Category: 1670-1679

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1670-1679

1670-1679, 17th century, decade overview

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1678 – Eglon Hendrick van der Neer, Judith

1670-1679, 17th century, artwork analysis

Van der Neer’s Judith represents a 17th-century vision of a biblical character and is full of ravishing contemporary fashion detail.

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The bum roll was a roll of padding tied around the

The bum roll was a roll of padding tied around the hip line to hold a woman’s skirt out from the body in the late 16th and early 17th centuries. Also referred to as ‘the roll farthingale’, the piece was often covered with cotton or other bombast and was sometimes wired. The roll was typically placed around the hips, allowing for a pleated skirt and layers of petticoats to fall over it. A variation of the roll began being used by 1580 and was a half roll sometimes called a demi or semi-circled farthingale. Portraits of royalty, such as Queen Elizabeth’s painting from 1592, show the effects of a bum roll which softens the line created by the farthingale. Bum rolls were also the focus of 16th-century caricatures, mocking the size and shape of the piece as they were thought ridiculous. The goal of the bum roll was to make the waist appear artificially small and the hips/bum oversized. In order to accentuate the lines of the English farthingale, the bum roll was tied around the woman’s waist in order to emphasize the structure. Worn for a short time in the early years of the seventeenth century, the use of a bum roll differed from the triangle line from years prior. Read more at the link in the bio!

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James Tissot’s 1878 painting ‘Evening’, feat

James Tissot’s 1878 painting ‘Evening’, features a young woman, possibly new to the high class social scene wearing a dress fabulous to the modern eye; however it proves to be quite out-of-step with the trends of the time. The ensemble features a yellow fitted princess-line gown with sumptuous pleats and white embroidered insets. While flounces proved a very fashionable element of the time, many other aspects of Tissot’s dress proved to be inappropriate for evening wear. For instance, the dress’ high collar and long sleeves were actually the norm for a daywear ensemble, with evening dresses being more exposed with short sleeves and a bare decolletage. In addition, a long-sleeved chemisette would never be layered under an evening dress. An element that Tissot got right for fashion at the time was the combination of multiple fabrics. The dress most likely was envisioned to have a gold silk satin, lighter yellow silk taffeta, and ivory embroidered insets. The use of 2 or 3 materials in a single dress was quite fashionable during this time. Tissot’s habit of adding his own flair to the garments in his paintings most likely stemmed from his childhood around parents who both worked with fabric and fashion. This tendency of his was both praised and criticized, and evident in many of his other works. While this dress certainly seems showstopping to modern eyes, it was quite out of place for the social context of the painting. Click the link in the bio to learn more!
#fashionhistory #digitalhumanities #19thcenturyfashion

A jerkin is a close-fitting men’s jacket, often

A jerkin is a close-fitting men’s jacket, often used for warmth, and worn over a doublet in the 16th and 17th centuries. The jerkin was popular and was part of men’s general clothing during this time. It was sometimes laced or buttoned up front, and could be worn with or without sleeves. It is also probable that jerkins were worn underneath armor. The jerkin fell out of fashion in the late 17th century, but returned as a military garment in WWI by the British Army. Early 20th century jerkins were simple garments made from animal skins to provide warmth for the troops. Read more at the link in the bio!
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This 1966 ivory silk faille dress designed by Blac

This 1966 ivory silk faille dress designed by Black American designer Ann Lowe features flourishing vines and flowers also made from silk. The neckline of the dress gently scoops in the front and descends in the back, which showcases the wearer’s shoulder blades. It also features an empire waistline that swoops to the natural waist in the rear. Overall, the silhouette of the dress reflects 60s style; the narrow skirt creates a clean line from the waistline to the hem. The dress is often referred to as the American Beauty dress, as the silk flowers resemble the American Beauty variety of rose. The lifelike quality of the silk roses almost appear surreal, as if they are about to grow beyond the boundaries of the gown. Lowe had a reputation for designing deamlike, almost fairy-tale dresses, and those who worked with her during her career remarked upon the elegance of her designs. Large floral embellishments with technicolor hues ares a hallmark of many of Lowe’s creations. Her work reflects the trends of the 60s while still developing a unique dreamlike aestetic, and she was able to show her personality and imagination through embellishment and craftsmanship. Read more at the link in bio!

#DigitialHumanities #FashionHistory #1960sFashion

Bloomers are a bifurcated undergarment that were w

Bloomers are a bifurcated undergarment that were worn under dresses in the 19th century. They soon became a symbol of women’s rights because early activist Amelia Bloomer wore drawers long enough to stick out from under her dress. The suffragists preferred such a style in comparison to the fashionable dress of the period which required many heavy layers of petticoats to support it. Interestingly, Amelia did not originate the style although it is named after her and sometimes referred to as the ‘Bloomer costume’. Bloomer was a writer and lecturer on women’s rights and wrote favorably about the costume whilst also wearing it for many of her lectures; resulting in the garment taking her name. The style eventually gained acceptance as athletic wear to be worn when exercising but beyond that, it was not widely adopted. Cycling bloomers were popular when cycling became all the rage among the French upper classes in the 1880s and, especially, the 1890s. The new leisure activity had required appropriate dress that focused on comfort and practicality, with an emphasis on durability or softness as they were oftentimes made of fabrics such as jersey. Modern designers at Miu Miu and Fendi have continued to look to bloomers for inspiration. Read more at the link in the bio!

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Maija Isola was a textile designer for the Finnish

The doublet was a snug-fitted jacket shaped and fi

The doublet was a snug-fitted jacket shaped and fitted to a man’s body worn mostly in the 15th to 17th centuries. Early doublets nipped in at the waist and had short skirts below. They also provided means of keeping up the hose, and later the breeches. Doublets were typically long-sleeved with a standing neckband, and fastened at the front by lacing or buttons. Early 17th century doublets were often busked with whale bone and the front lining was stiffened with buckram or canvas. Around the 1650s, the doublet made its final appearance in the fashionable male wardrobe. During this time, doublets shortened so that there was a gap in between it and the breeches, making the undershirt visible. Sometimes the centre front and back sleeves were left unstitched, exposing the shirt underneath even further. However, some thought this look came across as untidy. Read more at the link in the bio!
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1850s womenswear was defined by colorful, exuberan

1850s womenswear was defined by colorful, exuberant styles with luxurious fabrics and relaxed cuts. The fashionable silhouette was marked by a small waist, drooping shoulders, and a voluminous skirt, which grew in size throughout the decade. The large skirt would be supported by multiple petticoats, one of which being a crinoline. This type of petticoat was stiffened with horsehair. In 1856, the cage crinoline was introduced, which consisted of a series of concentric steel hoops. This innovation provided relief from multiple heavy petticoats, and allowed skirts to reach new proportions. The cage crinoline was relatively inexpensive, and was worn by all levels of society. During this decade it was common for the dress to be made in two separate pieces- a skirt and matching bodice. Sometimes a skirt would have 2 matching bodices, one for day and one for evening. The daytime bodice typically had a high neck with wide pagoda sleeves, with the evening bodice being short-sleeved, baring the chest and shoulders. The voluminous skirt was emphasized by tiered flounces. Many ensembles were made with colorful patterned silks featuring stripes and plaids. Extravagant passementrie trims were especially in vogue such as fringe, tassels, ribbons, braids, and cords. Read more about 1850s fashion at the link in the bio!
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1430s womenswear brought about a specific silhouet

1430s womenswear brought about a specific silhouette of the idealized fashionable body including large oval heads, narrow shoulders, and an elongated torso with a protruding abdomen. Women were often shown leaning back, pushing their hips forward, and even holding the extra lengths of their garments in front of them so as to appear pregnant. During this decade the foundation of women’s dress continued to be the chemise. Over it went a full-length dress known as the côte-hardie usually made from wool since silk was only available to the aristocracy. To prolong the life of the garment, it was typically lined with linen. The outer layer for women was the houppelande, made from silk or wool. Houppelandes could vary depending on the material, decoration, and sleeve style. Many had wide sleeves, a high waist, with some even being lined with fur. The 1430s saw two popular headdresses- the huves and the bourrelet. The huves was made of linen veils and suspended over wires. The bourrelet was a padded rolled headdress. Both styles required the hair to be bundled in two tall cones over the temples. These elements were not new to the decade, but continued to remain prominent, and evolved. Read more about 1430s fashion at the link in the bio!
#fashionhistory #digitalhumanities #13thcenturyfashion

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