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A Short History of the Uniform - Part 1 - Basic Concepts and Sociological Background

Soldier from the late 16th or early 17th century. Early woodcut (probably also 17th century).
Soldier from the late 16th or early 17th century. Early woodcut (probably also 17th century).

Clothing has always served not only to protect people but also to adorn them. These two motives find a particularly clear expression in the history of military dress and the uniform.

Original charcoal drawing of a trumpeter from the late 16th or early 17th century. (by H. Hoffmann). Detail.
Original charcoal drawing of a trumpeter from the late 16th or early 17th century. (by H. Hoffmann). Detail.

The development of folk costume and of military dress or uniform is a part of European cultural history and - even in its sociological references - revealing and worthy of special consideration. 1

Pikeman. On the right in a defensive position. He is simultaneously reaching for his sword. The figures correspond to the types from de Gheyn's drill book. Original etching from the 18th century.
Pikeman. On the right in a defensive position. He is simultaneously reaching for his sword. The figures correspond to the types from de Gheyn's drill book. Original etching from the 18th century.

The history of the military uniform is younger than that of folk costume or military dress. A tracht is understood as clothing largely standardized by ecological and sociological factors that characterizes its wearers as members of regional or functional groups - e.g. a social class or an occupational group. Kriegstracht is the collective term for the clothing of the soldier (warrior, knight, Landsknecht, mercenary, etc.) before the emergence of standing armies, in other words essentially from antiquity up to the early 17th century.

The term uniform in the sense of standardized clothing, however, was already used in the 14th century. In the 18th century the term came from France to Germany.

Pikeman and French musketeer. Reign of Henry IV. French steel engraving from the 19th century.
Pikeman and French musketeer. Reign of Henry IV. French steel engraving from the 19th century.

Originally the terms Libereyen, Livreen or Montierung were used for this.

In the modern sense, a uniform (Latin uniformis = of one form) is understood to be clothing precisely specified by regulation or similar provisions (in cut, fabric and color) that indicates the relationship of belonging to a particular unit or branch of service.

Spanish arquebusier. Circa 1618. Original watercolor by an unknown hand, likely from the mid-19th century.
Spanish arquebusier. Circa 1618. Original watercolor by an unknown hand, likely from the mid-19th century.

The uniform is also open to a sociological interpretation. Human beings, as small-group creatures, tend toward uniformity, i.e. the soldierly class also necessarily exhibits a tendency toward similar appearance. The aims here are to visually distinguish themselves from the citizen or civilian, but also the desire for prestige or recognition. Matching attire or uniforming is meant to promote the wearers' self-confidence and sense of belonging.

French officer and musketeer from the time of King Louis XIV. Original steel engraving from the 19th century.
French officer and musketeer from the time of King Louis XIV. Original steel engraving from the 19th century.

On the one hand it is about marking a particular profession or a particular branch of service or a unit/formation, but also about a delight in color and ornament. In addition to the factual and traditional justification for certain items of clothing and equipment, uniforming was often influenced by other motives as well; tall grenadier caps or broad shoulder pieces also catered to a person's desire to impress. They were therefore intended to make the wearer appear larger and more powerful.

Moreover, the history of the uniform is in particular guided by traditional motives. This has the consequence that certain elements of dress remain in use even when they have long since lost their original function. Furthermore, military clothing was subject to international influences, since some formations served worldwide or on the same theater of war alongside troops of different - including foreign - armies.

Spanish dragoon. Circa 1690. Original watercolor by an unknown hand, likely from the mid-19th century.
Spanish dragoon. Circa 1690. Original watercolor by an unknown hand, likely from the mid-19th century.

Different troops reciprocally adopted what seemed practical and worth imitating. Above all, the victor or the dominant military power was also taken as a model in clothing and equipment, e.g. the old Prussian army victorious in the Silesian Wars or the French army in the Napoleonic Wars.

On this Philipp Haythornthwaite (Uniforms and Battles 1815 - 1850, Munich 1976, p. 7) writes: "The first signs of rapid change in military clothing already emerged immediately after the Battle of Waterloo, when the troops of the four larger allied nations - England, Russia, Austria, Prussia - as an occupying army in France came into close contact with members of the French royalist forces. The development of uniform systems has always depended on mutual exchange of ideas - individual uniform items were often consciously or unconsciously adopted from other peoples and other armies; but for the first time in history the European great powers were pressed by the course of events into the melting pot of Parisian society, where the English nobility with its customs dating from the 18th century mingled with Cossacks and Bashkirs from the steppes, where the faded splendor of the French court vied with the arrogance of Russian guardsmen. While the armies no longer had a significant task to perform, the offices responsible for uniforms were busily occupied copying, modifying and adapting the uniform and equipment items of other armies to their own needs, in order perhaps to outdo the others in splendor."

In wartime, impractical or disadvantageous items of clothing and equipment were quickly discarded, i.e. adaptations to the conditions of field operations occurred without regard to the stipulations of regulations. Therefore, knowledge of the relevant uniform regulations does not necessarily tell you what was actually worn. For that one needs supplementary contemporary reports and pictorial evidence (e.g. drawings or photographs).

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French Uniforms (Imperial Guard) in 1859

Modeled on the Imperial Guard of his uncle, Napoleon III (b. April 20, 1808 in Paris; d. January 9, 1873 in Chislehurst near London) established a similar guard formation in 1854 in the form of a mixed division. This initially comprised 2 infantry brigades, 1 cavalry brigade, gendarmerie, artillery and engineers. From 1855 an additional transport squadron, 1 foot artillery regiment and 1 Zouave regiment were added. In that year the Imperial Guard was also reorganized into two infantry divisions together with 2 cavalry brigades. In 1865 a regiment of Carabiniers was added. The Imperial Guard also took part in combat, e.g. in the Crimean War (1855, 1853–56), in the Italian campaign (1859) and the Franco-Prussian War (1870/71). It suffered heavy losses in places. Also to be mentioned are the Hundred Guards (Cent-Gardes), which were established on March 24, 1854. They were intended for escort duty with the Emperor and for guarding the imperial palaces and gardens. Thus they were a purely court guard.