Fashion in the 1600-1650 period in Western European clothing is characterized by the disappearance of ruffs that favor broad lace or linen collars. The waist line increases during the period for men and women. Other famous fashions include full, cut arms and high or wide hats with edges. For men, the hose disappears for the butt.
The silhouette, which is essentially close to the body with tight arms and low waist, pointing to about 1615, gradually softening and widening. The arms became very full, and in the 1620s and 1630s were often shifted or sliced ​​to show thick sleeves or camisole underneath.
Spanish fashion remains very conservative. Ruff survives the longest in Spain and the Netherlands, but disappears first for men and then for women in France and England.
The social tension that led to the British Civil War was reflected in British fashion, with the elaborate French style popular in James I and his son Charles I court contrasted with the simplest style in sadd colors favored by the Puritans and exported to early New England settlements (see at under).
In the early decades of this century, the trend among poets and artists to adopt the fashionable melancholia poses is reflected in fashion, where their distinctive touches are dark colors, open collars, unbuttoned or doblet robes, and generally crumpled looks, accompanied by portraits by poses -pose tired and sad expression of the world.
Video 1600-50 in Western European fashion
Fashions influenced by royal court
Fabrics and patterns
Figured silk with intricate pomegranate or artichoke patterns is still visible in this period, especially in Spain, but the lighter style of floral, woven or embroidered scrolls, is very popular, especially in England.
The emergence of large-powered interest occurred in this period. Reticella geometry from cutwork is described to be true needlelace or punto in aria (called in English "point lace"), which also reflects the popular scrolling flower design.
In England, embroidered silk jacket jackets are tied with fashionable ribbons for men and women of c. 1600-1620, such as the reticella colored with yellow starch. Overgowns with separated arms (often trimmed with horizontal braids) are worn by men and women.
From the 1620s, surface ornaments fall out of fashion in favor of solid-satin colors, and functional bow bands or dots into complex masses of roses and circular trim.
Portrait and fantasy
In England from the 1630s, under the influence of literature and especially the palace masks, Anthony van Dyck and his followers created a mode to have a portrait of someone painted in exotic, historical or pastoral clothing, or in a simplified contemporary fashion with various scarves, robes, coats, and jewelry are added to evoke a classic or romantic atmosphere, and also to prevent portraits that appear dated within a few years. These paintings are the ancestors of fashion from the 17th century later to have a portrait of a person painted underneath the clothes, and do not necessarily reflect the clothes because it is really worn.
Maps 1600-50 in Western European fashion
Female Female Fashions
Dresses, bodice and deep skirts
In the early years of the new century, the fashionable body had a high neck or a very low neck, round neck, and short wings on the shoulders. Separately covered ruff cartwheels are sometimes worn, with stand collars, supported by a small wire frame or a supportasse used for more casual clothing and become more common later. The long arm is worn with a thick hand tip to match the ruff. The cartwheel ruff disappeared in England in 1613.
In the mid-1620s, relaxed style. Ruffs are thrown away for the sake of a wire collar called rebatos in continental Europe and, later, a wide collar. In the 1630s and 1640s, collars were accompanied by handkerchiefs similar to the linen scarves worn by middle-class women in the previous century; often collars and handkerchiefs are cut with matching lace.
The corset was long-waisted at the beginning of the century, but the waist rose steadily into the mid 1630s before it started down again. In the second decade of the seventeenth century, short tabs developed attached to the bottom of the corset covering the vagrants that supported the skirt. This tab grew longer during the 1620s and was worn with a stomacher that filled the gap between the two front sides of the corset. In 1640 the long tabs nearly disappeared and the longer and more refined figures became more fashionable: Waist back to normal height on the back and sides with low point on the front.
The long and tight arm of the early seventeenth century grew shorter, fuller, and more loose. The common style of the 1620s and 1630s is the virago arm, which is full, the arms being cut into two puffs by tape or other trim over the elbow.
In France and England, light or pastel colored satin is replaced with heavy dark fabrics. As in other periods, painters tend to avoid the difficulty of painting strips; clear from the inventory that this is common. The short pearl yarn is very fashionable.
An incomplete dress (called nightdress in the UK) with long sleeves hanging, short-sleeved open arms, or sleeveless worn entirely on a corset and skirt and tied with a sling band around the waist. In England in the 1610s and 1620s, loose nightgowns were often worn over embroidered jackets called vests and contrasted embroidered skirts, without farthingale. Black dress worn for the most formal occasions; they fell out of fashion in England in the 1630s in favor of dresses to match the corsets and skirts, but still became an important clothing item on the Continent.
At least in the Netherlands, an outdoor outfit or vlieger is strictly reserved for married women. Before marrying bouwen , "a dress with a fitting girdle and a covered skirt are all" worn instead; it is known in the UK as "Dutch" or "round dress".
Skirts may open up front to reveal underskirt or skirts until about 1630, or closed-loop; closed skirts are sometimes carried or worn looped to reveal skirts.
The corset is shorter to fit with the new corset, and may have a very stiff busk in the center of the front to the depth of the stomacher. The skirt is held in the proper shape with a soft roll or French farthingale that holds a round skirt at the waist, falling in a soft fold to the floor. Drums or farthingale wheels were worn in the English court until the death of Anne of Denmark in 1619.
Hairstyles and headdress
For about 1613, hair is worn high hairy over the forehead. Married women wear their hair with linen or hat, often with lace. High hat as worn by men adopted for outerwear.
Linen shirt has deep cuffs. Sleeves become fuller throughout the period. For the 1620s, cable collars to exit horizontally, called whisk , were very popular. Other styles include a neck-like collar and, later, a falling band rectangle lying on the shoulder. Van Dyke's pointy bear, named after the painter Anthony van Dyck, is fashionable, and men also often grow large, wide mustaches. Doublet pointed and placed close to the body, with tight arms, up to about 1615. The waist line gradually rose and the arms became fuller, and both the upper body and upper arm might be cut to show the shirt underneath. In 1640 twins are full and unsuitable, and may be open at the front below the waist height to show the shirt.
Virtually sleeveless skin is worn by soldiers and visible in portraits, but otherwise it quickly falls out of fashion for indoor clothing.
Hose and breech
G Paned or pansied hose hose or round hose , lapse with strip fabric ( panel >) above the full inner layer or layer, worn at the beginning of the period, above the canon , the hose mounted above the knee. Stem hose is longer than the previous period, and pear-shaped, with less chewy at the waist and more in the mid-thigh.
Slops or galligaskins , a loose hose that reached just below the knee, replaced all other hose styles in the 1620s, and is now commonly called breeches. The adhesive may be tied on the outside of the foot with a button or buckle over the full layer.
From 1600 to c. 1630, hoses or breeches are tied to double-bonded or dots , short straps or ribbons pulled through matching pairs of eyes. Points are tied in a bow at the waist and become more complicated until they disappear with a short twisted short doublet in the late 1630s. The metal edges dotted at dots are called aiguillettes or aiglets, and the rich are made of precious metals with pearls and other gemstones.
The Spanish curve, not a rigid pants, is also popular throughout the era.
Outerwear
Dresses are worn at the beginning of the period, but fall off fashion in the 1620s.
The coat or short cloak, usually hip length, often with arms, worn by fashionable people, usually hung artistically on the left shoulder, even indoors; mode from the 1630s matched the cape cloth to the pants and layers onto the doublet. Long coat worn for bad weather.
Hairstyles and Headgear
At the beginning of the period, the hair is worn long collar and brushed back from the forehead; a very fashionable man wore a long, long hair called a cunning on one shoulder. Hairstyles grew longer through the period, and long fashionable curls by the 1630s and 1640s, pointing towards the rise of wigs in the 1660s.
His sharp beard and broad mustache were fashionable.
Around 1620, the fashionable cap was capotain, with a high crown of cones rounded at the top and narrow edges. In the 1630s, the crown was shorter and the edges wider, often worn, or embedded on one side and adorned with a plume of ostrich feathers.
Flat shoes were worn around 1610, when low heels became popular. The tie band on the backs that appeared at the end of the 16th century shoe grew into an elaborate lace or ribbon roses called roses shoes used by the most fashionable men and women.
The backless slipper called pantofle is used indoors.
In the 1620s, heeled shoes became popular for both indoor and outdoor underwear. The boots themselves are usually lowered below the knees; boot tops became wider until the "bucket-top" boot associated with The Three Musketeers appeared in the 1630s. Spurs straps of ornamental butterfly-shaped features spur skin over the back of the foot.
Clogs or wooden pattens are worn outdoors on boots and boots to keep the heels high so as not to sink into soft soil.
Stockings have outlined hours or embroidered at the ankle at the beginning of the period. Boothose from the wear-down worn under the boots to protect the fine knitted stockings; this can be trimmed with lace.
Children mode
Anak laki-laki balita memakai gaun atau rok dan dobel sampai mereka dilecehkan .
Kesederhanaan berpakaian
In Protestant and Catholic countries, efforts are made to simplify and reform luxury clothing. Louis XIII of France passed a luxury law in 1629 and 1633 which banned lace, gold trim and fancy embroidery for all but the highest nobles and limited puff, slash and bunches of ribbons. The effect of this reform effort is illustrated in a series of popular carvings by Abraham Bosse.
Puritan Dress
Puritans advocate a conservative form of fashionable clothing, characterized by saddle colors and simple pieces. Dress with a low neckline filled with high-necked sweaters and wide collar. Married women cover their hair with linen caps, where they may wear high black hats. Men and women avoid bright colors, shiny fabrics and excessive decoration.
Contrary to popular belief, most Puritans and Calvinists do not wear black for everyday life, especially in England, Scotland, and colonial America. Expensive black dyes, faded quickly and black clothes are provided for the most formal events (including painting a person's portrait), for elders in a community and for higher-ranking people. The richer puritans, like their Dutch Calvinists, may have often worn them but in silk, often patterned. Typical colors for the most part are chocolate, murrey (mulberry, brownish red), dull green color, and brownish color. Wool and linen are preferred over silk and satin, although the Puritan women of the rank are wearing lace and embroidery in an amount appropriate to their station, believing that the various levels of society have been divinely ordained and should be reflected even in the simplest of clothing. William Perkins writes, "... the clothing is necessary for the Scholar, the Tradesman, the Countryman, the Gentleman, who serves not only to defend their bodies from the cold but also to their place, title, call and condition. Case of Conscience , 1616).
Source of the article : Wikipedia
0 Comments