In 1680, The shape of the female costume is metamorphosed very little. The only change to notice is the increase in the number of ornaments. On the front skirts of furbelows, pretintailles (motifs cut from different fabrics and which are applied). The dress is considerably raised on the hips revealing the front of skirt. It is maintained by stiff petticoats.
After 1690, more fantastic elements began to appear, surrounded by elaborate sinuous lines and curves and exotic designs, including arabesques and Chinoiserie. it is generally made of good quality cloth, in velvet or silk.
Other developments are pointing slightly at the end of the xvii th century, mainly through the so-called gowns innocent, swing, stripped or neglected. These types of dress, introduced by Madame de Montespan the sake of hiding her pregnancies, are the premises of flexible modes of the xviii th century.
Features
In 1667, Royal Textile Manufactory and Royal Race Factory were established one after another to satisfy the requirements for beautiful costumes of kings and nobles of countries. Sericulture industry for silk indispensable for brilliant costumes was orbiting mainly in rural areas near Lyon around this time. In this era, in France, the world's first fashion magazine "Mercure Gallant" that printed the latest fashion prints in 1672 was launched, and a mannequin called Pandora (two types of formal pandora and daily arrival small pandora) He dressed in the latest trendy costumes in Paris and sent it throughout Europe to let him know the latest mode. From around 1670, a set of costumes, Just Call, West Culott, which is currently associated with saying French aristocrat clothing, will begin to be established. Female hairstyles and making clothes were influenced by leading masters of salons (many of them were mistresses and girls friends of Louis XIV), and they are making rapid and changing changes.
Regarding the emergence of new fabrics, cotton cloth "Andyenne" imported from India has become a major epidemic as a nobleman's room wearing, and the imitation of this Indian gift has been produced in Provence. In France, as the domestic production of silk advanced, Camembert (plain weave cloth made from Angola goat, sheep and camel hair and silk woven) or bonbajin (twill cloth fabric that weeded silk and wool) and Tobin (Moire pattern taffeta) And Caltech (thin silk used for lining of clothes) etc. are on the market.
Women's fashion
Overview
The wide, high-waisted look of the previous period was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder. Full, loose sleeves ended just below the elbow at mid century and became longer and tighter in keeping with the new trend. The body was tightly corseted, with a low, broad neckline and dropped shoulder. In later decades, the overskirt was drawn back and pinned up to display the petticoat, which was heavily decorated.
Spanish court fashion remained out of step with the fashions that arose in France and England, and prosperous Holland also retained its own modest fashions, especially in headdress and hairstyles, as it had retained the ruff in the previous period.
Romantic negligence
A daring new fashion arose for having one's portrait painted in undress, wearing a loosely fastened gown called a nightgown over a voluminous chemise, with tousled curls. The style is epitomized by the portraits of Peter Lely, which derive from the romanticized style originated by Anthony van Dyck in the 1630s. The clothing in these portraits is not representative of what was worn on the street or at court.
Mantua
The mantua or manteau was a new fashion that arose in the 1680s. Instead of a bodice and skirt cut separately, the mantua hung from the shoulders to the floor (in the manner of dresses of earlier periods) started off as the female version of the men's Banyan, worn for 'undress' wear. Gradually it developed into a draped and pleated dress and eventually evolved into a dress worn looped and draped up over a contrasting petticoat and a stomacher. The mantua-and-stomacher resulted in a high, square neckline in contrast to the broad, off-the-shoulder neckline previously in fashion. The new look was both more modest and covered-up than previous fashions and decidedly fussy, with bows, frills, ribbons, and other trim, but the short string of pearls and pearl earrings or eardrops worn since the 1630s remained popular.
The mantua, made from a single length of fabric pleated to fit with a long train, was ideal for showing the designs of the new elaborately patterned silks that replaced the solid-colored satins popular in mid-century.
Hunting and riding dress
In a June 1666 diary entry, Samuel Pepys describes the Maids of Honour in their riding habits of mannish coats, doublets, hats, and periwigs, "so that, only for a long petticoat dragging under their men's coats, nobody could take them for women in any point whatever". For riding side-saddle, the costume had a long, trailing petticoat or skirt. This would be looped up or replaced by an ankle-length skirt for shooting or walking.
Hairstyles and headgear
Early in the period, hair was worn in a bun at the back of the head with a cluster of curls framing the face. The curls grew more elaborate through the 1650s, then longer, until curls were hanging gracefully on the shoulder. In the 1680s hair was parted in the center with height over the temples, and by the 1690s hair was unparted, with rows of curls stacked high over the forehead.
This hairstyle was often topped with a fontange, a frilly cap of lace wired to stand in vertical tiers with streamers to either side, named for a mistress of the French King. This was popular from the 1690s to the first few years of the 18th century.
Style gallery 1670–1680
1 – 1670
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2 – 1670
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3 – 1671–74
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4 – 1670s–80s
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5-1667–69
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|---|---|---|---|---|
6-1670
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1.Two English ladies wear dresses with short sleeves over chemise sleeves gathered into three puffs. The long bodice front with curving bands of vertical trim is characteristic of 1670.
2.Maria Theresa of Spain wears enormous sleves, bare shoulders, large pearls, a large feather, and has a mass of loose waves.
3.Lingering Puritan influence appears in this portrait of a Boston matron: she wears a lace-trimmed linen collar that covers her from the neck down with the fashionable short string of pearls, and she covers her hair with hood-like cap, 1671–74.
4.Empress Eleonore of Pfalz-Neuburg wears a brocade dress with a very low waist and elbow-length sleeves gathered in puffs, 1670s or '80s.
5.Susanna Huygens wore a long, tight white satin bodice with paned sleeves lined in pink and a matching petticoat. Her hair is worn in a mass of tight curls, and she wears pearl eardrops and a pearl necklace. 1667–69.
6.Portrait of Barbara Viliers, mistress of King Charles II, painted by John Michael Wright c. 1670 in the romantic style.
Style gallery 1680s–1690s
1 – 1680
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2 – 1680s–90s
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3 – 1688
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4 – c.1690
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5 – c.1690
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|---|---|---|---|---|
6 – 1685–90
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7 – 1690s
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8 – 1698
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9 - 1690s
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1.Mary of Modena, second wife of James II of England, wears a dress fastened with jeweled clasps over a simple chemise, 1680. Her hair curls over either temple, and long curls hang on her shoulders.
2.Dorothy Mason, Lady Brownlow in fashionable undress. Her dress is casually unfastened at the breast, and her chemise sleeves are caught up in puffs, probably with drawstrings.
3.Mary II wears 1688 fashion: a mantua with elbow-length cuffed sleeves over a chemise with lace flounces at the elbow, a wired lace fontange, opera-length gloves, and pearls.
4.Spanish court fashion of c. 1690 shows a long, rigidly corseted line with a broad neckline and long sleeves.
5.Mary II of England. By 1690, hair was dressed high over her forehead with curls dangling behind.
6.Contemporary French fashion plate of a manteau or mantua, 1685–90.
7.The Electress Palatine (Anna Maria Luisa de' Medici) in hunting dress, probably mid-to-late 1690s. She wears a long, mannish coat with wide cuffs and a matching petticoat over a high-necked bodice (Pepys calls it a doublet) with long tight sleeves. She wears a lace-trimmed cravat and a tricorne hat with ostrich plumes.
8.Comtesse de Mailly, 1698, wears court fashion: Her mantua has elbow-length cuffed sleeves over the lace-ruffled sleeves of her chemise. The trained skirt is looped back to reveal a petticoat. She wears elbow-length gloves and a cap with a high lace fontange. She has a fur muff on her right wrist, trimmed with a ribbon bow, and carries a fan. She wears the short string of pearls that remained fashionable throughout this period.
9.The mantua from Kimberly Hall is of fine striped woolen fabric with silver-gilt embroidery, ca. 1690-1700.
Women' clothing
In 1675 concerns that Cruyurière is disturbed by touching exposed ladies in a closed room and skin exposed ladies, the women's guilds of Couturere are approved from the country in 1675. A female women's clothing craftsman first tried to reduce the weight of a heavy and cramped corset and took full advantage of the ladies as friends.
Clothing of common people
Production of silk and cotton fabrics in France under the rule of Louis XIV orbit, the silk and cotton of poor quality came out after separating the material to be tailored to the item for the upper class. We woven this on a thin cloth and sold it for the commoners, but it got very popular among ordinary women. These cloths were usually called greasets because they were grayish colors, but when calling these low-class women somewhat silly.
Upstream citizen's clothing
In 1672, there was a letter that wrote Paris's epidemic from a tutor who accompanied youth of an upstream citizen who traveled from the UK to Europe to an aunt of young people. "Both chest and corset are embroidered with flower patterns with white or brown taffeta with black etc. Even white and black costumes look beautiful and sincere when wearing a white or silver skirt.The under skirt is down People wearing on it are laying on top of each other or they are edging with racing. "This is a British woman asking a nephew's tutor to report the latest epidemic in Paris early, so he did so Because of the background it seems to describe the epidemic of that time fairly precisely. Breast clothing is a triangular cloth that covers a corset called Piesdestroma, and at that time it was a triangle cloth covering a crochet from a neck of a robe (so-called dress, which looks like a one piece style but the upper and lower are separated and the skirt is hooked inside the upper garment) It was big open to the triangle, and I used it by inserting it behind the open part tightened with a string. Wearing ribbon decorations and decorating with lace was prevalent, but in the 18th century it became possible to sew to robes from the beginning.
In the late 17th century the corset restored, but it was not tightening the whole torso but was lifted to raise the breast to change it to emphasize the chest. The corset that tightens the front is widely used by women of common people, but when it has a gorgeous decorative knot, it also spreads to people over the middle class and was called with a joke name named "Gurugundee (slut girl)".
Upper class dress
The epidemic until the 1660s is not much different from what I mentioned in the above item. Rather, the women of the court had been pretending to be pre-aged with a stiff question such as expressions of rituals, liturgy and status differences and courtesy.
Louis XIV 's salon culture hosting socializing by the king's lover and girl friend from the start of civil affairs will rise, fashion will become more gorgeous. Mall • Black lace • ribbon decorative • artificial flowers • black ball • beautiful buttons with Cloisonne baked fads and like rugs of silk robes from silk lobes woven from stripes and ripples Luxury was also seen. In 1667, Mrs Sevignier was surprised at the lavish attire of wearing the robe of the race on the golden robe of Mrs. Montespan, the mistress of the king, and is writing that impression to his daughter. Mrs Sevignier was also impressed with the luxurious appearance of Mrs. Montespan who wore lots of pearls in lace clothes and diamond earrings, also in 1676. Mrs. Montespan's power is tremendous, those who do not feel comfortable with her are pregnant one after another by the king's sister Negrije who can not wear a corset to hide the belly she stuck out (Negrije at the time was wearing a room or town Robe De Chambul "(a gentle one-piece style robe made from thin silk) was epidemic during the court rumored to be funny. In 1680, the king 's new lover Mr. Fontangju invented, a hair style that puts hair together on her head has become popular. This hairstyle was divided finely every year, and in 1685 the style decorating lace decorations stood with a ribbon and a wire shaped into a fan shape spread not only in France, but across the continent of Europe. In 1687 he began to separate the races that he set up with three butterflies, and in 1688 the lace decorations began to decorate the ribbon bundle in line with the hair that caught perfectly.
Source from Wikipedia
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