th century. Later kirtles could be constructed by combining a fitted bodice with a skirt gathered or pleated into the waist seam. Kirtles could lace up the front, back or side-back, with some rare cases of side lacing, all depending on the fashion of the day/place and what kind of gown was to be worn over it. Kirtles could be embellished with a variety of decorations including gold, silk, tassels, and knobs

Medieval kirtle, a simple, elegant linen gown that pulls on without lacing. Medieval artwork of the 10th - 14th centuries often depicts simple, smooth gowns with tapered sleeves and full skirts. In the 12th and 13th century, this gown is often worn as a simple overdress by common women and wealthy ladies as well being used as an under 

gown with apron dresses, bliauts and pendant sleeved gowns. In the later 14th and 15th centuries the kirtle remains an overdress for commoners, while being depicted beneath the cotehardies, sideless surcoats, and houppelandes of the high born. Very often these images show undergowns of widely contrasting colors and in our quest to 

provide you with the means to create that wonderfully medieval look our kirtle is available in a rainbow of colors including black, bright blue, burgundy, oatmeal, dark brown and soft gold.

The kirtle's neckline is shaped to peek out from the neckline of your gown so that it can be seen beneath the overdress. The sleeves are slightly fitted to avoid bunching when worn with an overdress and provide a slight flare at the wrist for that distinctly medieval flare.

Kappogi Gown(14)

Kappogi

A kappogi, literally cooking wear, is a type of gown-like apron, originating in Japan. First designed to protect kimono from food stains, it has baggy sleeves terminating just after the elbow, and is as long as the wearer's knees. Its strips of cloth are tied at the back of neck and waist. It is particularly used when cooking and cleaning.

The kappogi was introduced at Japan's first culinary academy, Akahori Kappo School, in 1904 when most people wore kimono on a daily basis.

A kappogi is a Japanese style apron, which is particularly made to be worn over kimono. The sleeves of a kappogi are baggy, in order to cover and protect kimono’s hanging sleeves. Torso area also has extra room so that it doesn’t crush intricately tied sash on the back. 

When many Japanese women switched to western style clothes from kimono, kappogi became outdated. But for a long time a kappogi was strongly associated with the image of mother in Japanese psyche. Because it has a wider coverage than an apron, some people wear it for gardening or other activities that might soil the clothes otherwise. 

It has baggy sleeves terminating just after the elbow, and is as long as the wearer's knees. Its strings are tied around the shoulders, like a bib.

Houppelande Gown(13)

Houppelande

A houppelande or houpelande is an outer garment, with a long, full body and flaring sleeves, that was worn by both men and women in Europe in the late Middle Ages. Sometimes the houppelande was lined with fur. The garment was later worn by professional classes, and has remained in Western civilization as the familiar academic and legal robes of today.

The houppelande appeared around 1380 and was to remain fashionable well into the next century. It had its origins in the herigaut, a similar thirteenth-century garment with hanging sleeves.The edges of the houppelande were often dagged, or cut into decorative patterns such as scallops, "embattled" tabs or even leaf shapes.

The houppelande is a specific kind of medieval overdress which was widely worn in the 15th century. It replaced the more fitted surcotes and overgowns, although like them, often showed off the gown underneath which was more costly and expensive. Technically, is is a surcote, but became known as a garment in its own right. It was always worn with an undergown, never alone.

Distinguishing features.

The distinguishing featrues of the houppelande, were a high collar or neck opening, big sleeves and a voluminous amount of fabric in the lower part of the gown. There were many different sleeve types, but most used a large amount of fabric compared to previous gowns and fitted kirtles. It was always belted under the bust at the back with a fabric belt which might have expensive decorative metal buckles and ends. When the fabric is gathered under the bust, it forms pleats in the fabric. The houppelande was not constructed with a seperate bodice like some other styles of gown

Houppelandes almost always seem to be depicted with a fur lining and were usually worn with the heart shaped head-dress or the horned head-dress and veils.


further reading
http://www.virtue.to/articles/circle_houp.html