Women’s fashion in Western Europe in 1630–1650

Fashion in the period 1630–1650 in Western European 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.

From around 1630 when the warfare became intense in various places, the corsettes and skirt frames begin to be lost in the 1640s, and inflatable skirts are piled up, and lightweight fashion wearing slip-on shoes called Panthuru becomes mainstream. The corset becomes gentle like being integrated with the bodice.

As its polar region, from around the 1650s a fashion epitomizes a curling skirt that looks almost like a skirt with a ribbon decorated with a rungrave (Petty Court Bricits in English, a half pants like skirt).

Women's fashions
With the dawn of the 17th century, resistance to the rigid Spanish nature spread. The quest for freedom and naturalness expressed itself in clothing fashion at the time of the Thirty Years' War.

Around the middle of the 17th century,, the costume of the women changed. Although the dress retained the shape of Vertugade, but shortened shirt and sleeves and fell down the skirt wrinkled. The top coat also remained open from top to bottom. Underneath, several slips of different colors were worn. The top of the dress was cut out, the shoulders bared. The neckline was followed by the collar so that it bordered the upper garment hem.

Gowns, bodices, and petticoats
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.

Hairstyles and headdresses
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.

Style gallery 1630s

1 – 1630	2 – 1630	3 – c. 1632	4 – 1632	5 – 1632
6 – 1633	7 – 1635	8 – 1635	9 – 1638

1.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.
2.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.
3.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.
4.Henrietta Maria wears the formal English court costume of a gown with short open sleeves over a matching bodice with virago sleeves and a simple petticoat, 1632.
5.Henrietta Maria wears a white satin tabbed bodice with full sleeves trimmed with silver braid or lace and a matching petticoat. Her bodice is laced up with a coral ribbon over a stomacher. A matching ribbon is set in a V-shape at her front waist and tied in a bow to one side. She wears a lace-trimmed smock or partlet with a broad, square collar. A ribbon and a string of pearls decorate her hair, 1632.
6.Henrietta Maria's riding costume consists of a jacket-bodice of blue satin with long tabbed skirts and a matching long petticoat. She wears a broad-brimmed hat with ostrich plumes, 1633.
7.A Lady from Spanish court wears an elegant, black dress. Its simplicity is a testament to the austerity of the Spanish court; however, her high hair is quite fashionable, as well as the mass of curls on both sides of her face c. 1635.
8.Sara Wolphaerts van Diemen wears a double cartwheel ruff that remained popular in the Netherlands through the period. She wears a black gown with a brocaded stomacher and virago sleeves, and a white linen cap, 1635.
9.Helena Fourment wears a black robe, bodice, and petticoat worn with an open-necked chemise with a broad, starched lace collar, gray satin sleeves tied with rose-coloured ribbons, and a broad-brimmed black hat cocked up on one side and decorated with a hatband and plumes, 1638.

Style gallery 1640s

1 – 1640	2 – c. 1640	3 – 1641	4 – 1640s	5 – 1643
6 - 1645	7 - c. 1648	8 - c. 1648

1.Elizabeth, Lady Capel wears a bright blue bodice and petticoat with yellow ribbons and a lace-trimmed kerchief pinned at her neck. Her daughters Mary and Elizabeth wear gold-coloured bodices and petticoats, 1640.
2.Portrait of Henrietta Maria in the style of Van Dyck shows her in a flame-colored satin dress without a collar or kerchief. She wears a fur piece draped over her shoulder, 1640.
3.Agatha Bas wears a pointed stomacher under a front-lacing, high-waisted black dress. Her matching linen kerchief, collar and cuffs are trimmed with lace, and she wears a high-necked chemise or partlet, the Netherlands, 1641.
4.Hester Tradescant's costume is trimmed in lace in keeping with her station, but she wears the closed linen cap or coif, tall hat, unrevealing neckline, and sober colours favoured by Puritans, c. 1645. Her long-fronted bodice and open skirt are conservative fashions at this date.
5.Dutch fashions of the 1640s feature modest, high-necked chemises, broad linen collars with matching kerchiefs and deep cuffs, and lavish use of bobbin lace.
6.Engraving of Cecylia Renata, Queen of Poland in riding dress (doublet, skirt, and hat), 1645.
7.Claudia de' Medici as a widow, in mourning dress (black cap, veil, and cloak) c. 1648.
8.Archduchess Isabella Klara wears her lace collar or tucker off-the-shoulder.

Women's dress
Improvement of girls' clothing gradually progresses to boys about 10 years later in the 1630s. The first thing that faded was a crescent that tightened the skirt frame and fuselage with a grand expression, but at the time the women at that time were not accustomed to suddenly deflating skirts that had spread widely in the skirt frame, or transiently a floating wheel type The fashion which hits the waist guard and gives the skirt of the top to the waist is seen to be seen. Eventually, the volume of the skirt came to be kept by stacking three gorgeous jupps (underskirt) that gave embroidery and so on. The robe to wear over is a bodice and an over skirt with a draped hem, but is it a reaction of Spanish fashion to hide the bulge of the chest or just over the nipple of a linen cloth covering with a fish (scarf) to cover it It is becoming possible to open a neckline in a trapezoid. As with shoes that are suitable for men's easy-to-move boots, the slip-on type (shoes worn to slip the top of the foot like a string, a button or a buckle not to fix the feet) like "Loafer" "Pantouful" It was prevalent. In the 1650s, Call Balléne appeared to make reeds in the bodice and correct the body shape, and the sleeve was shortened to about seven minutes' length, decorated with cuffs superimposed on 'Angajant', jupps were two in number Became mainstream.

Contrary to the fact that men's folds collapsed early as the Spanish fashion was still in vogue since the 1620s when some people ceased gluing, girls' phrases survived until the 1660s and giant It was seen up to the tide of converting. When the man was proud of the leg line even with the calves in the calf, the lady also tried to make the chest thinner and more chest by using the corset which had been under fire.

Clothing of common people
The woman suffered a small bonnet, a scarf, a straw hat of Hako, wearing a cheap woolen long-sleeved bodice, a skirt and a dress over-skirt and tightening an apron. Some wear a sleeveless bodice or jacket-style outerwear from the top of a long-sleeved bodice, but they are wearing shoes like black loafers that are uniformly decorated.

General women's clothing around the 1650s when Dutch fashion caught among citizens is seen in genre painters Felmail of the time and works of Jan Sten. Common colors are pale red, light blue, brown, and dark blue, centering on light yellow. Dark blue color was once expensive to be considered as a symbol of the royal family, but when the import of Indian indigo, which easily darkens the dark vibrant blue, begins, in the latter half of the 1640 's, European Taisei can only ever be outdone It has been done. The maid is wearing a small white collar filled with a collar on a plain black dress that is easy to work and it is in sharp contrast with the fact that an upstream citizen's woman is opening a large chest.

Upstream citizen's clothing
Long gloves and muffs will appear in the 1640s. General women's clothing around the 1650s when Dutch fashion caught among citizens is seen in genre painters Felmail of the time and works of Jan Sten. Common colors are light shades such as light red or light blue with pale yellow as the center. The frame disappeared in the skirt, dragged to the floor, and the whole body was not tightened with a corset, so the entire silhouette seems to be futuristic from the 16th century. Fabrics are also popular with light satin as glossy rather than heavy and luxurious Brocade. The reason why the skirt is gradually spreading is because three jupps (underskirt) are piled up, and in France it is "La Modesto (ashidi)" "La Fri Ponne (Omiba)" "La I called it with a different name from "Screlet (secret)". The chest bulging revived because of not tightening the fuselage, opened the neck widely in a trapezoidal shape to show the chest.

The sleeve was not hard to move, made a number of inflatable stuffed paddings typified by the Medici sleeve that was popular in the first half of the seventeenth century, and a long sleeve with slightly relaxed seasons was common.I used to wear loose jacket that was as long as she covered her hips as a coat, but mostly it had a fur rim. In the inventory of Vermeer 's property, there is left "the coat of yellow satin ten' s fringe edge" which seems to be put on the model, and one purchased by a painter for a genre painting reflecting the epidemic at the time Seem. As a room wear, in the Netherlands a kimono-style gown called "Yapon" (sometimes a real wealthy lady gotten from Japan from a very wealthy woman) was prevalent in particularly rich upper-class citizens. In addition to the rarity of foreign tastes and the show of wealth, it was the highest luxury to wear high-quality silk that was still expensive as a gown. In the UK and France where trading with Japan is impossible, people of the upper class tailored a similar gown with Indian gift and called the fabric "Andyenne". I made my hair curled beside my ear, braided my back hair, and then tied up to Sinyon on my head.

Source from Wikipedia