17 ғасырдың бірінші жартысындағы киім үлгілері

Costume in the first half of the 17th century

Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches. The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath. Spanish fashions remained very conservative. The ruff lingered longest in Spain and the Netherlands, but disappeared first for men and later for women in France and England. The social tensions leading to the English Civil War were reflected in English fashion, with the elaborate French styles popular at the courts of James I and his son Charles I contrasting with the sober styles in sadd colours favoured by Puritans and exported to the early settlements of New England (see below). In the early decades of the century, a trend among poets and artists to adopt a fashionable pose of melancholia is reflected in fashion, where the characteristic touches are dark colours, open collars, unbuttoned robes or doublets, and a generally disheveled appearance, accompanied in portraits by world weary poses and sad expressions.

Figured silks with elaborate pomegranate or artichoke patterns are still seen in this period, especially in Spain, but a lighter style of scrolling floral motifs, woven or embroidered, was popular, especially in England. The great flowering of needlelace occurred in this period. Geometric reticella deriving from cutwork was elaborated into true needlelace or punto in aria (called in England "point lace"), which also reflected the popular scrolling floral designs. In England, embroidered linen silk jackets fastened with ribbon ties were fashionable for both men and women from c. 1600–1620, as was reticella tinted with yellow starch. Overgowns with split sleeves (often trimmed with horizontal rows of braid) were worn by both men and women. From the 1620s, surface ornament fell out of fashion in favour of solid colour satins, and functional ribbon bows or points became elaborate masses of rosettes and looped trim.

In England from the 1630s, under the influence of literature and especially court masques, Anthony van Dyck and his followers created a fashion for having one's portrait painted in exotic, historical or pastoral dress, or in simplified contemporary fashion with various scarves, cloaks, mantles, and jewels added to evoke a classic or romantic mood, and also to prevent the portrait appearing dated within a few years. These paintings are the progenitors of the fashion of the later 17th century for having one's portrait painted in undress, and do not necessarily reflect clothing as it was actually worn.

In the early years of the new century, fashionable bodices had high necklines or extremely low, rounded necklines, and short wings at the shoulders. Separate closed cartwheel ruffs were sometimes worn, with the standing collar, supported by a small wire frame or supportasse used for more casual wear and becoming more common later. Long sleeves were worn with deep cuffs to match the ruff. The cartwheel ruff disappeared in fashionable England by 1613. By the mid 1620s, styles were relaxing. Ruffs were discarded in favor of wired collars which were called rebatos in continental Europe and, later, wide, flat collars. By the 1630s and 1640s, collars were accompanied by kerchiefs similar to the linen kerchiefs worn by middle class women in the previous century; often the collar and kerchief were trimmed with matching lace. Bodices were long waisted at the beginning of the century, but waistlines rose steadily to the mid 1630s before beginning to drop again. In the second decade of the 17th century, short tabs developed attached to the bottom of the bodice covering the bum roll which supported the skirts. These tabs grew longer during the 1620s and were worn with a stomacher which filled the gap between the two front edges of the bodice. By 1640, the long tabs had almost disappeared and a longer, smoother figure became fashionable: The waist returned to normal height at the back and sides with a low point at the front. The long, tight sleeves of the early 17th century grew shorter, fuller, and looser. A common style of the 1620s and 1630s was the virago sleeve, a full, slashed sleeve gathered into two puffs by a ribbon or other trim above the elbow. In France and England, lightweight bright or pastel coloured satins replaced dark, heavy fabrics. As in other periods, painters tended to avoid the difficulty of painting striped fabrics; it is clear from inventories that these were common. Short strings of pearls were fashionable. Unfitted gowns (called nightgowns in England) with long hanging sleeves, short open sleeves, or no sleeves at all were worn over the bodice and skirt and tied with a ribbon sash at the waist. In England of the 1610s and 1620s, a loose nightgown was often worn over an embroidered jacket called a waistcoat and a contrasting embroidered petticoat, without a farthingale. Black gowns were worn for the most formal occasions; they fell out of fashion in England in the 1630s in favour of gowns to match the bodice and petticoat, but remained an important item of clothing on the Continent. At least in the Netherlands the open fronted overgown or vlieger was strictly reserved for married women. Before marriage the bouwen, "a dress with a fitted bodice and a skirt that was closed all round" was worn instead; it was known in England as a "Dutch" or "round gown". Skirts might be open in front to reveal an underskirt or petticoat until about 1630, or closed all around; closed skirts were sometimes carried or worn looped up to reveal a petticoat. Corsets were shorter to suit the new bodices, and might have a very stiff busk in the center front extending to the depth of the stomacher. Skirts were held in the proper shape by a padded roll or French farthingale holding the skirts out in a rounded shape at the waist, falling in soft folds to the floor. The drum or wheel farthingale was worn at the English court until the death of Anne of Denmark in 1619.

To about 1613, hair was worn feathered high over the forehead. Married women wore their hair in a linen coif or cap, often with lace trim. Tall hats like those worn by men were adopted for outdoor wear. In a characteristic style of 1625–1650, hair was worn in loose waves to the shoulders on the sides, with the rest of the hair gathered or braided into a high bun at the back of the head. A short fringe or bangs might be worn with this style. Very fashionable married women abandoned the linen cap and wore their hair uncovered or with a hat.

Hilliard's Unknown Woman of 1602 wears typical Puritan fashion of the early years of the century. Her tall black felt hat with a rounded crown is called a capotain and is worn over a linen cap. She wears a black dress and a white stomacher over a chemise with blackwork embroidery trim; her neckline is filled in with a linen partlet. Anne of Denmark wears a bodice with a low, round neckline and tight sleeve, with a matching petticoat pinned into flounces on a drum or cartwheel farthingale, 1605. The high fronted hairstyle was briefly fashionable. The jewels of Anne of Denmark are well documented and depicted in her portraits. Isabella Clara Eugenia of Spain, Regent of the Netherlands, wears a cartwheel ruff and wide, flat ruffles at her wrists. Her split sleeved dress in the Spanish fashion is trimmed with wide bands of braid or fabric, 1609. Mary Radclyffe in the very low rounded neckline and closed cartwheel ruff of c.1610. The black silk strings on her jewelry were a passing fashion. Anne of Denmark wears mourning for her son, Henry, Prince of Wales, 1612. She wears a black wired cap and black lace. An Englishwoman (traditionally called Dorothy Cary, Later Viscountess Rochford) wears an embroidered linen jacket with ribbon ties and embroidered petticoat under a black dress with hanging sleeves lined in gray. Her reticella lace collar, cuffs, and hood are tinted with yellow starch. Frans Hals' young woman wears a chain girdle over her black vlieger open fronted gown, reserved for married women, and an elongated bodice with matching tight sleeves and petticoat. She is wearing a padded roll to hold her skirt in the fashionable shape. Dutch, 1618–20. Elizabeth, Lady Style of Wateringbury wears an embroidered jacket bodice and petticoat under a red velvet dress. She wears a sheer partlet over an embroidered high necked chemise, c. 1620.

Margaret Laton wears a black gown over an embroidered linen jacket tucked into the newly fashionable high waisted petticoat of c. 1620. She wears a sheer apron or overskirt, a falling ruff, and an embroidered cap with lace trim. The jacket itself is in the longer fashion of the previous decade. Marie de' Medici in widowhood wears black with a black wired cap and veil, c. 1620–21. Anne of Austria, Queen of France, wears an open bodice over a stomacher and virago sleeves, with a closed ruff. Note looser cuffs. C. 1621–25. Susanna Fourment wears an open high necked chemise, red sleeves tied on with ribbon points, and a broad brimmed hat with plumes, 1625. Élisabeth de France, Queen of Spain, wears her hair in a popular style at the Spanish court, c. 1625. Isabella Brandt wears a black gown over a gold bodice and sleeves and a striped petticoat, 1623–26. Paola Adorno, Marchesa Brinole Sale wears a black gown and a sheer ruff with large, soft figure of eight pleats seen in Italian portraits of this period. Her hair is caught in a cylindrical cap or caul of pearls. Genoa, c. 1626. Marie Louise de Tassis wears a short waisted gown with a sash over a tabbed bodice with a long stomacher and matching petticoat and virago sleeves, c. 1629–30.

Large ruffs remained part of Dutch fashion long after they had disappeared in France and England. The dark gown has short puffed sleeves and is worn over tight undersleeves and a pink petticoat trimmed with rows of braid at the hem. The lace edged apron shows creases from starching and ironing, 1630. Portrait of an unknown woman wearing the informal English fashion of a brightly coloured bodice and petticoat without an overgown. Her bodice has deep tabs at the waist and virago sleeves, 1630. Henrietta Maria as Divine Beauty in the masque Tempe Restored wears a high necked chemise, a lace collar, and a jeweled cap with a feather, 1632. Masquing costumes such as this one, designed by Inigo Jones, are often seen in portraits of this period. Spanish breeches, rather stiff ungathered breeches, were also popular throughout the era.

Gowns were worn early in the period, but fell out of fashion in the 1620s. Short cloaks or capes, usually hip length, often with sleeves, were worn by fashionable men, usually slung artistically over the left shoulder, even indoors; a fashion of the 1630s matched the cape fabric to the breeches and its lining to the doublet. Long cloaks were worn for inclement weather.

Early in the period, hair was worn collar length and brushed back from the forehead; very fashionable men wore a single long strand of hair called a lovelock over one shoulder. Hairstyles grew longer through the period, and long curls were fashionable by the late 1630s and 1640s, pointing toward the ascendance of the wig as the standard wardrobe in the 1660s. King Louis XIII of France (1601–1643) started to pioneer wig wearing during this period in 1624 when he had prematurely begun to bald. Pointed beards and wide mustaches were fashionable. To about 1620, the fashionable hat was the capotain, with a tall conical crown rounded at the top and a narrow brim. By the 1630s, the crown was shorter and the brim was wider, often worn cocked or pinned up on one side and decorated with a mass of ostrich plumes. Close fitting caps called coifs or biggins were worn only by young children and old men under their hats or alone indoors.

James VI and I, 1603–1610, wears a satin doublet, wired whisk, short cape, and hose over cannions. Narrow points are tied in bows at his waist. He wears the garter and collar of the Order of the Garter. The young Henry, Prince of Wales and his companion wear doublets with wide wings and tight sleeves, and matching full breeches with soft pleats at the waist. For hunting, they wear plain linen shirts with flat collars and short cuffs at the wrist. Their soft boots turn down into cuffs below the knee, and are worn with linen boot hose. The prince wears a felt hat with a feather, 1606–09. Peter Saltonstall, in a fashionably melancholic pose c. 1610, wears an embroidered linen jacket under a brown robe with split sleeves. The robe sleeves have buttons and parallel rows of fringed braid that make button loops. The flat pleats or darts that shape his sheer collar and cuffs are visible. He wears an earring hung by a black cord. Richard Sackville, 3rd Earl of Dorset wears elaborate clothing, probably for the wedding of the King's daughter Elizabeth in 1613 (see notes on image page). His doublet, shoes, and the cuffs of his gloves are embroidered to match, and he wears a sleeved cloak on one arm and very full hose. Actor Nathan Field in a shirt decorated with blackwork embroidery, 1615. Gustav II Adolf, Wedding attire from the wedding of Gustav II Adolf and Maria Eleonora 1620. James Hamilton wears the unstarched ruff that became popular in England in the 1620s. His hose reach to the lower thigh and are worn with scarlet stockings and heeled shoes, 1623. Silk doublet and wadmal breeches worn by Gustav II Adolf, 1627. Don Carlos of Spain wears a black patterned doublet with full black breeches, black stockings, and flat black shoes with roses. He carried a wide brimmed black hat, 1628. Charles I. By the 1620s, doublets were still pointed but the waistline was rising above long tabs or skirts. Sleeves are slashed to the elbow and tight below. Points are more elaborate bows, and hose have completed the transition to breeches. Gustav II Adolf, King of Sweden (1611–1632) wears the Swedish Protestant fashions of the 17th century. Boots adorned with flowers, doublet, cuffs and sheer collar.

Dutch fashion. The short waisted doublet is slashed across the back. Points have elaborate ribbon rosettes (note matching points at hem of breeches). Philip IV of Spain wears breeches and doublet of brown and silver and a dark cloak all trimmed with silver lace. His sleeves are white and he wears white stockings, plain black shoes, and brown leather gloves, 1631–32. Don Pedro de Barberana y Aparregui wears conservative Spanish fashion 1632. Spanish custume from 1630s or 1640s including a golilla, a stiff linen collar projecting at right angles from the neck. Henri II of Lorraine, Duke de Guise, in the buff leather jerkin and gorget (neck armor) of a soldier. His jerkin is open from the mid chest, and his breeches match his cape, 1634. Charles I's doublet of 1635 is shorter waisted, and points have disappeared. He wears a broad brimmed hat and boots. Royalist style: Brothers Lord John Stuart and Lord Bernard Stuart wear contrasting satin doublets and breeches, satin lined short cloaks, and high collars with lavish lace scallops. Their high heeled boots have deep cuffs and are worn over boot hose with lace tops, c. 1638. A Dutch civic guardsman wears a short waisted leather buff jerkin and a broad sash, both fashionable among soldiers. 1639. The young Charles, Prince of Wales, (later Charles II) wears a soldier's buff jerkin, sash, and half armor over a fashionable doublet and breeches trimmed with ribbon bows. Philip IV of Spain in military dress, 1644, wears a broad linen collar and matching cuffs. His sleeved short gown or cassock of red with metallic embroidery is worn over a buff jerkin and silver gray sleeves. He carries a broad brimmed black hat cocked on one side.

Flat shoes were worn to around 1610, when a low heel became popular. The ribbon tie over the instep that had appeared on late sixteenth century shoes grew into elaborate lace or ribbon rosettes called shoe roses that were worn by the most fashionable men and women. Backless slippers called pantofles were worn indoors. By the 1620s, heeled boots became popular for indoor as well as outdoor wear. The boots themselves were usually turned down below the knee; boot tops became wider until the "bucket top" boot associated with The Three Musketeers appeared in the 1630s. Spurs straps featured decorative butterfly shaped spur leathers over the instep. Wooden clogs or pattens were worn outdoors over shoes and boots to keep the high heels from sinking into soft dirt. Stockings had elaborate clocks or embroidery at the ankles early in the period. Boothose of stout linen were worn under boots to protect fine knitted stockings; these could be trimmed with lace.

Toddler boys wore gowns or skirts and doublets until they were breeched.

In Protestant and Catholic countries, attempts were made to simplify and reform the extravagances of dress. Louis XIII of France issued sumptuary laws in 1629 and 1633 that prohibited lace, gold trim and lavish embroidery for all but the highest nobility and restricting puffs, slashes and bunches of ribbon. The effects of this reform effort are depicted in a series of popular engravings by Abraham Bosse.

Puritans advocated a conservative form of fashionable attire, characterized by sadd colors and modest cuts. Gowns with low necklines were filled in with high necked smocks and wide collars. Married women covered their hair with a linen cap, over which they might wear a tall black hat. Men and women avoided bright colours, shiny fabrics and over ornamentation. Contrary to popular belief, most Puritans and Calvinists did not wear black for everyday, especially in England, Scotland and colonial America. Black dye was expensive and faded quickly. Therefore, black clothing was generally reserved for the most formal occasions (including having one's portrait painted), for elders in a community and for those of higher rank. Richer puritans, like their Dutch Calvinist contemporaries, probably did wear it often but in silk, often patterned. Typical colours for most were brown, murrey (mulberry, a brownish maroon), dull greens and tawny colours. Wool and linen were preferred over silks and satins, though Puritan women of rank wore modest amounts of lace and embroidery as appropriate to their station, believing that the various ranks of society were divinely ordained and should be reflected even in the most modest dress. William Perkins wrote " that apparel is necessary for Scholar, the Tradesman, the Countryman, the Gentleman; which serveth not only to defend their bodies from cold, but which belongs also to the place, degree, calling, and condition of them all" (Cases of Conscience, 1616). Some Puritans rejected the long, curled hair as effeminate and favoured a shorter fashion which led to the nickname Roundheads for adherents of the English Parliamentary party but the taste for lavish or simple dress cut across both parties in the English Civil War.