Category: 1570-1579

Overview

1570-1579

1570-1579, 16th century, decade overview

All Entries

1572 – Lucas de Heere, The Family of Henry VIII: An Allegory of the Tudor Succession

1570-1579, 16th century, artwork analysis

In the 16th-century Tudor court, monarchs used portraiture to establish their ideal image—often times exaggerated and dramatized, but at the forefront of fashion.

Read More

1572 – Unknown British Painter, Portrait of Walter Devereux (1539–1576), First Earl of Essex

1570-1579, 16th century, artwork analysis

From a family with close links to the crown, Sir Walter Devereux rose to great heights on the strength of his perseverance and loyalty. When granted the title of 1st...

Read More

Recent Essays

1700-1709
In 1700-1709, 18th century, decade overview
1787-9 – Alexandre-August Robineau, The Fencing-Match between the Chevalier de Saint-George and the Chevalier d’Eon
In 1780-1789, 18th century, artwork analysis, BIPOC, LGBTQ+
A History of Women’s Swimwear
In 18th century, 19th century, 20th century, 21st century, thematic essays
1990-1999
In 1990-1999, 20th century, decade overview
We Were There: Harlie Des Roches on the Black Presence in Renaissance Europe
In 16th century, BIPOC, blog

Twitter

Tweets by FITfashionstory

Save

Save

Instagram

In the early 20th century, the American ready-to-w

In the early 20th century, the American ready-to-wear industry for stout women–whom we typically call plus-size today–emerged almost simultaneously as that for slimmer women. Stores like Lane Bryant offered a wide variety of clothing specially designed for stout women, who represented a growing portion of the population and had both the desire and income to spend on fashion goods. Read more about the early history of plus size fashion at the link in bio!

#fashionhistory #20thcenturyfashion

Image citations in article.

1876 was a year that abided by the rule of “more

1876 was a year that abided by the rule of “more is more”, as the most fashionable styles at the time included dramatic bustle silhouettes, combinations of multiple fabrics on a single garment, and extravagant trimmings. Read more about these over-the-top fashions at the link in bio!

#arthistory #fashionhistory #victorianfashion

Bernardino Campi’s 1568 Portrait of a Woman show

Bernardino Campi’s 1568 Portrait of a Woman shows off the fashionable trends of Italian Renaissance clothing. The gown’s square neckline, pointed bodice, and sumptuous textile reflected the dramatic look of the 1560s. The sitter pairs her dress with a gossamer-like veil and a feathered fan. Read more at the link in bio!

#arthistory #fashionhistory #renaissancefashion

Bernardino Campi (Italian, 1522-1591). Portrait of a Woman, late 1560s. Oil on canvas; 141.3 x 97.2 cm (55 5/8 x 38 1/4 in). New York: The Metropolitan Museum of Art, 1963. 63.43.1. Gift of Eden Neuman de Végvár, in honor of her husband, Charles Neuman de Végvár. Source: @metmuseum

In The Hesitant Fiancée, Auguste Toulmouche steps

In The Hesitant Fiancée, Auguste Toulmouche steps away from his usual depiction of beautiful yet idle women Emile Zola described as “Toulmouche’s delicious dolls.” He refines his style by painting a more complex subject–one of an arranged marriage that the bride clearly rebels against, as evidenced by the subject’s direct gaze. Despite the shift of the subject matter, Toulmouche keeps to his standard of painting lavish gowns and luxurious backdrops. Read more at the link in bio!

#arthistory #fashionhistory #victorianfashion

1863 saw the crinoline still reigning triumphant w

1863 saw the crinoline still reigning triumphant with full bell-shaped skirts and tiny, nipped-in corseted waists the ideal silhouette—in part due to the support of the French Empress Eugénie. In more avant-garde circles, some were beginning to abandon the crinoline. To read our year overview, see the link in bio!

#fashionhistory #19thcentury

Joseph Siffred Duplessis’s 1778 portrait of Benj

Joseph Siffred Duplessis’s 1778 portrait of Benjamin Franklin participates in his carefully constructed image while in France as a plainly dressed American with provincial taste–though he actually dressed in the most expensive fabrics available. Read more in our artwork analysis! Link in bio.

#fashionhistory #arthistory #18thcentury
Joseph Siffred Duplessis (French, 1725-1802). Benjamin Franklin, 1778. Oil on canvas; 72.4 x 58.4 cm (28.5 x 23 in). New York: The Metropolitan Museum of Art, 32.100.132. The Friedsam Collection, Bequest of Michael Friedsam, 1931. Source: @metmuseum

Van der Neer’s Judith represents a 17th-century

Van der Neer’s Judith represents a 17th-century vision of a biblical character and is full of ravishing contemporary fashion detail. This dress seems to be inspired by a gown worn by Queen Henreitta Maria in an earlier Van Dyck portrait. Read more in our artwork analysis - link in bio!

#fashionhistory #arthistory #17thcentury

In 1700-1709, French fashion with its emphasis on

In 1700-1709, French fashion with its emphasis on formality and opulence continued to set the standard throughout Europe. For women, mantuas were highly popular. They were worn with elaborately decorated stomachers and accessorized with lace fontange headdresses. For men, the three-piece suit, called a justaucorps, reigned supreme. Read more about this fascinating decade in our newly published article! Link in bio.

#fashionhistory #arthistory #18thcenturyfashion
Image citations in article.

This silk evening dress draped in lace was designe

This silk evening dress draped in lace was designed by Jean-Philippe Worth in 1887-89 and was very fashionable for its time due to his design, color, and stylistic choices. Read more in our garment analysis!

#fashionhistory #19thcentury

Jean-Philippe Worth (French, 1856–1926). Evening Dress, 1887-89. Silk and lace. New York: The Metropolitan Museum of Art, 49.3.24a–e. Gift of Orme Wilson and R. Thornton Wilson, in memory of their mother, Mrs. Caroline Schermerhorn Astor Wilson, 1949. Source: @metmuseum

Follow Us

Login