From Bands To The Modern Necktie
The cravat or neckcloth was popular 1665-1730. It was a large square or triangle of either linen, lawn, silk or muslin, often starched, with the ends usually bordered with lace, or decorated with tasselled beads, and tied loosely beneath the chin. Formal cravats were always plain white, otherwise they could be coloured or patterned.
Tying the cravat in a bow was popular c.1665. Fastening with a cravat-string was popular c.1671. By 1680-90 the cravat was worn falling over a stiffened ornamental cravat-string. 1695-1700 saw the Steinkirk style, with the front ends twisted and the terminals either passed through a buttonhole or attached with a brooch to one side of the coat. The cravat was popular until the 1740s, and with the elderly thereafter.
In the 1840s several types of cravat were in use, the most traditional being a large bow with pointed ends. The variety of neckwear became very much greater in the 1890s. The scarf, formerly known as the kerchief, was also worn. In the 1890s neckties became popular, commonly in a butterfly- or batswing-shape bow. By the 1850s separate, starched, collars were standard, these reaching 3" in height by the 1890s.
Until about 1950, apart from short-sleeved, open-necked sports wear, day shirts always had a long sleeve with cuffs, closed by links or buttons, and with a neck-band with separate collar fastened by studs, or an attached collar. The attached collar is now dominant. The result is that bands are rarely used by graduates, who prefer the contemporary down turn collar and neck tie.
Read more about this topic: Bands (neckwear)
Famous quotes containing the words bands and/or modern:
“Nearly all the bands are mustered out of service; ours therefore is a novelty. We marched a few miles yesterday on a road where troops have not before marched. It was funny to see the children. I saw our boys running after the music in many a group of clean, bright-looking, excited little fellows.”
—Rutherford Birchard Hayes (1822–1893)
“Though collecting quotations could be considered as merely an ironic mimetism—victimless collecting, as it were ... in a world that is well on its way to becoming one vast quarry, the collector becomes someone engaged in a pious work of salvage. The course of modern history having already sapped the traditions and shattered the living wholes in which precious objects once found their place, the collector may now in good conscience go about excavating the choicer, more emblematic fragments.”
—Susan Sontag (b. 1933)