17th and 18th century fashion Fashion and style research project - part 1
Snow - JOH11342572
Womans dress
Portrait of a Lady, Presumed to be the Marquise Geromina Spinola-Doria de Genes by van Dyke
in the first part of the 17th century In the beginning of the 17th century, dress was much the same as it had been in the Elizabethan era. Farthingales, big collars and symbolic fabrics were still popular
Portrait of a Woman, traditionally identified as Mary Clopton (born Waldegrave) of Kentwell Hall, Suffolk, c.1600
Brigida Spinola Doria by Peter Paul Reubens, 1605 Italy, National Gallery of Art, Washington
Elizabeth Queen of Bohemia. 1610. NPG
Portrait of Infanta Isabella, before 1615, studio of Rubens, NGL
Anne Cecil, Countess of Stamford c.1615 Larkin, William
Elizabeth Vernon, Countess of Southampton c1600. Unknown
Sleeveless overgowns were worn to keep warm.
Lady Dorothy Cary c1614. by William Larkin. english heritage
Jacket. England, Great Britain. 1600-25. V&A
Margaret Layton. in an embroidered jacket V&A
Embroidered Jackets Embroidered jackets were popular and more of a everyday garment. Women would spend their days on needlework and among their project were amazingly embroidered jackets
Woman’s Jacket or waistcoat 1630-1640 would have been everyday dress V&A
Mens Fashion
in the first part of the 17th century
Men’s costume consisted of a doublet and breeches. Shoes and socks were an important part of man’s costume because the breeches reached either to the knee or just below the knee. The heels of shoes became higher and both socks and shoes were often decorated
King charles I 1617 by van Blyenberch NPG
Richard Sackville, 3rd Earl of Dorset 1613 by Larkin English heritage
Dudley, the 3rd Baron North; Dudley, Third Baron North. ca. 1615. by Unknown. V&A
Henry Prince of Wales c1610 by Peake. NPG the Breeches could be both extremely volumnous or tighten at the knee as in the portraits of Henry and Phillippe
Henry Prince of Wales c1610 by Peake. Palazzo Peale Turin
Edward Herbert, 1st Baron of Cherbury 1613-14 by Oliver. private
Philip IV of spain in brown and silver. 1631-2. by Velazquez. NGL
Childrens dress
Portrait of a Young Girl, 1629 Janssen van Ceulen
the balbi children 162 1625-27. NGL
in the first part of the 17th century
Until the age of six boys would be dressed in a skirt and a doublet and live in a female world. However as children grew older they would be dressed in the same way as adults of their gender and therefore often look like miniatures of their parents
Portrait of a Young Boy Janssen van Ceulen
25-27 by van Dyck.
y, 1629
Cornelis de Vos Magdalena de Vos, the Artist’s Daughter c. 1623-24. pubhist.com
Susanna van Collen and her daughter Anna Nertherlads c. 1632 by Rembrandt
Lady Willoughby and her son c1620 by Paul van somer. Private
Portrait of a woman and Child c1623-25 by van Dyck
Jean Pellocorne with his son Caspar Netherlands c 1632 by Rembrandt
Portrait of a Nobleman and his Child by van Dyck
Accessories
Gauntlet Gloves c 1600=20 = Fashion Museum,Bath Maria Odilia Buys, 1628 by J. A. van Ravesteyn
Gloves were worn more as a show of status and welth than to keep warm. They were heavily decorated.
Gloves British 17th century NY METv
Gloves 1622, the same as Johanna Le Marie holds in her portrait. Rikj. AM
Pipe collars kept being popular in the first quarter of the 17th century however turned down collars would become incresingly popular as the century went on
linnen colalr 1635-1645 Rikj. Am Pipecolalr c1615-1635 Rikj. Am.
Portrait of Johanna Le Marie byPickenoy c1622 Rikjsmuseum Amsterdam
Portrait of a Man Wearing a Ruff, Dutch school 17th century
Gísla Þorláksson Bishop with his three wives, 1685 by unknown, v In Iceland fashions would take much longer to reach the shoresa and the people were often reluctant to embrace a change in dress. The fashions that did reach Iceland were usually from Denmark or Norway. However due to the living conditions clothing had an even greater importance to keep people warm and most would be made from thik woolen fabrics. Woven wool was also the greatest export item Iceland had and Icelandic cloth was very valuable as it was extremely warm.
Baroque
Queen Henrietta Maria - Unknown 1635 NP
When Charles II became king of England in 1625 he brought a love for art and fashion and started the Royal collection. He was extremely concious about how he was seen, however living in a easthetic world and lost touch with his people.
PG KIng Charles II by Daniel Mytens 1631 NPG
Sir Anthony van Dyck (1599-1641) Marchese Filippo Spinola Anne Carr, Countess of Bedford 1637 by van Dyck
Queen Henrietta Maria and her dwarf Sir Jeffrey Hudson, c.1633
Sir Anthony van Dyck brought new aesthetics to England. Drapery suddenly appears and lustrous fabrics that responded to the new faschination of light become popular.
Portrait of Prince Charles Portrait of Prince Charles Louis Louis by vanDyck. Private Collection by vanDyck. Private Collection
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Queen Henrietta Maria
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Countess of Morton (d.1654) and Mrs. Killigrew (d.1638)
Margaret Smith by van Dyck Dorothy, Countess of Sunderland by van Dyck
Charles I. ca. 1750.
Baroque looked back to classical antiquity and as a result artist wanted to create timeless pieces and to do that people were draped in a “night gown� in portraits. Little attention to detail makes the fashion of the Baroque era a challenge when it comes to finding the popular fashion. However the hairstyle clearly references the classical style with curls framing the face.
Portra actress vate Co
Portrait of a Lady, seated full length, in a Wooded Landscape, Wearing a Violet Silk Dress with White Sleeves and Trimmings, Lely, Private Collection
Diana Lely, S lon Col
ait of Mary “Moll� Davis (fl.1660-98), s, singer and dancer, c.1670 Lely, Priollection
Catherine, Countess of Rockingham Lely. Collection of the Earl of Pembroke, Wilton House, Wilts.
a Kirke, Later Countess of Oxford, c.1665-70 ca Sir Peter Yale Center for British Art, Paul Melllection, USA Henriette de Kerouaille, Countess of Pembroke Lely. Collection of the Earl of Pembroke, Wilton House, Wilts
The Baroque Man The Baroqe style was much more understated than the previous style, that of the Elizabethan era. High waist, long legs and contrasting colour combinations. Despite being less decorated the cloting was very opulent and rich brown colours were popular
Henry Rich, 1st Earl of Holland studio of Daniel Mytens oil on canvas, (circa 16321633) NPG
Jan Six by Rembrandt
Arthur Goodwin 1639 by van Dyck Devonshire collection
Cape V&A
Lord John Stuart and his brother, Lord Bernard Stuart c.1638 by van Dyck
Charles I: Le Roi รก la chasse (detail) c1635 by van Dyck Lourve paris
Doublet and Breeches 1630-1640 V&A
Man’s doublet 1650-1665 V&A
The fashion of war
Swordhilt, England 1600-1625 V&A
Henry Frederick (1594–1612), Prince of Wales, with Sir John Harington (1592–1614), in the Hunting Field. 1603. Robert Peake the Elder. NYMET
Swords NYMET
gloves spanish. 1600-25 NYMET Cup-Hilted Rapier Cup signed Carlo Piccinino 1650–75. NYMET Half Armor Attributed to Martin Schneider the Younger ,1610–20. NYMET Swords were a part of mans costume in both the 17th and the first part of the 18th century. a Dress sword was an important part of a man’s formal wear and often showed his wealth and status
Prince Octavio Piccolomini, 1650-1651 by Anselmus van Hulle
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Buff Coats The buff coat was originally hard wearing military dress but became fashionable in portraits. Buff coat 1640-1650 V&A
Colonel the hon. John Russell 1659. by Wright. Ham house.
Harquebusier’s Armor of Pedro II, King of Portugal, with Buff Coat Armor attributed to Richard Holden c1683 NYMET
Woman’s Fashion
Catherine of Braganza by or after Dirk oil on canvas, circa 1660-1661
Around 1660 womans dress had become extremely restrictive,. Boned bodices and a neckline that kept kept thier hands in an almost immovable potition
Lady Eliz Dyck
Stoop
Stays and busk 1660-1670 V&A
zabeth Cecil by van
Silver tissue Dress 1660s, F.M. Bath De Vaderlijke Vermaning 1653-1655 by Borch
Two womand and a man making music 1675-80 Orchtervelt. NGL
A ball at the Hague (detail) t1660. by Janssens. Royal
Mary, Duchess of Buckingham. W tion
Mary, Duchess of Buckingham. Wright. Private Collection
Bodice England, Dorset1650-1660. Manchester City Galleries
Wright, Private Collec-
Portrait of Lady Whyte-Dunne byWright. Private Collection
Spring 1643
Autumn 1643
Summer 1644
Winter 1643
Woman playing at a Keyboard 1635
Wenceslaus Hollar (1607 - 1677) Hollar was a bohemian etcher who gives a good view of womans dress in his etchings. Among his works in a series of four women titled Spring, Summer, Autumn and Winter that give a good idea of the difference in dress that the seasons brought with them. Mainly it it is interesting to look at Winter and how her dress in obviously muli layered to keep warm.
English Country woman 1642 Merchant’s Wife 1640
Henrietta Anne (1644-70) fifth daughter of Charles I (1600-49) of England by vam Dyck
Portrait of Mary, Princess Royal, c.1641 by van Dyck
Children and Family portraits Children were still being dressed in the same styles as adults
Prince Charles, Prince James and Prince Charles, Prince James and Princess Mary. van Princess Mary by van Dyck Dyck
protrait of a girl with a parrot 1640s by unknown. NGL
A boy with a falcon and leash Joan van Noordt c1665. Wallace Collection
Jochem van Aras with his wife and daughter by van de Helst 1654. Wallace Collectio
John, Count of Nassau with his Family 1634 by van Dyck
er on
The Children of Thomas Wentworth, 1st Earl of Strafford. Van Dyck
The Capel Family by Cornelius Johnson oil on canvas, circa 1640 NPG
A ball at the Hague 1660. by Janssens. Royal
An elderly man and a younger man by
Hester Tradecant and her stepson John. 1645. by de Critz. Ashmolean Museum oxford
William Dobson. Coutauld institute Galleries
Puritans Offended by the extravagance of the ruling classes puritans would dress in simple good quality clothing. In England wearing black was very unfashionable especially in the 1630s and considered a sign of Puritan or Parliamentary sympathies. (Ribeiro, 2005)
Phillippe Le Roy 1630 by van Dyck
Family Group in landscape by Gerrit van Donck
a woman and her maid in a courtyard 1660 Pieter de Hooch. NGL
four peasants in a cellar. 1630s Brouwer. NGL
A man blowing smoke at a drunken woman. 1660-65 by Steen. NGL
An interior with a man and a woman seated by fire. 1653 by van Brekelenkam. NGL
The Sleeping sportsman c1660 by Gabriel Metsu, Wallace Collection
a peasant familt at meal time. 1665 by Jan Steen. NGL
The milk Maid 1658-60 by Vermeer
Working class Working class dress in the seventeenth century was much simpler and made from sturdier fabrics than that of the upper class. It had little or no decorative value
A lady writing a letter with her maid c 1670 by Vermeer
A Boor Asleep c. 1630 Adriaen Brouwer. Wallace Collection
Girl reading a letter by Vermeer
Woman holding a Balance c 1664 by vermeer The Artists Studio 1665-66 by Vermeer
The lace maker 1669-70 by Vermeer
The glass og wine 1658-60 by Vermeer A young lady seated at a virginal c 1670 by vermeer
Johannes Vermeer
In the second half of the seventeenth century formal court wear was very restrictive. As a response women started wearing much looser and more comfortable things at home. Robes that were worn over a corset and petticoat offered much more comfort than the havily boned bodices that were in fashion
family of sir Robert Vyner. 1673 by john michael Wright. NPG
The mall and St. Jamses Park 1709 by M. Ricci. Private
Moving into a new century
Men’s Fashion
In the second half of the 17th century man’s fashion changes. Petticoat breeches become unfashionable and a longer coat and waistcoat in the same length come into fashion. This new style of a 3 piece suit was much slimmer that previous fashion but the coat would still have a full skirt Around the same time wigs also became an essential part of man’s appearance.
Duke of York Wedding suit 1673. V&A
Homme de qualite en habit d’épée 1678 Nicolas Arnoult. Museum of London
1695 by Trouvain Pepys library Cambrige
Queen anne 1705 by Michael dahl NPG
Mantua
The mantua evolved from the informal home style and became the popular dress around the turn of the century. However as it became more popular it also lost it’s original qualities of comfort and became much more formally shaped and boned. The Silhouette became longer and slimmer and headwear started to reach up.
La Coiffeuse by Arnoult pepys library , Cambrige
mantua NY met late 17th century
Queen Mary II 1688 by Jan van der Vaart. Private
mantua NY met. 1708
Mantua 1730s V&A
Mantua1720 V&A
Interierur d’una boutique parisianne, from La Mercure Galant 1678. Jean le Pautre. Privat
The mall and st jameses parl detail. by Ricci
Roba franceise
Mantua Court dress 1740-1745 V&A nr. T.260-1969
Court mantua 1755-1760 V&A nr. T.592:1 - 1995
Mantuas became formal court before the middle of the 18th century. They were worn over extreme hooped petticoats or panniers that grew to the side and offered optimal displey of the rich fabrics. however they were nolonger fashionable wear and solely served as court dress. The Mantua was at that time more like a small jacket then a robe.
Ann Fanshawe dress made from Spitlefields silk. 1751 Museum of London