Fashion in the period 1660-1700 in Western European clothing is characterized by rapid change. After the end of the Thirty Years' War and the Restoration of Charles II in England, the military influence in menswear was replaced by a brief period of decorative excitement which was then embroidered into mantle costumes, vests and trousers that would reign over the next and half centuries. In normal mode cycles, the wide and high-waisted silhouettes of the previous period were replaced by long and slender lines with low waists for men and women. This period also marks the appearance of periwig as an important item of men's fashion.
Video 1650-1700 in Western European fashion
Mode wanita
Ikhtisar
Width view, high edge of the previous period is gradually replaced by a long vertical line, with a horizontal emphasis on the shoulders. The full and loose arms ended just below the elbow in the middle of the century and became longer and stricter in line with the new trends. The body is tight corset, with its lower neck, width and shoulders fall. In decades later, the overskirt was pulled back and pinned to display a highly decorated skirt.
Spanish court mode remained inconsistent with the fashion that appeared in France and England, and the prosperous Netherlands also maintained its own mode of capital, especially in headdresses and hairstyles, as it retained the ruff in the previous period.
Negligence romantic
A new mode that dared to appear because someone's portrait was painted in undress, wearing a loosely tightened suit called a nightgown over a thick camisole, with a tangled curl. This style is symbolized by Peter Lely's portrait, which comes from a romantic style derived from Anthony van Dyck in the 1630s. The clothes in this portrait do not represent what is imposed on the street or in court.
Mantua
The mantua or manteau is a new fad that appeared in the 1680s. Instead of corsets and skirts cut separately, the mantua that hung from the shoulders to the floor (by dressing from the previous period) began as a female version of the male Banyan, worn for 'naked' clothes. Gradually it grew into a wrapped and folded dress and eventually evolved into a worn dress worn and wrapped in a contrasting skirt and stomacher. Mantua-and-stomacher produces a high and square neckline, in contrast to the wide neckline and beyond the previous shoulder in fashion. The new look is simpler and closer than the previous mode and obviously fussy, with bows, frills, ribbons, and other trim, but the short string of pearls and earrings or ear drums used since the 1630s remains popular.
Mantua, made of one long cloth folded in a long train, is ideal for designing new intricate silk fabrics that replaced the popular dense satin in the middle ages.
Hunting and horse dress
In the June 1666 diary entries, Samuel Pepys describes the Maids of Honor in their riding habits wearing mannish, double, hat, and periwigs coats, "so, only for long skirts dragging under their man's coat, no one can take it for women at any point ". To ride a saddle, the costume has a skirt or long skirt that trail. It will be looped or replaced with ankle length skirt for shooting or walking.
Hairstyles and headgear
At the beginning of the period, the hair is worn on a bun on the back of the head with a group of curls that frames the face. Curly hair grows more complicated until the 1650s, then longer, until curls hang gracefully on the shoulders. In the 1680s the hair split in the middle high above the temples, and by the hair of the 1690s was unparted, with rows of curls piled high above the forehead.
With the end of the Thirty Years' War, the 1650s and early 1660s fashions a new feeling of peace and relaxation in Europe. Military boots give way for shoes, and mania for loose pants, short coats, and hundreds of meters of tape set style. Buttocks (see Petticoat underpants) became so loose that Samuel Pepys wrote in his diary: "And among other things, met with Mr. Townsend, who told him of his mistake the other day to put his feet through one knee, a breech, and so go all day. "(April 1661) The wide pants that made such mistakes were immediately collected on the knees: Pepys noted, April 19, 1663" today wears a red suit, which, with new coloring stockings, with new belts and swords which is combed with gold, very handsome. "This era is also one of the great variations and transitions.
In 1666, Charles II of England, Scotland and Ireland, following the previous example of Louis XIV of France, ruled that in court, men should wear long coats, vests or vests (originally called skirts, solely for women's clothing), cravats, periwigs or wigs, and trousers gathered on the knees, as well as hats for outerwear. In 1680, these more creepy uniforms, vests, and trousers became the norm for formal attire.
Coats and vests
The unfavorable disadvantages of the 1640s continued into the 1650s. In the 1650s, arms ranging from the top to below the elbows. Arms can be trimmed, not broken, or split into two parts and buttoned together. The length of the mantle reached the waist but in the late 1650s and early 1660s, the mantle became very short, reaching only the bottom of the rib, like a bolero jacket. During the 1660s, his arms varied greatly from elbow length to without arms at all. The coat can be worn open or buttoned on the front. One common factor is the many yard ribbons that are arranged on the shoulders and the bottom of the arm.
A longer and somewhat looser coat (still with rarely arms below the elbow) appeared in the early 1660s and when the decade evolved into the most popular mantle. In the late 1660s, the upside-down cuff became popular even though his arm was still above the elbow. In the 1670s, vests or vests were worn under the coat. It's usually made of contrasting fabrics, often luxurious, and may have a plain back because it's not visible under the mantle. This is a long outfit that in 1680 only reached slightly above the knee. By the end of the 1670s the arms became longer and the coats more fitting. The 1680s saw a larger upside-down cuff and the waist of the mantle become much wider. The coat can have a collar or not at all. This coat is known as justacorps . The pockets on either side of the mantle are arranged horizontally or vertically (especially the mid to late 1680s) until the 1690s when the pockets are usually always arranged horizontally. The vest may be sleeveless or have long sleeves. Usually, long-sleeved waistcoats worn in the winter to add warmth. In the mid-1680s, the tape was reduced to one side of the shoulder until in the 1690s, the tape was lost.
Shirts, collars and cravats
The long-sleeved shirt white shirt remains the only constant throughout the period, though less than that seen with the appearance of the vest.
During the early to mid 1650s, a rather small collar fell in fashion. It was increased in size and covered a lot of shoulders by 1660. Cravats and jabots in the neck began to be worn in the early 1660s (initially with falling collars). In the mid-1660s, the collar disappeared only with the remaining cravats, sometimes tied with small ribbon ribbons. Red is the most common color for the bow, although pink, blue, and other colors are also used. In the 1670s, ribbons had grown larger and by the 1680s, ribbons became very large and complicated with many ribbon nodes. In the mid-1690s, very large ribbon bands were discarded. Also, a new style of cravat made its appearance in the 1690s, Steinkerk (named after the Battle of Steenkerque in 1692). Previously, cravat was always used to flow in the chest; cravat Steinkerk curled through the buttonhole of the mantle.
Pants and stockings
The previous decade saw Spanish pants as the most popular. These are rigid pants that fall over or just below the knee and fit quite a bit. In the mid-1650s, in Western Europe, much more loose, uninvoiced pants, the so-called petticoat pants became the most popular. As the 1650s grew, they became larger and looser, giving the impression of women's skirts. They are usually decorated with many meters of ribbon around the waist and around the ungathered knee on the outside of the foot. Along with petticoat, the collected but still loose pants called rhinegraves, are also worn. In the early 1660s, their popularity surpassed skirt pants. They are usually worn with overskirt on it. The overskirt is heavily adorned with ribbons at the waist and the bottom of the skirt. The length is usually just above the knee, but it can also extend past the knee so that the rhinegraves beneath it can not be seen and only the underside of the boss is visible.
With the increasing popularity of coats and longer vests, large rhinegraves are collected and overskirts are abandoned for better fit pants fit. In the late 1670s, close fitting pants were worn with stockings worn over them and above or above the knee, often being gartered with garter below the knee. With a long vest and stockings worn over the knee, very few pants can be seen. The possible reason that the stocking was worn over the knee, is to give the impression of a longer leg because the waist coat fell very low, just above the knee. Buttocks tend to be the same material as the mantle. Stockings vary in color.
Footwear and accessories
Shoes again became the most popular footwear during the 1650s, though boots were still used for riding and outdoor activities. Boothose, originally linen with lace cuffs and worn over silk stockings to protect them from wear and tear, remains in vogue even when shoes lose their popularity. Boothose lasted well in the mid-1660s, which was installed just below where the rhinegraves gathered below the knee, or bent and unbound. Shoes from the 1650s to the 1670s tended to be square and a bit long in appearance. Usually the shoes are tied up with ribbons and decorated with bows. In the 1680s, shoes became a bit more fitting; heel height (with red heels become very popular, especially to be present in Court), and only small ribbon if there is any left.
The baldric (sword hanger worn on one shoulder) was worn until the mid-1680s, when replaced with a sword belt (sword hanger worn on the hip).
Hairstyle
During this period, men wear it with long curls over shoulder. Bangs (bangs) are usually combed forward and allowed to flow over the forehead slightly. Although men have been wearing wigs for years to cover thinning hair or baldness, the popularity of a wig or periwig as a standard outfit is usually credited to King Louis XIV of France. Louis started balding at a relatively young age and had to cover his baldness with a wig. Early wigs are very much imitated what hairstyle of the day, but they give a thicker and fuller appearance than natural hair. Due to the success of the wig, other men started wearing wigs as well. In 1680, the center of the wig became the norm. Hair on both sides of the section continued to grow in the 1680s until the 1690s two very high points on the forehead. Also, during the 1680s, the wig was divided into three parts: the front part including the middle and long curls falling over the shoulders, the back of the head combed rather close to the head, and the curly mass flowing to the shoulders and back. Curly wigs throughout the 1660s to 1700 are rather loose. The tighter curls will not appear until after 1700. Any natural color of the wig is possible. Louis XIV tends to like chocolate wigs. His son, Monseigneur is famous for wearing a blonde wig.
Hat and headgear
Hats vary greatly during this period. Hat with a very high crown, derived from the previous capotain but with a flat crown, which was popular until the late 1650s. The edges also vary. Hats decorated with feathers. In the 1660s, a very small cap with a very low crown, slightly thick, and a large number of feathers popular among French palaces. Then in the 1660s, very large edges and moderate crowns became popular. Sometimes a side edge will appear. It kept fashionably well into the 1680s. From the 1680s to the 1700s, the various styles and combinations of the inverse ranks are in fashion, from one up to three upside down (the tricorne ). Even the corners where the edges are located on the head vary. Sometimes with a tricorne, the point will meet above the forehead or will be set at a 45-degree angle from the forehead.
Style Gallery 1650s-1660s
- The 1654 coat has many small buttons on the front and arms, which are left unattached under the chest and upper arms. A trimmed robe trimmed with braids is casually worn on one shoulder.
- Dutch outfit, 1658. White Stanose, underwear skirt
- 1661. Short coat worn over a thick shirt with wide ruffles on cuffs and curved flat and curved collars, underwear skirts.
- The young Louis XIV wore a lace-bound linen collar, a knight's oratory sash, and a thick wig in his armor, 1661.
Style Gallery 1670s-1690s
- Dutch mode, 1671
- James II's lawsuit from England, 1673, Victoria and Albert Museum no. 2-1995 T.711: 1
- Don Luis de la Cerda, then IX Duke Medinacelli wearing long justacorps c. 1684
- Artist Thomas Smith, c. 1690
- A Leipzig student with an elaborate wig, c. 1690
Spanish Mode
Maps 1650-1700 in Western European fashion
Children mode
Young boys wore skirts with two double or rear corsets until they were cut from the age of six to eight. They wear smaller versions of men's hats compared to hats or caps. Children's clothing features straps on the shoulders.
Working class attire
Note
External links
- Baroque 1600s mode
- Costume History: Cavalier/Puritan (dead link)
References
- Arnold, Janet: Fashion Pattern 1 (cut and construction of women's clothing, 1660-1860), Wace 1964, Macmillan 1972. Revised metrics edition, Drama Books 1977. ISBN 978 -0-89676-026 -4
- Ashelford, Jane: The Art of Dress: Clothing and Society 1500-1914 , Abrams, 1996. ISBNÃ, 978-0-8109-6317-7
- Black, J. Anderson, and Madge Garland: Fashion History , Morrow, 1975. ISBNÃ, 978-0-688-02893-0
- Brooke, Iris: Western European Costume II , Art Book Theater, 1966.
- de Marly, Diana: "Undoing OEuvre of Lely", The Burlington Magazine , November 1978.
- Gordenker, Emilie E.S.: Van Dyck and Clothing Representation in the Seventeenth Century Gallery , Brepols, 2001, ISBN 978-2-503-50880-1
- Payne, Blanche: History of Costumes from Ancient Egypt to the Twentieth Century , Harper & amp; Row, 1965. There is no ISBN for this edition; ASIN B0006BMNFS
- Ribeiro, Aileen: Fiction and Fashion: Dressing in Art and Literature at Stuart England , Yale, 2005, ISBN 978-0-300-10999-3
- Ribeiro, Aileen: Dressed in the Eighteenth Century Europe 1715-1789 , Yale Press University, 2002, ISBN 0-300-09151-6
Source of the article : Wikipedia
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