Quotes about apparel

A collection of quotes on the topic of apparel, art, time, clothes.

Quotes about apparel

Martin Luther photo
Geoffrey of Monmouth photo

“The knights in [Britain] that were famous for feats of chivalry, wore their clothes and arms all of the same colour and fashion: and the women also no less celebrated for their wit, wore all the same kind of apparel; and esteemed none worthy of their love, but such as had given a proof of their valour in three several battles. Thus was the valour of the men an encouragement for the women's chastity, and the love of the women a spur to the soldier's bravery.”
Quicumque vero famosus probitate miles in eadem erat unius coloris vestibus atque armis utebatur facete etiam mulieres consimilia indumenta habentes. Nullius amorem habere dignabantur nisi tercio in milicia probates esset. Efficiebantur ergo caste et meliores et milites pro amore illarum probiores.

Bk. 9, ch. 13; pp. 244-5.
Sometimes said to be the earliest reference to love as an ennobling influence.
Historia Regum Britanniae (History of the Kings of Britain)

Russell Brand photo

“(after Noel Fielding has written "peep scarf" to describe a piece of muslim apparel) That's its proper name!”

Russell Brand (1975) British comedian, actor, and author

Big Fat Quiz of the Year (2006)

William Burges photo

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase:
In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes
Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

Ben Jonson photo

“It is an art to have so much judgment as to apparel a lie well, to give it a good dressing.”

Ben Jonson (1572–1637) English writer

The Works of Ben Jonson, Second Folio (1640), Timber: or Discoveries

John Wesley photo

“Let it be observed, that slovenliness is no part of religion; that neither this, nor any text of Scripture, condemns neatness of apparel. Certainly this is a duty, not a sin. Cleanliness is indeed next to godliness.”

John Wesley (1703–1791) Christian theologian

Sermon 93 On Dress. Compare: "Cleanness of body was ever deemed to proceed from a due reverence to God", Francis Bacon, Advancement of Learning, Book ii (1605)
General sources

Wallace Stevens photo

“Am I not,
Myself, only half a figure of a sort,
A figure half seen, or seen for a moment, a man
Of the mind, an apparition appareled in
Apparels of such lightest look that a turn
Of my shoulders and quickly, too quickly, I am gone?”

Wallace Stevens (1879–1955) American poet

"Angel Surrounded by Paysans" (1949)
Context: I am one of you and being one of you
Is being and knowing what I am and know.
Yet I am the necessary angel of earth,
Since, in my sight, you see the earth again,
Cleared of its stiff and stubborn, man-locked set
And, in my hearing, you hear its tragic drone
Rise liquidly in liquid lingerings,
Like watery words awash; like meanings said
By repetitions of half-meanings. Am I not,
Myself, only half a figure of a sort,
A figure half seen, or seen for a moment, a man
Of the mind, an apparition appareled in
Apparels of such lightest look that a turn
Of my shoulders and quickly, too quickly, I am gone?

Albert Camus photo

“But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself.”

The Rebel (1951)
Context: One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself.

Arthur C. Clarke photo