Portrait of a Lady in Black (c.1580)
I.
In much the same way that black absorbs all forms of visible light, thereby collapsing any distinctions of colour, so too does it seem to enchant all sorts of people and wrap them equally in its dark splendour. Paradoxically sexy and subversive at the same time as it is austere and authoritarian, black appeals to priests, puritans and policemen, as well as poets, punks and perverts; aristocrats and anarchists; fascists and fashionistas ...
II.
By the Christian Middle Ages, black was commonly associated with the three great D-words: death, darkness and the devil. It's a little odd, therefore, that members of the clergy then as now had such a penchant for wearing black. Some argued that it was a sign of humility. But other priests knew that black robes and gowns symbolised their authority, as it did that of magistrates, government officials, and wealthy bankers and merchants. It's almost as if the Church secretly wished to acknowledge that their power too was rooted in the world, in fashion and in evil.
II.
By the Christian Middle Ages, black was commonly associated with the three great D-words: death, darkness and the devil. It's a little odd, therefore, that members of the clergy then as now had such a penchant for wearing black. Some argued that it was a sign of humility. But other priests knew that black robes and gowns symbolised their authority, as it did that of magistrates, government officials, and wealthy bankers and merchants. It's almost as if the Church secretly wished to acknowledge that their power too was rooted in the world, in fashion and in evil.
III.
Eventually, members of the European nobility - such as the stylish Duke of Milan - also began to be seduced by the simple (yet sophisicated) elegance of black. From Italy, the look spread to France, then England, followed by Spain. By the end of the 16th century, black was worn in all the courts of Europe, whatever their religious persuasion. Indeed, even the best-dressed Puritans, for whom dress codes were very important, had a thing for black. It was red - as worn by the Pope and the Whore of Babylon - that they regarded with horror, even though, as a matter of fact, black clothing was very expensive due to the dyes used and a sign not of sober moderation, but privilege and status. For ordinary folk, it would have been socially unacceptable to be seen wearing the latest black fashions, even if they were able to afford them. They were thus obliged to stick with their workaday blues and browns, etc.
IV.
For a while, during the 18th century, black lost some of its lustre as the fashion colour of choice, as members of the French nobility rediscovered their gaiety. However, 1789 soon put an end to that. As the Jacobins asserted their power, black again became the dominant colour and there was a moral revolt not only against the aristocracy, but against the extravagance of haute couture. Further, with the invention of new, inexpensive dyes and the industrialization of the textile industry, good quality black clothing became widely available for the first time. By the end of the Victorian era, it was the accepted colour of business dress, evening wear, and mourning in Britain, Europe and the United States - as well, ironically, the colour of choice for Romantic poets and anarchists alike.
Note: those interested in reading fragments V-VII of this dark history of black fashion should click here.
