This dignified portrait by Diego Velázquez depicts his enslaved Black assistant, Juan de Pareja, who was a skilled artist in his own right.
Tag: 17th century
The 1690s silhouette for women was extremely vertical and linear with the long-trained mantua being amplified by the towering fontange lace headdress. The more modest jacket-style mantua bodices are often attributed to the influence of Madame de Maintenon, the secret wife of King Louis XIV. Men’s coats gained fuller skirts and their wigs were now two-peaked and, by the end of the century, powdered gray or white.
Diego Bemba’s 1643 portrait, along with those of Pedro Sunda and Miguel de Castro, represents an early example of cultural exchange in which African ambassadors donning European costume in order to project a carefully curated image of cultural capital.
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.
Women’s bodices elongated in the 1650s coming to a point in the front, but in general evolved only slowly from the fashions of the previous decade; whereas men’s doublets shrunk radically and their breeches expanded, becoming heavily ornamented with ribbon loops. With England under Cromwell’s control, France takes the lead in fashion.
The 1640s saw womenswear trend in a softer and slightly simpler direction, with low necklines and billowing three-quarter length sleeves often in satin of a single color. With much of Europe at war, menswear took on a more militaristic edge and a parallel simplification, with the wearing of buff coats widely adopted in England.
- 1860 – Cream silk evening dressIn 1860-1869, 19th century, garment analysis
- 1948-1987 – Willi SmithIn 1970-1979, 1980-1989, BIPOC, designer profile, LGBTQ+
- 1952 – Christian Dior, La CigaleIn 1950-1959, 20th century, garment analysis, LGBTQ+
- 1882 – John Singer Sargent, El JaleoIn 1880-1889, 19th century, artwork analysis, LGBTQ+
- 1856 – Jean-Auguste-Dominique Ingres, Madame MoitessierIn 1850-1859, 19th century, artwork analysis