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Category: 1450-1459

Overview

1450-1459

1450-1459, 15th century, decade overview

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1450 – Rogier van der Weyden, Portrait of Isabella of Portugal

1450 – Rogier van der Weyden, Portrait of Isabella of Portugal

1450-1459, 15th century, artwork analysis

Isabella of Portugal, Duchess of Burgundy, painted by Rogier van der Weyden in 1450, is depicted wearing the latest styles of the Burgundian nobility.

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Jean Paul Gaultier’s iconic cone bra corset repr Jean Paul Gaultier’s iconic cone bra corset represented a riff on the 1950s bullet bra taken to sexual and material extremes. The ruched velvet dress includes lacing on the back, acting as a sensual detail as well as a way to fit the dress to the body. The multi-panel design enables the dress to conform more closely to the body, just as a corset would. The most provocative detail of the ensemble is clearly the exaggerated cones placed at breast-level on the center front of the dress. The dress debuted in Gaultier’s Fall/Winter 1984 collection Barbès, inspired by the neighborhood of the same name in Paris. In an 1984 Vogue article he says his goal is to “provoke new ideas about how pieces can be put together in different ways”. Unfortunately, many American publications did not mention the cone bra corset dresses. The European press however, chose to cover this controversial silhouette. One journalist from British Vogue referred to the dress as “just two cornetti from Gaultier”. Cornetti, being an Italian pastry similar to a croissant, which the journalist felt resembled Gaultier’s cones. The cone bra might’ve not been seen in America if it wasn’t for Madonna. The singer adopted the silhouette for her stage costumes, especially her 1990 Blonde Ambition tour. She became so identified with the cone bra that parodies and costumes of her featured the silhouette. This collection and silhouette earned Gaultier a spot in fashion history as he continually challenged convention. Read more at the link in the bio!
#fashionhistory #digitalhumanities #20thcenturyfashion
This remarkable painting of a young woman drawing This remarkable painting of a young woman drawing appears in miniature in an illustration depicting the Paris Salon of 1801, where it was submitted and placed on display. The painting itself entered the Metropolitan Museum of Art’s collection in 1917 and until 1951 was displayed as a work of the renowned Neoclassical artist Jacques-Louis David (Sterling 121). It was not until 1996 that the painting was attributed to Marie Denise Villers instead. Although there has been speculation that the piece is a self-portrait of Villers herself, it’s believed the sitter is Val d’Ognes, a fellow student. The young woman of the painting is wearing the quintessential costume of the time: a classical-inspired chemise gown. The neckline of the dress is difficult to see because it is blocked by the young woman’s arm, but we can catch a glimpse of it appearing just underneath her bicep, showing that it has a low, rounded scoop neck. Tucked into the bodice is her kerchief, which is secured with a delicate gold-colored oval brooch and gives a more conservative neckline. Her dress is most likely made from fine Indian muslin (cotton) as such materials were popular for this style. Underwear during this time had been reduced to a minimum of a linen chemise and a pair of stays for bust support, though the most daring young women might leave those at home. However, since this young woman’s dress is opaque, she was most likely wearing a plain white underdress just beneath her gown for modesty. Read more at the link in the bio!
#fashionhistory #digitalhumanities #19thcenturyfashion
This intricate portrait of Dido Elizabeth Belle Li This intricate portrait of Dido Elizabeth Belle Lindsay and Elizabeth Murray by David Martin, previously thought to have been created in 1778, has left historians questioning the true date due to the childish and out-of-date fashion choices more appropriate for the 1760s. The two were cousins and lived with their uncle Lord Mansfield. They are quoted in sources as enjoying each other’s company, and it was clear that Dido was extremely loved and accepted within the household. Mansfield was protective of her, clearly stating in his will Dido was a free woman. Some historians argue whether Martin has painted the two girls as social equals or not. In the 19th century many viewers thought this was a portrait of a mistress and her servant; however, the truth is that Dido was a gentlewoman in high society England. Other historians have read their poses and expressions as sisterhood and companionship, Dido being depicted with equal status to her cousin, as she is also looking straight at the viewer. Dido’s playful smile and childish pose further suggests that the painting was done in the late 1760s, as she would have been around 8, instead of 18 in 1778. She wears a white silk satin wrapper with matching turban and an ostrich feather. Fashionable turbans were derived from Turkish and Indian menswear, but became separated from their true meaning and culture of origin. Ensembles like hers were typical in portraiture to add elements of fantasy and exoticism. It is likely Martin chose this outfit for her to add a whimsical feeling, instead of her choosing it herself. Elizabeth Murray is shown wearing a typical child’s ensemble of the late 1760s, adding further speculation of the true portrait date. Her dress features a bibbed apron with a transparent overlining, which would be deemed too childish for an 18 year old woman (her age in 1778). If the portrait is truly from the 1770s, the girls were purposefully painted to look childlike. However, it is likely from the 1760s, with the 2 being children at the time. Read more at the link in the bio!
#fashionhistory #digitalhumanities #18thcenturyfashion
The barbette is the linen band worn by women under The barbette is the linen band worn by women under the chin from 1200-1350 CE. The French word barbe means beard, so the band worn by women resembles a female beard, thus a “barbette.” Phyllis Tortora and Sara B. Marcketti describe how the barbette is worn in their Survey of Historic Costume: “Most women covered their hair entirely and wrapped veils so closely that only the face showed. A linen band – barbette – passed down from the temple under the chin and up to the other, called a fillet, rather like a crown.” An illumination from a medieval manuscript depicts a woman wearing a fillet on top with a barbette circling under her chin, with her hair left loose underneath. Daniel Delis Hill describes the head-dressing of upper-class women in the early middle ages in his History of World Costume and Fashion: “At the end of the twelfth century, women began to arrange layers of veils over circlets or small toques to more fully cover the hair. A linen band called a barbette was attached to the headdress and fixed under the chin to hold the arrangement in place.” The class differences would have been apparent through the quality of the linen worn; a noblewoman of means would have had an extremely fine, almost transparent barbette, and a working woman like this would have had something thicker and more coarsely woven. Her hair is covered by a complex caul. Read more at the link in bio!
#medievalfashion #fashionhistory #digitalhumanities
This cream patterned dress trimmed with pleated gr This cream patterned dress trimmed with pleated green ribbons was considered a fashionable garment in 1862 with its full crinoline skirt and simple, but deliberate trimmings. The dress is made of a cream patterned silk and features a full crinoline skirt. The pattern consists of a repeat of a row of straight brown lines interspersed with a floral motif, a simple polka dot, and a light floral half-drop pattern. Most of the fullness is towards the back of the skirt compared to the front that is a bit more flat. The bodice is vest-like and there are eight mint fabric-covered buttons run down the center of the vest to hold it together. From the last button down, it is trimmed with mint pleated silk with a thin gold ribbon running through it all around to the back of the bodice, similar to the trim used on the full skirt edged with dark brown silk. A zouave-style jacket is worn over top of the dress and is made of the same patterned silk and has the same trim down the center front and on the sleeves as well. The sleeves are low-set and are curved slightly around the cuff area and peak at the back, making the trim come together at a sharp point. The zouave-style jacket was considered very fashionable at the time. Similar dresses in fashion plates and publications of the period show women in day dresses of light colors of simple patterns and trimmings. Read more at the link in the bio!
#fashionhistory #19thcenturyfashion #digitalhumanities
Stephen Burrows is celebrated for his graphic colo Stephen Burrows is celebrated for his graphic color blocking and innovative use of matte jersey fabric at the height of the disco era. He became one of the first Black fashion designers to achieve international acclaim. Attracted to the stretch of knit fabric, Burrows used a featherweight Jasco-brand jersey that was typically used for lingerie and required skilled sewing techniques. Initially created by mistake, the “lettuce effect,” a curling hem caused by overstretching the jersey, became his signature. His pieces were often soft and stretchy, and they were intended to be worn without any undergarments. Dance and movement were at the forefront of Burrows’s design inspirations. While still in high school, he made Mambo dancing ensembles for his friends. In 1968, he opened “O” boutique, strategically located across the street from a popular nightclub. By 1970, Burrows had been offered his own boutique in the department store Henri Bendel called “Stephen Burrows’ World” which lasted from 1973-1976. In 1973, Burrows was one of the five American designers invited to participate in the “Battle of Versailles” fashion show, a spectacular competition between American and French designers. Pat Cleveland, one of the first African American supermodels, was his greatest muse and modeled for him in the Versailles fashion show. Burrows was the youngest American designer to be included in the runway presentation, and he gained international recognition for his participation. The show also helped to position American design at the forefront of fashion. That same year, Burrows became the first Black fashion designer to win a Coty award, subsequently winning in 1974 and 1977. Read more at the link in the bio!
#fashionhistory #digitalhumanities #20thcenturyfashion
Alfred Stevens’ La Dame en Rose shows a woman we Alfred Stevens’ La Dame en Rose shows a woman wearing a dress fashionable for the 1860s. The garment has elaborate tiered lace trimmings on the skirts, collar, sleeves, and shoulder seams. It also has a ceinture at the waist to accentuate the wearer’s figure, rounded shoulders, and a slight train. The wearer is showing her stylishness by choosing a select number of trends to wear rather than putting them all on her dress at once. Several changes in the popular style of dress for 1866 are noted in the January issue of The World of Fashion. First it points to the adoption of round waists with a ceinture, or belt–a shift from the previously popular pointed waist lines. Another notable change is the abandonment of flowers used as trimmings in ball dresses. Instead fashionable women of the time turned to “ribbons in bands, in bows, and in rûches, and lace both black and white,” to adorn their evening gowns. Another popular style are dresses with double skirts; the under skirt is commonly made out of silk due to the fabric’s lightness and breathability. The sleeves of these dresses are cut straight with ornamentation on the shoulders and wrists, the seams do not sit directly on the shoulders but slope slightly off the shoulder to create a rounded silhouette. As the year progressed The World of Fashion noted in April a new design, the Princess Robe growing in popularity, this is characterized by the lack of a seam at the waist with less fullness in the hip area but stayed consistent with the presence of a train and full back. For promenade wear the upper skirts of the women’s dresses are looped up with cords to show the petticoats; due to their exposure the petticoats are made using the same fabric or a complementary fabric as the upper skirts. The dresses are typically blue, gray, pink, white, or black though most vibrant colors are considered novel. The dresses are trimmed with complementary ribbons and lace. The most common print is stripes, followed by plaid. In May 1866, The World of Fashion notes that the length of the skirts are cut to display the boots worn underneath. Read more at the link in bio!
#fashionhistory #19thcentury #arthistory
1840s womenswear saw the last years of Romanticism 1840s womenswear saw the last years of Romanticism, as in came the Gothic Revival which was reflected in fashion through the narrow arches and angles of the popular silhouette of the time. A long-waisted bodice, tight, narrow sleeves, and a dome- shaped skirt was considered very fashionable during this decade. The high waist of the 1830s lengthened and nipped in to form an extremely small waist with the help of a corset that ran from the breasts down to the hips, enforced with multiple channels of heavy cording and whalebone. The bodice fit smoothly and closely over the waist, typically ending in point, which rounded out by the end of the decade. Overall, bodices of the 1840s emphasized a long, small waist and sloped shoulders. A common style was a fan-pleated bodice with soft pleats over the chest. The fashionable skirt during this time was ever-widening, requiring more and more petticoats for support. At the end of the decade, a woman may have worn as many as 5 or 6 petticoats with one of them being made of horsehair (crinoline) to provide extra stiffness. The 1840s are marked by a general lack of trim. Instead, the focus was on textiles. Fine silk was becoming acceptable for daywear, as it was ideal for shaping long, narrow bodices and voluminous skirts. During these years, American women of the middle and upper classes could be aware of the newest trends due to popular ladies’ magazines such as Godey’s Lady’s Book and Peterson’s Magazine. These years also established the early Victorian ideal for meek and delicate women, and female moral virtue was thought to be displayed through clothing. Read more at the link in the bio! 
#fashionhistory #digitalhumanities #19thcenturyfashion
The first decade of the 17th century saw a continu The first decade of the 17th century saw a continuation of many Elizabethan trends, with small changes in skirt length, sleeve shape, and collar types slowly being introduced. The foundation garment for all dress was the chemise, atop which women now wore stays to create the desirable silhouette of the time. Heavily embroidered bodices, or waistcoats, were typical of the period, with the English particularly specializing in floral embroidered pieces. In terms of silhouette, the wheel-shaped French farthingale was still very much in fashion, though the hard edge of the skirt was often softened by a large ruffle or gathered flounce as we see here. The bodice typically came to a sharp point in the center and large leg-of-mutton sleeves were still favored. In England and France the large starched ruffs so essential to late 16th-century dress were replaced by still large, but now open, standing collars that framed the face. These collars are sometimes referred to as Medici collars as they were worn by Maria de’ Medici, Queen of France, as we can see in her 1607 portrait by Frans Pourbus the Younger. There were other changes as well over the course of the decade, particularly to the farthingale which became tilted at a more ‘acute’ angle with an elevated back. Two new fashion trends are evident via portraits: leg-of-mutton sleeves, and hems shortened to make heeled shoes more visible. The latter trend was indicative of France’s ascent into the role of Europe’s fashion leader. Read more at the link in the bio!
#fashionhistory #17thcentury #digitalhumanities

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The Fashion History Timeline is a project by FIT’s History of Art Department. The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. Consistent with this mission, the Timeline’s written commentary, research, and analysis provided by FIT students, faculty, and other members of the community is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Unless specifically noted, images used in the Timeline are not subject to this Creative Commons License applied to the written work from the Timeline. While every attempt at accuracy has been made, the Timeline is a work in progress. If you have suggestions or corrections, please contact us.


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Research Sources

  • The Jazz Age: American Style in the 1920s (2017)
  • Hippie Chic (2013)
  • Addressing the Century Addressing the Century: 100 Years of Art and Fashion (1998)
  • 100 Dresses cover 100 Dresses: The Costume Institute, The Metropolitan Museum of Art (2010)
    Rated 5.00 out of 5
  • Paris Refashioned cover Paris Refashioned, 1957-1968 (2017)

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