Category: 1670-1679

Overview

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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As part of his spring/summer 2003 ready-to-wear co

As part of his spring/summer 2003 ready-to-wear collection, Italian designer Roberto Cavalli created this 18th-century inspired denim ensemble. The embroidery of the denim jacket harkens back to the design details on the waistcoats popular in the 1740s and cutaway coat of the 18th century, but as opposed to breeches, Cavalli pairs the denim jacket with a mini-skirt and crepe-de-chine bustier. The designer was known for his sultry ensembles and the short skirt paired with the revealing bustier despite the long jacket was no different. Cavalli’s use of the mini-skirt was similarly very influential as sales soared for the design in Spring of 2003. Beyond the use of 18th-century inspiration, Cavalli specifically chose to use denim, a characteristically working-class fabric, in a design style famous for implying wealth. Similarly, the waistcoat itself is an undeniably reference to menswear as being worn in a womenswear collection, subverting gender expectations. Read more about the work of Cavalli at the link in the bio!

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Considered one of the founders of Baroque art, as

Considered one of the founders of Baroque art, as well as sketch caricature, Annibale Carracci began his career with portraits and genre paintings before being known for his religious work. His 16th-century painting, Portrait of a Woman Holding a Clock, is particularly valuable because of its depiction of a “real woman,” one who played a tangible part in society, as well as its detailed depiction of a Black woman in European fashions. The woman is wearing a simple black sottana, a rarity to see in portraiture due to its informality, with two pins and a needle stuck in the front of her bodice, alluding to her being a dressmaker. She also dons quintessential Italian accessories like the caul covering her hair, as well as pearl earrings and a coral necklace. The portable clock she’s holding has been interpreted symbolically in several ways, but smaller clocks were actually a technological and fashion novelty at this time, utilized as accessories by prominent women like Isabelle d’Este. In 2020, artist Shasta Schatz was inspired to reproduce the portrait to show what the rest of the garment looked like on the original sitter. Read more at the link in bio!

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Peter Paul Rubens, master of Baroque art, created

Peter Paul Rubens, master of Baroque art, created this portrait in the early 17th century. The painting displays the wealth and fashionable styles of Clara Eugenia, the governess of the Southern Netherlands at the time. First and foremost she wears a large needle lace platter style ruff with matching lace cuffs at the end of her sleeves. Her Spanish hanging sleeves, pearl drop earrings, and gold metallic lace decoration portray Isabella as the picture of beauty and early 17th-century fashion. The onyx and gold cross as worn around her neck portray her as a noblewoman and highlight the importance of religion. Both the fan and handkerchief were popular accessories, showing up in many portraits from the time period. Isabella and her husband were frequent patrons of Rubens, commissioning religious-based artwork that in turn influenced other wealthy patrons to do the same. Read more at the link in the bio!

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Fashion at the turn of the 20th century mostly rem

Fashion at the turn of the 20th century mostly remained the same to that of the decade prior, especially for men and children. For women, the heavily structured silhouette of the Gibson Girl was still immensely popular, but subtle changes began to occur in part due to the new S-shaped corset. Marketed as a “health” corset, this shapewear pushed the hips back and bust forward to create a narrow waist and a large “mono-bosom.” Tops were blousy and loose with dramatic long sleeves to better emphasize this top-heavy silhouette, but modesty was still at the forefront of fashion so all day dresses covered women from the neck to the floor. Evening wear was similar to day wear, although slightly more revealing with low décolletage and short sleeves (although long gloves were used to compensate). Subtle changes in silhouette and fashion occured as women began participating in sports and working outside of the home, and by 1910 a looser, tubular silhouette began to emerge. Read more at the link in bio!

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This 1863 gown, worn by Mary Todd Lincoln, is an e

This 1863 gown, worn by Mary Todd Lincoln, is an exquisite example of fashionable dress from the early 1860s. With its elegant fabric and thoughtful details, it reveals more about the wearer and the creator, Elizabeth Keckley, an accomplished seamstress who is integral to the history of African-American fashion. Read our garment analysis at the link in the bio!

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In the 1660s, men’s and women’s fashion took o

In the 1660s, men’s and women’s fashion took on added extravagance. Silk brocades became fashionable for womenswear again and enthusiasm for ribbons in menswear reached its peak. A new style of long collarless coat displaced the doublet by the end of the decade. Read our decade overview at the link in the bio!

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Created in the late 15th century, the Spanish fart

Created in the late 15th century, the Spanish farthingale was a bell-shaped skirt constructed with a series of hoops that progressively grew bigger from the waist to the hem of the garment. Lightweight wood was used to create the hoops that gave the skirt stability and structure and helped push the back of the skirt into the conical shape it’s known for. The Spanish farthingale itself comes from the earlier vertugade was a hoop skirt that was originally made stiff through the use of giant cane. An essential style of Tudor fashion within England, the sharp style of the skirt remained popular until around the 1580s. Read more at the link in the bio!
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French designer Emile Pingat’s lavish visiting g

French designer Emile Pingat’s lavish visiting gowns were in style for decades during the latter half of the 19th century. Fine details and finishings were particularly important in fashion during the 1870s, as well as contrasting colors of overskirts and underskirts. In accordance with popular trends, Pingat tried to combine as many elements of fabric manipulation as he could into this 1872 visiting dress, including pleating, ruffles, contrasting fabrics, and the addition of fly fringe, bows, and embroidered buttons. Despite his wealthy American clientele, and his connection and competition with fellow contemporary designer Charles Worth, the House of Pingat has often been forgotten when discussing fashion history. Read more at the link in bio!

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This Callot Soeurs evening dress from the early 19

This Callot Soeurs evening dress from the early 1910s epitomizes the type of ornate styles that were then fashionable. The evening look consists of a beige underdress with a net overlay embroidered with copper, gold, and pink sequins. This form of ornamentation was a popular technique utilized by the couture house and was inspired from Japanese prints, showing the effect of orientalism on fashion. Additionally, the dress has a raised empire waist referencing the style of more than a century ago of Directoire-period Empire waisted muslin gowns. During the Belle Epoque Parisian couture houses such as Callot Soeurs became more important, emphasizing romantic and feminine wear that epitomized the elegance of the period. Read more at the link in the bio!

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