Macaronis and the New Romantics : Honours Project

How did the ‘New Romantics’ of the Twentieth-Century and the ‘Macaronis’ of the Eighteenth-Century, inadvertently highlight political ideologies by dressing in an openly androgynous style?

In addition to my written dissertation, I will be designing and constructing one costume with a mix of both eras, which reflects and supports this argument. I will be using this blog as an online sketchbook, demonstrating my research and journey to my final costume and written argument. All image and written referencing can be found at bottom of blog.

Abstract

This dissertation explores the androgyny found with the fashions of the New Romantics (1980s) and the Macaronis (1770s). It looks into how and why each sub-culture exhibited a high degree of androgyny within their choice of clothing. Through the aid of Judith Butler’s theory on how gender is presented within society, with regards to her study of ‘gender performativity’, this dissertation examines whether these androgynous fashions highlighted political ideologies of the time and whether or not this was their ultimate aim. With the general consensus that effeminacy of male fashion constitutes homosexuality, this study explores how society marginalises those who step outside the absolute standard of gender norms in regards to fashion, and how they are consequently punished with reference to historian Rictor Norton’s (2004) findings on homosexual scandals.

This study focusses on a detailed analysis on both fashion groups and how similarities can be drawn between the two. With regards to the Macaronis, this dissertation explores primary sources from The Public Ledger (1772) and The Town and County (1770), both of which give evidence to the summaries stated above. In order to assess the political discourse at the time of the New Romantics, this study looks into the repression felt by many during the time of Margaret Thatcher’s reign over Britain, and how this affected the fashion motivations of the New Romantics, whether intentionally or not. This study concludes that both groups inadvertently highlighted their political ideologies at the time.

Posted by Meg Davies

Understanding the New Romantics

‘The New Romantics’ of the early 1980s, took much of their fashion inspiration from the punk movement and glam rock stars of the 1970s (Parker, 2014). New Romanticism “ultimately sought to contrast with the austerity of punk” (Stevens, 2010) and is therefore seen as a reaction to the punk movement. Arguably starting in the heart of London at ‘The Blitz Club ’, musician Steve Strange ran a private party every Tuesday for a year in Covent Gardens, where only “outrage secured entry” (Johnson, 2009). The movement was known for its flamboyance and eccentricity demonstrated by pop icons of the time. Music was a huge influence on fashion in the 1980s and artists such as Boy George, Steve Strange, Adam Ant and David Bowie were trendsetters for these androgynous styles.

Figure 1

Figure 2

New Romantics in London 1981 photo by Derek Ridgers.

Figure 3

Vivienne Westwood and her store SEX 430 King's Road, London circa 1976 (pin via Sara Furman)

Figure 4

At The Blitz Club, the New Romantics began to steer away from the increasingly unpopular punk style of ripped jeans, t-shirts with offensive slogan printed on them, and cropped, spiked hair (Figure 11). It is arguable however that the punk ideology was continued with the New Romantic sub-culture “as it took the belief that anyone could be an individual, but [was] executed in a more posed manner” (Videodrome Discotheque, 2013).

The New Romantics displayed this individuality through frilly fops shirts, pirate hats and full make-up. (Below)

The New Romantic era depicted here by Adam and the Ants. This look had a huge inpact on fashion, incorporating both aspects of Pirate and Highway man type clothing. The continuation of men using bold make-up is evident.

Figure 5

Figure 6

Gothic flamboyance & the dole leisure class - National European Fashion | Examiner.com

Figure 7

Boy George / photo by Laura Levine / 1982. As a reaction to the punk movement, New Romantics wore luxurious Edwardian and Victorian styles. Here, Boy George embodies a softer, more thoughtful masculinity. #subvert1980s

Figure 8

blitz/kids/80s/new romantic - Google Search

Figure 9

Calling themselves ‘The Blitz Kids’, figure 10 and figure 11 demonstrate the parallels the New Romantics held with the androgynous clothing worn by the Macaronis. Although the New Romantics are not immediately recognisable as being directly influenced by the Macaronis fashion, both styles exaggerate the traditional way of dressing in a conservative Britain and steer away from simple designs. In addition, both use intricate embellishments, eccentric trimmings and layers of garments to display androgyny.

Boy George.. BAhahahahaha I don't know why but he makes me laugh! =*D

Top: Figure 10, “You need more than a feather to look this good” (Anon, 1770). Bottom: Figure 11 of Boy George (1980). Although satirical, figure 12 demonstrates the sheer exaggeration of usual male dress at the time. Although the musician in figure 13 is not wearing specific items of clothing that can be seen as a direct influence of the Macaroni, it is clear that both images portray androgynous clothing in its extremity. It is perhaps the connotations of each style in history therefore, that presents parallels between the two.

Vivienne Westwood's Pirate Collection, 1981

Arguably, another rebellion against the political discourse of the time is fashion designer, ‘Vivienne Westwood’ who was a pioneer in the New Romantic style of the 1980s (Wilcox, 2004). Not only was she known for her earlier work with the punk look, which is described by Westwood (n.d.) as her way of using fashion to “express [her] resistance and [her] rebellion”, but her collection ‘Pirate Line’ was an impetus for the New Romantic style.

Figure 12

Figure 13

Figure 14

Figure 15

In presenting an androgynous style, Westwood demonstrated the start of this 1980s ideal that fashion could become a means of merging the two genders. Androgyny was becoming significant in progressive fashion, and like the Macaronis of the 1770s, the New Romantics’ androgynous style inadvertently outlined political repression at the time.

The New Romantics - political discourse

There is no grounding evidence to suggest that the New Romantics and the Macaronis had any political agendas. It is clear however that their choice of dress highlighted significant political and social issues during their times. It seems likely that both groups merely used fashion as a way of demonstrating their desire for change in styles, which went against a traditionalist Britain at the time (Johnson, 2009).

Figure 16

Figure 17

Change in perceptions

Androgyny in fashion has changed dramatically over the past one hundred years. Since the beginning of World War One, women’s fashion has become gradually more masculine due to the practical demands of hard labour (Beynon, 2002). Dresses and skirts typically associated with female fashion were exchanged for trousers and shirts. The 1970s saw the beginning of unisex fashions, including jeans, bell bottoms and platform heels.

Plaid Stallions : Rambling and Reflections on '70s pop culture: A Wild and Crazy Couple

Figure 18

Unisex fashion was huge in the 70's. Maybe that's when men started cross dressing - 70's Fashion - Men and women

Figure 19

Figure 20

Figure 21

Figure 22

Figure 23

The 'Macaronis' - 1770s

‘Macaroni’ was the name given to young men based in London from the 1750s to the early 1770s, who demonstrated effeminate characteristics through the exaggerated and outlandish clothing they wore (McDowell, 1997). The name ‘Macaroni’ derives literally from the name of the famed Italian pasta, macaroni.

Caricatures at the time show that men dressing in this way were known as the ‘Macaronis’ (Figure. 2). It is however unclear whether these men referred to themselves by this title. Caricatures, by definition, exaggerate and satirise popular culture and therefore the term ‘Macaroni’ may be pejorative. To England at that time, McDowell argues that Italian food was considered “slippery” and “unreliable”, and the name therefore, was deemed anti-traditional and not positive in comparison to the “the roast beef of old England” (1997, p.45). Even in Italy, the word ‘Macaroon’ derived from the seventeenth century meaning of a “buffoon” (The Oxford Dictionary, 2015).

The ‘Town and County’ magazine describes in detail, what constitutes a Macaroni:

Macaronis—They make a most ridiculous figure with hats of an inch in the brim, that do not cover but lie upon the head, with about two pounds of fictitious hair, formed into what is called a club, hanging down their shoulders as white as a baker's sack. The end of the skirt of their coat reaches the first button of their breeches which are either brown-striped or white, as wide as a Dutchman's; their coat sleeves are so tight they can with much difficulty get their arms through their cuff which are about an inch deep; & their shirt sleeve without pleats, is pulled over a bit of Trolly lace. Their legs are at times covered with all the colours of the rainbow ; even flesh-coloured & green silk stockings are not excluded. Their shoes are scarce slippers, & their buckles are within an inch Of the toe. Such a figure, essenced & perfumed, with a bunch of lace sticking out under its chin, puzzles the common passenger to determine the thing's sex. (The Town and County, 1770)

Figure 24

The Macaronis originally took their fashion inspirations from Italy and France, where these well-travelled men would return to Britain wearing these extravagant styles (McDowell, 1997).

Philip Dawe, 1773, The Macaroni, A real Character at the Late Masquerade by peacay

Figure 25

Society's antipathy towards the Macaroni can be found in the Public Ledger (Anon, 5 Aug 1772 cited in Norton, 2004): ‘A crime imported from Italy by our spindle-shanked Gentry, who make the grand Tour but to bring home the vices of our Neighbours, and return, if possible, greater Coxcombs than they were before Embarkation’. The extravagance and opulence of these countries can be seen through the Macaronies unusual choice of fabric patterns, striped waistcoats, stockings, fans, perfumes and excessively tall wigs donned with a small hat and feathers, exaggerating its proportions (Chenoune, 1993).

Macaroni, Maccaroni, and the Macaronis, via 2Romance

Figure 26

Figure 27

Figure 28

Figure 29

The name of the group had other connotations in particular with reference to the reputation of Italy at the time. Italy was known to Britain for its unnatural practises of sodomy (McDowell, 1997) Whether these acts of homosexuality were in fact true or merely speculation at the time is unclear, although this belief was enough to suggest that the Macaronis were given this foreign name as a reflection of their own reputation for sodomite behaviour, which was evident through the many convictions given to Macaronis for this act.

Figure 30

Furthermore, their deconstruction of gender norms perhaps expressed their transgressive identities and consequently led to their perceived association with homosexual practices. As stated by Stratton (2000), “from this time on, in Britain at least, male display in costume or manner was associated with effeminacy and same-sex sexual activity”. The Macaronis were perhaps an impetus in changing wider social perceptions of masculinity. Although some Macaronis were known to be homosexual, this does not however allow conclusions to be drawn about the Macaronis in general.

Examples of Macaroni garments

Original clothing from this period is surviving today, however there is no evidence to suggest that these pieces belonged to a person known as a Macaroni. However, there are similarities in these garments to the caricatures above and from both these sources, I have been able to create a design that is both representational of a Macaroni and a New Romantic. Below are individual garments from both periods which have influenced my design, along with the images above.

Jackets

p-lanet-e-arth: Mans Jacket 1747. Beautiful Detail.

Figure 31: Above

Figure 32: Above

Man’s civil uniform coat. Wool tabby with silk embroidery. Italy, 1805 – 1806.

Figure 33: Above

1775-1789 British(?) Court coat at the Metropolitan Museum of Art, New York - From the curators' comments: "The elegance and grandeur of 1770s and 80s court dress is displayed in this court coat. The magnificent array and abundance of silver decorations used to adorn the jacket would have sparkled in flickering candlelight and indicated the status of the wearer who could afford such an expensive garment."

Figure 34: Above

Figure 35: Above

Detail from The Beaumont Family, 1777/9 by George Romney.

Figure 36: Above

If you look closely at the caricatures below, you can see the short tails of the coats, which was typical of Macaronis at the time. Proof of this can further be found in 'The Town and County' of 1770s: "The end of the skirt of their coat reaches the first button of their breeches".

The Woolwich Macaroni.

Figure 37: Above

Figure 38: Above

The Fat Macaroni 1774.

Figure 39: Above

Embroidery

Figure 40: Above

wasbella102: Embroidered mid-18th-century Coromandel Coast palampore. Cotton with silk thread

Figure 41: Above

Stunning and sumptuous embroidery detail of Court suit Frockcoat, late 18th–early 19th century, French, silk, metallic thread, paste (c) Metropolitan Museum of Art.

Figure 42: Above

Detail of exquisite embroidery and matching covered buttons to the front of an ivory silk faille waistcoat, part of a "Habit a la Francaise" consisting of Frock Coat and waistcoat, France, 1770-1790.

Figure 43: Above

The Metropolitan Museum of Art - Suit. Really nice pattern and would look good using wool on linen, different colours.

Figure 44: Above

Textile design, by Anna Maria Garthwaite. Spitalfields, London, 18th century

Figure 45: Above

Waistcoats

Figure 46: Above

c. 1760 Waistocat (uncut) Met Look at how stunning the embroidery is!

Figure 47: Above

Figure 48: Above

Waistcoat, probably British, ca. 1750-70. Men got to wear the most incredibley embroidered suits- wish they still did!

Figure 49: Above

?metallic buttons? Date: early 18th century Culture: British Medium: silk Dimensions: Length at CB: 34 3/4 in. (88.3 cm) Credit Line: Purchase, Irene Lewisohn ...

Figure 50: Above

1780-1790 French Waistcoat at the Metropolitan Museum of Art, New York - From the curators' comments: "Waistcoats of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye."

Figure 51: Above

Men's Period Shirts

As the shirt was considered underwear, no respectable gentleman wearer would be seen in just his shirtsleeves; to do so would be altogether improper. The waistcoat (with or without sleeves) was the furthermost a gentleman would expose himself in public. From A Shirt Tale | Pegs and 'Tails

Figure 52: Above

Figure 53: Above

Figure 54: Above

Figure 55: Above

Breeches

When beginning this study, I originally intended to make two separate costumes. One being Macaroni inspired, the other being New Romantic. However, I decided to make one costume which encompassed both periods in history. I therefore re-designed my costume and replaced these breeches with New Romantic 80s inspired trousers, yet with an influence of the Macaronis. Similarly, I added aspects of the New Romantics to my Macaroni jacket and wig. Below is my original research into breeches before changing my design.

Figure 56: Above

Trousers (Breeches) Date: 18th century Culture: American or European Medium: wool Dimensions: [no dimensions available] Credit Line: Gift of Mr. Lee Simonson, 1939 Accession Number: C.I.39.13.240

Figure 57: Above

Trousers (Breeches) Date: late 18th century Culture: Italian Medium: silk Dimensions: Length: 28 in. (71.1 cm) Credit Line: Rogers Fund, 1926 Accession Number: 26.56.40

Figure 58: Above

New Romantic Trousers (1980s)

Vintage 80s High Waisted Pants / Pleated by babybirdvintage

Figure 59: Above

Issey Miyake @1983 Met Collection

Figure 60: Above

Figure 61: Above

Steve Strange, Steven Harrington, Blitz Kids, New Romantics, nightclubbing, Swinging 80s, London, fashion, pop music, Visage, tributes

Figure 62: Above

Blitz Kids: Martin Kemp and Steve Norman

Figure 63: Above

Figure 64: Above

The ICA exhibition Ibiza: Moments In Love creates a picture of Ibiza as it was in the eighties through a collection of club posters, books and original photographs

Figure 65: Above

Ibiza was a haven for liberal and alternative Spaniards during Franco's rule

Figure 66: Above

New Romantic Patterns

Due to my change in design, I will be mixing embroidery styles of the Macaronis (1770s) with patterns of the New Romantics (1980s).

worlds end "Pirate" knee tights designed by Vivienne Westwood & Malcolm McLaren c.1981

Figure 67: Above

Figure 68: Above

Zandra Rhodes printed silk chiffon dress, 1980s

Figure 69: Above

This dress was designed in the 1980's, when Westwood was in her phase she calls the 'Early Years', where remnants of punk fashion could still be found in her work, before she moved on to experiment with other styles. I personally find this dress extremely beautiful, almost warrior-like. Though it is not made clear which fabric it is made out of, the pattern is in the burberry style. Fabric unknown.

Figure 70: Above

Figure 71: Above

References: Harvard British Standard 2010

ANONYMOUS, date unknown. Oxford University Press, Define: Macaroon. [Homepage of Oxford Dictionaries], [Online]. Available: http://www.oxforddictionaires.com/definition/english/macaroon [Accessed: 06/01/2015]

BEYNON, J., 2002. Masculinities and Culture [Homepage of Open University Press], [Online]. Available:http://www.stevenlaurie.com/wp-content/uploads/2012/02/0335199887-1.pdf [Accessed: 15/02/2015]

CHENOUNE, F., DUSINBERRE, D., 1993. History of Men’s Fashion. Paris: Flammarion, p.10.

JOHNSON, D., 2009. Spandau Ballet, the Blitz Kids and the Birth of the New Romantics, [Homepage of The Guardian], [Online]. Available: http://www.theguardian.com/music/2009/oct/04/spandau-ballet-new-romantics [Accessed 13/02/2015]

MCDOWELL, C., 1997. The Man of Fashion: Peacock Males and Perfect Gentlemen. New Tork: Thames & Hudson Ltd, p.45.

NORTON, R., 2004. The Macaroni Club: Homosexual Scandals in 1772 [Homepage of Homosexuality in Eighteenth Century England], [Online]. Available: http://www.rictornorton.co.uk/eighteen/macaroni.htm [Accessed: 05/01/2015]

PARKER, E., 2014, 2014-last update. Subcultures: The New Romantics of the 1980's [Homepage of Em’s Trends], [Online]. Available: http://ems-trends.co.uk/2014/02/13/subcultures-the-new-romantics-of-the-1980s/ [Accessed 12/02/2015].

STEVENS, V., 2010. Music styles and genres, [Homepage of Simply Red], [Online]. Available: http://simplyredfans.blogspot.co.uk/2010/10/simply-red-music-style-and-genres.html [Accessed 12/02/2015]

STRATTON, J., (2000) The desirable body: cultural fetishism and the erotics of consumption. United States: Urbana University of Illinois Press 2001, p.140.

THATCHER, M., 1987. Conservative Party Conference [Homepage of YouTube], [Online Video]. Available: https://www.youtube.com/watch?v=8VRRWuryb4k [Accessed: 20/01/2015]

VIDEODROME DISCOTHEQUE., 2013. The Blitz Kids Documentary [Homepage of Vimeo], [Online Video]. Available: http://www.vimeo.com/69436207 [Accessed: 04/12/2014]

WESTWOOD, V., n.d. “Rebellion” and “Resistance” [Homepage of BrainyQuotes], [Online]. Available: http://www.brainyquote.com/quotes/authors/v/vivienne_westwood.html [Accessed: 26/03/2015]

WILCOX, C., 2004. Vivienne Westwood. London: V&A.

Image Referencing

Fig 1. ANONYMOUS, 1980s. Steve Strange [Homepage of The Blitz Club], [Online]. Available: http://www.theblitzclub.com/images/galleries/ss/SS7.jpg

Fig 2. RIDGERS, D., 1982. New Romantics/The Blitz Kids [Homepage of Derek Ridgers photography], [Online]. Available: http://www.derekridgers.com/index/module/media/pId/102/id/267/category/gallery%7Cdocumentary%7Cnew_romantics/start/108/Kings-Road;-the-King's-Road;-C.html

Fig 3. RIDGERS, D., 1981. New Romantics [Homepage of Derek Ridgers photography], [Online]. Available: http://media-cache-ec0.pinimg.com/originals/24/1f/5a/241f5a5b8a62a5bffcc9512615ba309f.jpg

Fig 4. ANONYMOUS, 1976. Vivienne Westwood [Homepage of CityBlis], [Online photograph]. Available: http://unconventionalism.blogspot.co.uk/

Fig 5. ANONYMOUS, 1980. Adam Ant [Homepage of Blogspot], [Online]. Available: http://elselectorcovers.blogspot.co.uk/2011/12/1980-beat-my-guest-adam-ants.html

Fig 6. ANONYMOUS, 1980. Adam Ant [Homepage of Blogspot], [Online] Available: http://elselectorcovers.blogspot.co.uk/2011/12/1980-beat-my-guest-adam-ants.html

Fig 7. ANONYMOUS, 1980. Gothic Flamboyance and the dole leisure class; David Bowie [Homepage of Examiner], [Online]. Available: http://www.examiner.com/article/gothic-flamboyance-the-dole-leisure-class

Fig 8. LEVINE, L., 1982. New Romantics; Boy George [Homepage of Pinterest], [Online]. Available: http://www.pinterest.com/offsite/?token=792-523&url=http%3A%2F%2Fwww3.fitnyc.edu%2Fmuseum%2Fvivienne_westwood%2Fexhibit_all.html&pin=160370436702783138

Fig 9. ANONYMOUS, 1980s. New Romantics/Boy George [Homepage of Media Cache], [Online]. Available: http://media-cache-ak0.pinimg.com/originals/67/03/7b/67037b0a1186f6d2e2b8a2cd803ffba1.jpg

Fig 10. ANONYMOUS, 1770. You need more than a feather to look this good [Homepage of Smart Kitchen], [Online etching]. Available: http://www.smartkitchen.com/blog/and-he-called-it-macaroni/

Fig 11. ANONYMOUS, 1980’s. Boy George [Homepage of UKMix], [Online photograph]. Available:: http://www.ukmix.org/forums/viewtopic.php?t=82732

Fig 12. ANONYMOUS, 1981. Vivienne Westwood Pirate Line [Homepage of The Blitz Kids], [Online]. Available: http://www.theblitzkids.com/site_archive/seditionaries2/vivipirates10.jpg

Fig 13. ANONYMOUS, 1981-82. Vivienne Westwood Pirate Line [Homepage of the Victoria and Albert], [Online]. Available: http://collections.vam.ac.uk/item/O75527/pirate-ensemble-westwood-vivienne/

Fig 14. ANONYMOUS, 1981. Vivienne Westwood Pirate Line [Homepage of Media Cache], [Online]. Available: http://media-cache-ec0.pinimg.com/originals/e6/d4/63/e6d463dd6676397d57031174f48def46.jpg

Fig 15. ANONYMOUS, 1981. Vivienne Westwood Pirate Line [Homepage of Invaluable Auctions], [Online]. Available: http://www.invaluable.com/auction-lot/a-vivienne-westwood-pirate-collection-ensemble,-120-c-2889a23783

Fig 16. ANONYMOUS, 1981. New Romantics [Homepage of Tumblr], [Online]. Available: http://just80sfashion.tumblr.com/post/3597208899/missdandy-the-new-romantic-look-1981

Fig 17. ANONYMOUS, 1980s. Androgyny; Boy George [Homepage of Tumblr], [Online]. Available: http://for-redheads.tumblr.com/post/23405279045/boy-george-culture-club

Figure 18. ANONYMOUS, 2009. Rambling and Reflection on ‘70s pop culture [Homepage of Plaid Stallions, Blogspot], [Online]. Available: http://plaidstallions.blogspot.co.uk/2009/05/wild-and-crazy-couple.html

Fig. 19 DARYL., 2012. 70s Fashion: Cool or Creepy? [Homepage of Soda Head], [Online]. Available: http://www.sodahead.com/living/70s-fashion-cool-or-creepy/question-2800329/?link=ibaf&q=&imgurl=http://images.sodahead.com/slideshows/000018481/4934172347_denim_pants_suit_82392573938-82392659940_xlarge.jpeg&

Fig 20. ANONYMOUS, 1980. Androgyny [Homepage of Pinterest], [Online]. Available: http://www.pinterest.com/pin/386535580489499224/

Fig 21. ANONYMOUS, 1980s. Annie Lennox – Style Icon [Hompage of Waldina], [Online]. Available: http://waldina.com/2012/02/07/annie-lennox-style-icon/

Fig.22. ANONYMOUS, 1980s. Annie Lennox; Eurythmics [Homepage of Media Cache], [Online]. Available: http://media-cache-ak0.pinimg.com/originals/e7/ce/ee/e7ceeefef178745a05447ef81fd0d48b.jpg

Fig 23. ANONYMOUS, 1980s. The Hounds Tooth [Homepage of Tumblr], [Online]. Available: http://25.media.tumblr.com/tumblr_m9sxqfKYb71qzfotso1_1280.jpg

Fig 24. ANONYMOUS, 1770. You need more than a feather to look this good [Homepage of Smart Kitchen], [Online etching]. Available: http://www.smartkitchen.com/blog/and-he-called-it-macaroni/

Fig 25. DAWE, P., 1773. A real character at the laste Masquerade [Homepage of Jeanne De Pompadour], [Online painting]. Available: http://jeannedepompadour.blogspot.in/2012/04/satire-and-fashionable-caricatures.html

Fig 26, 27, 28, 29, 30. GERTS, S., 2010. Macaroni Caricatures [Homepage of Seattle pi], [Online]. Available: http://blog.seattlepi.com/bookpatrol/2010/03/11/the-mother-of-pictorial-satire-or-why-did-yankee-doodle-call-his-hat-macaroni/

Fig 31. ANONYMOUS, n.d., Mans Jacket 1747 [Homepage of Another Bohemian], [Online Photograph]. Available: http://anotherboheminan.tumblr.com/post/76587003886/p-lanet-e-arth-mans-jacket-1747-beautiful

Fig 32. ANONYMOUS, n.d., Wedding suit of Gustav III, 1766 [Homepage of Fripperies and Fops Blog], [Online]. Available: http://fripperiesandfobs.tumblr.com/post/14334284053/wedding-suit-of-gustav-iii-1766-from-the-royal

Fig 33. MOLINA, J., 2008. Man’s civil uniform coat, 1805-06 [Homepage of The Curated Object], [Online]. Available: http://www.curatedobject.us/the_curated_object_/canada/

Fig 34. ANONYMOUS, 2000. Turquoise Mens Jacket, 1775-89 [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/157308

Fig 35. WINKLEMAN, R., 2011. John Hancock’s Coat [Homepage of Clippix ETC], [Online]. Available: http://etc.usf.edu/clippix/picture/john-hancock-coat.html

Fig. 36: ROMNEY, G., 1777. The Beaumont Family, Detail [Homepage of the Tate], [Online]. Available: http://www.tate.org.uk/art/artworks/romney-the-beaumont-family-n03400 [Accessed: 20/03/2015]

Fig. 37, 38. NESS, R., 2013. Caricatures of the Macaronis [Homepage of Browns University Library], [Online]. Available: http://library.brown.edu/dps/curio/tag/caricature/

Fig 39. ANONYMOUS, 2012. Satirical Caricatures: Macaronis [Homepage of Blogspot], [Online]. Available: http://jeannedepompadour.blogspot.co.uk/2012/04/satire-and-fashionable-caricatures.html

Fig 40. DACHE, L., 1968. Silk Coat Detail 1775 [Homepage of the Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/91692?img=8

Fig 41. ANONYMOUS, n.d. Embroidered coat detail [Homepage of Tumblr], [Online]. Available: http://marilena56.tumblr.com/post/63735001483/wasbella102-embroidered-mid-18th-century

Fig 42. THE COLLECTION, n.d. Detailed Silk Coat Embroidery [Homepage of the Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/81537?img=10

Fig 43. ANONYMOUS, n.d. Antique and Vintage Dress [Homepage of Antique Dress], [Online]. Available: http://www.antiquedress.com/item5094.htm

Fig 44. THE COLLECTION, n.d. Detail from silk coat, 1775-80 [Hompegae of the Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/84425?img=5

Fig 45. ANONYMOUS, n.d. 18th Century Textile Design [Homepage of Victoria & Albert], [Online]. Available: http://www.vandaimages.com/results.asp?image=2006AP5998-01&itemw=4&itemf=0005&itemstep=1&itemx=11

Fig.46. OAKES, L., 2014. India chintz waistcoat 1770-90 [Homepage of The Dreamstress], [Online]. Available: http://thedreamstress.com/2014/07/the-hsf-14-favourites-for-challenges-9-12/

Fig 47. ANONYMOUS, 2012. 1760 Waistocat (uncut) [Homepage of Pinterest], [Online]. Available: https://www.pinterest.com/pin/483785184947462105/

Fig. 48. THE COLLECTION, n.d. Silk Waistcoat [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/89561

Fig. 49. THE COLLECTION, n.d. British Silk waistcoat, 1750-1770 [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/157708?rpp=20&pg=2&ao=on&ft=court+dress&deptids=62&when=A.D.+1600-1800&pos=22

Fig 50. THE COLLECTION, n.d. British Silk waistcoat [Hompegae of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/89566?rpp=20&pg=11&rndkey=20140206&ao=on&ft=*&when=A.D.+1600-1800&what=Costume&pos=202

Fig 51. THE COLLECTION, n.d. Silk Vest, 1780-90 [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/157540

Fig 52, 53, 54, 55. ANONYMOUS, 2009. A Shirt’s Tale [Homepage of Wordpress], [Online]. Available: https://pegsandtails.wordpress.com/2009/12/30/a-shirt-tale/

Fig 56. THE COLLECTION, n.d. European silk breeches [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/81612?img=6

Fig. 57. THE COLLECTION, n.d. Red breeches [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search

Fig 58. THE COLLECTION, n.d. Patterned Silk Breeches [Homepage of The Metropolian Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search

Fig 59. ANONYMOUS, n.d. Vintage 80s Trousers [Homepage of Etsy], [Online]. Available: https://www.etsy.com/listing/118343280/vintage-80s-high-waisted-pants-pleated?utm_source=Pinterest&utm_medium=PageTools&utm_campaign=Share

Fig 60. THE COLLECTION, n.d. Issey Miyake Trousers [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/79193?rpp=60&pg=1&ft=*&who=Miyake+Design+Studio&img=2

Fig 61. THE COLLECTION, n.d. Richard Torry Trousers, 1984 [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://metmuseum.com/collection/the-collection-online/search/159127?rpp=30&pg=1&ft=1980s+trousers&pos=1

Fig 62. RIDGERS, D., 1980. Photograph of Steve Strange [Homepage of Shapers of the 80s], [Online]. Available: http://shapersofthe80s.com/tag/andy-polaris/

Fig 63, 64. RIDGERS, D., 1980S. Photography of the 80s [Homepage of The Guadian], [Online]. Available: http://www.theguardian.com/music/gallery/2009/oct/04/photography

Fig 65, 66. RIDGERS, D., 1980s. Ibiza, 1980 [Homepage of the Daily Mail], [Online]. Available: http://www.dailymail.co.uk/femail/article-2518684/Birth-party-paradise-Glamorous-pictures-outrageous-club-culture-1980s-Ibiza.html

Fig 67. WESTWOOD, V., 1981. Pirate Line Wiggle Pattern [Homepage of The Metropolitan Museum of Art], [Online]. Available: http://www.metmuseum.org/collection/the-collection-online/search/107373?img=4

Fig 68. LOGAN, Q., 2011. 80s Culture [Homepage of The Guardian], [Online]. Available: http://www.theguardian.com/culture/gallery/2011/nov/13/the-ten-biggest-show-offs

Fig 69. RHODES, Z., n.d. Chifffon dress, 1980s [Homepage of Pinterest], [Online]. Available: https://www.pinterest.com/pin/398990848207354150/

Fig 70. ANONYMOUS, 2012. Vivienne Westwood dress designed 1980 [Homepage of Blogspot], [Online]. Available: http://dirtyfabulous.blogspot.co.uk/2012/11/fashion-repeating-episode-1.html

Fig 71. KEE, J., 1980s. Textile Designer [Homepage of Pinterest], [Online]. Available: https://s-media-cache-ak0.pinimg.com/originals/39/7f/75/397f75cd7327e701ca07cad06f568452.jpg

Macaronis and the New Romantics

Sunday, 5 October 2014

Honours Project