16thcenturycostumesnorthernrenaissance-120808014540-phpapp02

8/11/2019 16thcenturycostumesnorthernrenaissance-120808014540-phpapp02

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16thcentury costumes(Northern Renaissance)

1500-1600


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FACTORS IN THE DISSEMINATION OF FASHION INFORMATION

the intermarriage of the royal families from different countries

imported garments and fabrics

books dealing with costume

travelers who brought back information about and examples of foreign

styles.


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TEXTILES

A treadle-powered spinning wheel in combination

with a device called a bobbin-and-flyer mechanismmade spinning easier.

Hand knitting seems to have begun in Europe after

the 15th century. By the latter part of the 16th

century it was being used to make stockings.

Decorative Techniques of the 16th CenturyEmbroidered decorations were applied not only to

outer garments, but also to visible neck and sleeve

edges of undergarments such as shirts and

chemises.

A variety of Italian drawn and cutwork techniques

were also employed.In another decorative technique called filet or lacis,

the artisan embroidered patterns on a net

background

Woman's chemise from the late 16th century, probably

from Venice. The white linen garment is embroideredwith lavender floss silk and gold thread


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COSTUME FOR MEN AND WOMEN:

16th CENTURY


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Costume of men and women in the 16th century can be

said to have gone through three different phases .

early phase in which a transition was made from

medieval styles to the styles of the Renaissance

second phase concentrated in the second to the fourth

decades of the century in which marked German

influence can be seen

final phase in which Spanish influences were strong.


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Drawers

Throughout the century, men wore

an evolved form of the earlier

braies, which the English tended to

refer to as drawers


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COSTUME FOR MEN: (1500-1515)

SHIRTS

Made of white linen, shirts were cut full and gathered into a round or square

neckline.

The neckline was often decorated with embroidery or cutwork.

They had long, raglan sleeves.

DOUBLET AND HOSE

These were laced together, the doublet being only waist length.

Hose were seamed into one garment with a codpiece at the front.

In one version the doublet (also called a paltock in England) was cut with a deepV at the front, which sometimes had a filler (or stomacher) of contrasting color

inserted under the V.

Laces could be used to hold the open area together, and also to hold the sleeves

in place.


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doublet


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Doublet


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Stomacher


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Stomacher - A richly ornamented garment covering the stomach and chest,

worn by both sexes in the 15 and 16th centuries, and later worn under a bodice

by women.


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JACKET OR JERKIN

Sometimes worn over doublets

jackets were cut the length as doublets,

were similar in shaping, andwere with or without sleeves.

In England, the jerkin was used

synonymously with the word jacket

afterwards


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jerkin


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BASES

Bases were separate short skirts worn with a jacket or do

for civil dress; over armor for military dress.

Made from series of lined and stiffened gores (wedge-

shaped pieces), persisted in civilian dress until well into

the mid-century.


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ROBES OR GOWNS

Gowns were long, full garments with huge

funnel-shaped or large hanging sleevesthat opened down the front.

The front facings were made of

contrasting fabric or fur and turned back

to form wide, decorative revers.

Younger and more fashionable men wore

shorter gowns, ending below the hips.

Gowns were worn over doublets or

jackets.


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OUTDOOR GARMENTSWORN FOR WARMTH

Circular cloaks, open at the

front and with a slit up the

back to facilitate horseback

riding were worn overdoublets and hose.

COSTUME FOR MEN (1515 1550)


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Whereas the earlier styles had relatively

slender silhouettes, the second phase

emphasized fullness in the constructionof the costume with large, bulky, puffed

areas.

Garments were ornamented with decorative

slashings or panes (narrow strips of fabric)under which contrasting linings were placed.


The knight o n the lef t wears the decorat ively slashedcostume of a German sold ier. The slashed upper stoc ks

over his hips co ntrast with the nether stocks , whic h cov er

his legs. Str ips of cloth are t ied around his leg at the knee.

A codp iece is vis ib le at the front of his up per stocks , his

hat is an exaggerat ion b y the art is t of the m i l i tary

headdress of the per iod

SHIRTS DOUBLETS JACKETS


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SHIRTS, DOUBLETS, JACKETS

All these garments continued much

as before, with marked increases in

slashed decoration.

Instead of having separate bases,

some doublets and jackets were cut

with gored skirts.

Some had no sleeves; some had

wide U- or V-shaped necklinesbeneath which the wide neck, the

doublet, and part of the shirt was

often visible.

Bases were still worn with armor.

Sleeves of the outermost garment

were cut very full, often with a puff

from armhole to elbow and a closer fit

from elbow to wrist.Henry VIII in later li fe 1537

Interalced g old braid, jewels and

s lashing (where the under shir t is pul led

through).


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Shirt

A gathered, embroidered shirt.


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A slashed doublet

of what appears to

be orange silk.

HOSE


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HOSE

Hose were held up by lacing them to the

doublets.

Some were divided into two sections, upper

stocks and nether stocks, which were sewntogether

Codpieces,the pouches of fabric for the genitals

sewn at the front of the upper stocks.

Although upper stocks and nether stockscontinued to be attached, upper stocks (also

called breeches) eventually took on the

appearance of a separate garment, and were cut

somewhat fuller than the lower section.

Style variations included:Long breeches, fitting the leg closely and ending

at the knee.

Breeches ending at the hip and more rounded.

.


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codpeice
http://www.german-hosiery-museum.de/geschichte/einzelseiten/Bild06_20.htm


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Breeches


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Prince Hercule-Francois, 1572.

The Duke wears wide, somewhat melon-

shaped, trunkhose with a codpiece.

His jacket with its high collar surrounded by a

small tuff has the fashionable peascod bellyshape, and finishes below the waistline in a row

of pecadils.

His hat is in the capotain shape, decorated with

a jeweled band and a plume. The short cape is

fur-lined.


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Breeches


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ROBES OR GOWNS

Slight alterations in cut and trimming of robes

made for increased width. The wide reversextended into a wide collar and

these sleeve types developed:

Sleeveless but with wide, extremely deep

armholes lined in contrasting fabric and turnedback upon themselves to show off the lining.

Short, very full, puffed-and-slashed

Long hanging sleeves.

COSTUME FOR MEN: (1550 1600)


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By mid-century, the width of the shoulders had

narrowed and decreased further.The width of the hip area gradually increased.

By the beginning of the third phase, a new

combination of garments had evolved, and men

no longer appeared in short jackets or longer

skirted jackets and hose.

Instead, the upper hose and nether hose had

evolved into a large, padded breech (called

trunk hose), which was joined to nether or

lower stocks.

Alternatively, separate breeches were worn,

with hose kept in place by garters.

The codpiece gradually went out of style after

mid-century.

http://realmofvenus.renaissanceitaly.net/wardrobe/men/MoroniGentlemanPink.jpg


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Trunk Hose


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SHIRT COLLARS, RUFFS

Around mid-century, men displayed the small,

square collar of the shirt at the neck edge of the

doublet.

Next, the collar of the shirt became a small ruffle,

and in the final stage of evolution the ruff developed

as a separate item of costume, separate from the

shirt.

Very wide, often of lace, and stiffly starched, the ruff

became one of the most characteristic features of

costume during the second half of the 16th century

and persisted into the first decades of the 17th

century as well.


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DOUBLET

The neck was cut high, its shape and finishvaried. Doublets were made with a row of

small, square flaps called pecadils

just below the waist.

Sleeves, though padded, followed the

shape of the arm and narrowed as thecentury progressed until by 1600 sleeves

were unpadded and closely fitted.

Waistlines followed the natural waist at the

back, but dipped to a point at the front,

where padding emphasized the shape.

By 1570, the amount of padding increased

and the point at the front of the doublet

became so pronounced that it was called a

peascod bellyas it resembled the puffed-

out chest of a peacock.

Peascod belly


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JACKET OR JERKIN

Worn over the doublet, the jacket was similar in

shaping, but as it usually had short puffed sleeves

or pecadils at the arm and no sleeve, the sleeve

of the doublet beneath became the outermost

sleeve.


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BREECHES

Breeches were separate garments worn

together with separate stockings.

They included:

Skintight versions.

Wide at the top and tapering to the

knee (called Venetians).Wide and full throughout (called open

breeches)


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Close-up photograph of slashed satin breeches of about 1600 shows the way

in which this garment was constructed.


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Engraving of 1581 shows men who all wear peascod belly-shaped doublets and neck ruffs. The

man at left wears very full Venetian breeches, the men second from left and at the far right wear

short trunks attached to full-length hose, and the man third from the left wears short trunks withcanions


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TRUNK HOSE

Trunk hose were made in several shapes:

Melon shaped; usually paned, heavily padded,

and ending at the hip or somewhat below;

approximately the shape of a pumpkin

gallygaskins:Sloping gradually from a narrow

waist to fullness concentrated about mid-thigh

where they ended also called Slops.

A short section, not much more than a pad

around the hips, worn with very tight-fitting hose.

This form had limited use outside of very

fashionable court circles. Boucher calls them

culots

Melon shaped


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culots


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CANIONS

An extension from the end of the trunk hose

to the knee or slightly below, canions were

made either in the same color or in a

contrasting color to trunk hose.

Canions fastened to separate stockings at

the bottom


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Canions


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HOSE AND STOCKINGS

With trunk hose and canions, stockings were used more than the long, joined

hose. Stockings and hose were either cut and sewn or knitted. References to

knitting begin to appear around 1530 and in 1589; an English inventor made a

machine for knitting stockings.

OUTDOOR GARMENTS

Gowns were largely replaced by shorter and longer capes after the middle of the

century. Short capes were cut very full, flaring out sharply from the shoulder.


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Travel cape , 1571


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COSTUME FOR WOMEN: 16th CENTURY


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There is evidence of a linen under-bodice made from two layers of fabric

stiffened with glue. By the 17th century, this garment had taken on the name

staysin English.

Earlier it had been known as a pair of bodys, as it was cut into two sections andfastened at the front and back with laces or tapes.

The stiffening was provided by a busk, a new device made from a flat, long piece

of wood or whalebone that was sewn into one or more casings provided in the

stays.

The shaping and support of the outer garment is yet another function of

undergarments.

Beginning with the verdugale, continuing with the bum roll, and culminating in

the huge wheel farthingale, undergarments henceforth are important elements

in the shape of Western costume.


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Spanish farthingale or verdugale


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The lady wears a wheel farthingale.

The skirt of the farthingale opens at the front,

but the petticoat beneath it is not visible.

Around the waist is placed a ruffle the width of

the farthingale.

She wears a standing lace ruff at the neck.

Her hair is dressed high with jeweled

decorations.


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Costume Components for Women: 1500-

1530


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1530

This first phase was a transition from the styles

of the Medieval period.

CHEMISE

The chemise continued to be the undermost

garment.

DRESSES

Gowns were fairly plain, somber colors

predominated.

Bodices were fitted, skirts long and full, flaring

gently from the waistline to the floor in the front

and trailing into long trains at the back.

Women wore either a single dress or two layersconsisting of an outer and an under-dress.

If two dresses were worn, the outer skirt might

be looped up in front to display the contrasting

skirt of the under-dress.

The lady wears a wide-sleeved gow n w ith a

typical ly s quare-cut n eckl ine. Her headdress

is a coif with lappets hanging down on either

sid e of the face.


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Trainson outer gowns often had decorative under-linings.

The train was buttoned or pinned to the waist at the back in order to show the lining

fabric.

Most often dress necklines were square, with the edge of the chemise visible, or

they might be cut with smaller or larger V-shaped openings at the front or at both

front and back.

Lacings held the V-shaped opening together.

Sleeve styles included:

Smooth-fitting narrow sleeves with decorative cuffs.

Wide funnel shapes with contrasting linings.

Hanging sleeves.

When two layers were worn, the under-dress usually had closely fitted sleeves and

the outermost large, full, funnel-shaped sleeves or hanging sleeves.


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OUTDOOR GARMENTS

Except for ceremonial occasions when theopen mantle fastening with a chain or braid at

the front was still worn, women wore long, full

cloaks.


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Costume Components for Women :1530-1575

Germany

Dresses

Softly gathered skirts were joined to closely fitted bodices with low and square or

rounded necklines.

Sleeves were close fitting, with horizontal bands alternating with somewhat

enlarged, puffed areas. The cuff extended into a point over the wrist.

Hair and head-dress

Hair was often held in a net, over which was placed a wide brimmed hat trimmed

with plumes.

Jewelry

Gold chains, frequently worn along with a wide jeweled dog collar were

important status symbols


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The lady wears typical German dress with sleeves made

in alternately wider and narrower sections having V-

shaped cuffs that cover the backs of her hands. She has

several gold chains around her neck. Her headdress is

also a fanciful exaggeration of the current style of hats for

women.


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Costume Components for Women in other Northern

European Countries

The second phase of costume for women outside of Germany was marked by

Spanish influenceswhereas men's styles of this period had been more

directly influenced by German styles

One important aspect of the Spanish influence was a tendency toemphasize dark colors, especially black.

DRESSES


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Significant changes took place in the

construction of dresses. Instead of an under-

dress and an outer-dress, women wore a

petticoat (an underskirt) and an overdress.

The overall silhouette was rather like an

hourglass. Bodices narrowed to a small

waistline. Skirts gradually expanded to an

inverted cone shape with an inverted V

opening at the front.

Bodices and skirts of dresses were sewn

together. The waist dipped to an elongated V

at the front.

A rich, jeweled belt outlined the waistline, andfrom the dip in front its long end fell down the

center front of the gown almost to the floor.

The ruff led cu ff of the chem ise is visib le at the end of th e sleeve.

Large, detachable unders leeves match th e fabric o f the pett icoat. The

f lared sk ir t was sup ported un derneath by a hoop c al led a verdugale orSpanish far th ingale

N kli t fi t tl


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Necklines were at first mostly

square, but later were made in a

variety of more closed styles which

included:

High, closed necklines with

standing, wing collars.

Neck fillers, part of the chemise,

which were closed up to the throat

and ended in a small ruffle.

Ruffs, of moderate size at this

phase of their development, worn

with high, fitted collars

This lady wear Spanish s tyled sleeveless ropa. Small

ruf f les, probably on h er chemise, extend abov e the

high col lar and below the ends of the sleeves. Her

coif dips sl ight ly at the front .

Th f ll i l t l d l d


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The following sleeve styles developed:

Narrow at the shoulder and expanding to a

huge, wide square cuff that turned back upon

itself. This cuff was often made of fur or ofheavy brocade to match the petticoat

A detachable, false sleeve decorated with

panes and slashes through which the linen of

the chemise was visible might be sewn to the

underside of the cuff or, if the chemise were

richly decorated, the sleeve of the chemisemight be seen below the cuff.

Made with a puff at the shoulder and a close-

fitting, long extension of the sleeve to the wrist.

Though worn elsewhere as well, this style was

especially popular in France.

Full from shoulder to wrist where it was caughtinto a cuff.

Wider at the top, narrower at the bottom


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Sleeve decorations included

Cutting and paning with decorative fabrics,

and fastening the panes with

aiguillettes(small, jeweled metal points).

Padded rolls of fabric were sometimes

located at the joining of bodice and sleeve,

and these served to hide the laces

fastening separate sleeves to bodices.


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PETTICOATS

Although the petticoat was

separate from the dress, its

visibility through the inverted V at

the front of the skirt made it anintegral part of the ensemble.

Petticoats were usually cut from

rich, decorative fabric (often

brocade or cut velvet).

The back of the petticoat was

covered by the skirt of the dress.

Therefore often only the front of

the petticoat was made in

expensive fabric, while the invisible

back was made of lighter weight,

less expensive fabric.


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SUPPORTING GARMENTS

The flared, cone-shaped skirt required support to achieve the desired rigidity of

line. Support was provided by a Spanish device called the verdugale (in

Spanish, verdugado) or Spanish farthingale.

The verdugale was a construction of whalebone, cane, or steel hoops

graduated in size from the waist to the floor and sewn into a petticoat or

underskirt.


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ROPA

Originally a Spanish style, the ropa was

an outer gown or surcote made eithersleeveless, with a short puffed sleeve,

or with a long sleeve, puffed at the top

and fitted for the rest of the arm's length.

It fell from the shoulders, unbelted in an

A-line to the floor.

Some versions closed in front, but mostwere open to display the dress beneath.


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Costume Components for Women:

15751600

The first changes in the last quarter of the

century came in the shape of the skirt,

which grew wider at the top.

Instead of the cone-shaped Spanish

farthingale, a padded roll was placed

around the waist in order to give skirts

greater width below the waist. The English

called these pads bum rolls, "bum" being

English slang for buttocks.

Later instead of using graduated circles of

whalebone, cane, or steel sewn into a

canvas skirt, the circles were the same

diameter top to bottom. Steel or cane

spokes fastened the top-most hoop to a

waistband. It was called the wheel, drum,

or French farthingale.


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The farthingale was later worn with a roll of stiffened material called a

Bum Roll. The bum roll could be used to add more width to the body,

whilst spreading skirt fullness evenly. The Bum Roll had tapes which

enabled it to be tied to the waist, settling over the farthingale.


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During the 16th century, the farthingale was popular. This was a petticoat stiffened

with reed or willow rods so that it stood out from a woman's body, like a cone

extending from the waist.


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DRESSES

Dresses worn over wheel farthingales had enormous skirts that were either cut and

sewn into one continuous piece all around, or open at the front or sides over a

matching underskirt.

Sleeves were made fuller and with very high sleeve caps.

The front of the bodice was elongated, ending in a deep V at the waist. Additional

height came from high standing collars and dressing the hair high on the head.


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RUFFS

Ruffs grew to enormous widths.

Made of sheer linen or of lace they had to be

supported by a frame called the supportasseor by starching.

Constructions included:

Gathering one edge of a band of fabric to the

size of the neck to form a frill of deep folds.

Round, flat lace pieces without depth or folds

like a wide collar.

Several layers of lace rounds placed one over

the other.

Open ruffs, almost a cross between a collar

and a ruff, stood high behind the head and

fastened in front into a wide, square necklineA ruf f under propp ed with a

supp or tasse," a frame which

ho lds th e ruff in place.


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supportasse
http://upload.wikimedia.org/wikipedia/commons/d/d6/Anne_knollys_1582_robert_peake.jpghttp://upload.wikimedia.org/wikipedia/commons/c/c0/Fran%C3%A7ois_Clouet_003.jpg


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http://upload.wikimedia.org/wikipedia/commons/d/d6/Anne_knollys_1582_robert_peake.jpghttp://upload.wikimedia.org/wikipedia/commons/c/c0/Fran%C3%A7ois_Clouet_003.jpg


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CONCH

Known in French as a conque, this was a sheer, gauzelike veil sofine that in some portraits it can just barely be seen.

It was cut the full length of the body from shoulder to floor and worn

capelike over the shoulders.

At the back of the neck it was attached to a wing-like constructionthat stood up like a high collar behind the head.


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ACCESSORY ITEMS FOR MEN AND WOMEN:16 th CENTURY


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HAIR AND HEADDRESS FOR MEN: At the beginning of the century .

HAIR

Men cut their hair straight across the back in a length anywhere from below the

ears to the shoulder and combined this with a fringe of bangs across the

forehead.

HATS

Prominent hat styles included:

A pill-box like shape with turned-up brim that might have decorative cut-out

sections in the brimsometimes referred to as a French bonnet

A skull cap or hair net holding the hair close to the head topped by a hat with a

basin-shaped crown and wide brim, the brim turned up at one point. Many hats

were decorated with feathers.

HAIR AND HEADDRESS FOR MEN: AFTER 1530


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HAIR AND HEADDRESS FOR MEN: AFTER 1530

hair Beards became fashionable, and the hair was cut short

hats Hat styles included:

A moderately sized, flat crowned hat with a small brim and a feather plume.

Beret like styles with feather plumes


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HAIR AND HEADDRESS FOR MEN:

AFTER MID-CENTURY

hair Men allowed their hair to grow longer;

beards and moustaches remained popular

hats Hat styles included those with

increasingly high crowns, some with soft

shapes, others with stiffer outlines.

Brims tended to be narrow.

The high-crowned, narrow-brimmed hat

was called a capotain

Trimmings for hats included feathers,

braid, and jewels.


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HAIR AND HEADDRESS FOR WOMEN .

HEADDRESS

The custom of having married and adult

women cover the hair, continued. These head

coverings were the most important:

coif:A cap of white linen or more decorative

fabric, usually with long lappets or short squareor pointed extensions below the ears that

covered the side of the face.

Coif shapes ranged from round to heart

shaped or gabled, an English style shaped like

a pointed arch.

As the century progressed, the coif was set

further back on the head, allowing more hair to

show. Decorative over-caps might be placed

on top of the coif, some trimmed with jewels or

metallic netting. Her coif dips slightly at the

front.

The small coif is decorated with

jewels.


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Renaissance Women's Headdress

hair In the last two thirds of the century more hair was visible The hair was
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hair In the last two-thirds of the century, more hair was visible. The hair was

combed back from the forehead, puffed up slightly around the face, then pulled

into a coil at the back of the head.

To balance the width of the wheeled farthingale, extra height was gained bydressing the hair high and decorating it with jeweled ornaments.


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FOOTWEAR

With a few exceptions, trends in styles of footwear were similar for men and

for women. Often because they were more visible, men's styles tended to

greater exaggeration.

Shoes

Square-toed shapes became

more exaggerated as theperiod progressed, especially

for men's shoes. Decoration

included slashing with puffs of

fabric pulled through the

openings. Costume historians

of the 19th century called

these shoes duckbills

because their shape

resembled the bill of a duck.


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During the second half of the century, toes remained square, but width decreased

and shoes conformed more closely to the shape of the foot.

Among the shoe styles worn by men and women were:Mulesbackless shoes.

Shoes with a tongue, tying with laces (latchets) that crossed the tongue from either

side.

High-heeled shoes for men and women first appeared sometime during the 1570s,

the heels about one-and-a-half inches high. Sometimes ribbon rosettes might be

placed at the front of the shoe or decorative stones set into them.

Styles worn only by women included:

Low-cut slippers with a strap across the ankle.

Chopineshigh, platform-soled shoes that originated in Italy, and spread to other

parts of Europe.

boots Boots were worn out-of-doors when riding horseback.


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mules


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CHOPINE


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16th century shoe


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JEWELRY

Although lavishly used by royalty and wealthy men and women during the first

half of the century, jewelry use by men decreased during the second half of thecentury.

Men did not give up wearing jewelry but rather wore smaller quantities and more

restrained pieces.

Women continued to wear large quantities of extravagant jewels.

The types of jewelry worn by both men and women included:


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Neck ornaments:

Men wore wide jeweled collars that were not a part of the garment but a separate

circular piece made of ornamental plates joined together.

Both men and women wore neck chains of gold or other precious metals that were

wrapped several times around the neck. Women wore pendant necklaces.

Men and women pinned brooches to hats, hoods, and various parts of the

clothing.

Aiguillettes (ay-gwe-laze), consisting of small jeweled points mounted on laceswhich served to hold panes or slashes together, were placed on hats.

Earrings were popular in countries and periods when the hair or headdress did

not cover the ears.

Rings were worn everywhere.


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The following items of jewelry were worn exclusively by women:

Ferroniereswere worn in France, but were not especially popular in

England.

Jeweled belts with long cords hanging down the front became popular for

women after the second decade.

On the cord were mounted such things as a jeweled tassel, a perfume

holder (pomander), a purse, or a mirror.
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Ferroniere
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Pomander

ACCESSORIES


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ACCESSORIES

hand-carried accessories Those most often used included:

purses: Often suspended from belts, purses were carried by both men and

women.

fans: The earliest form was a square of embroidered fabric mounted on a stick;

later forms included ostrich or peacock feathers mounted on ornamental sticks

and circular folding fans.

handkerchiefs: Both men and women carried handkerchiefs.

gloves Fashionable gloves often had decorated cuffs.

masksWomen wore masks out-of-doors when riding to protect the complexionagainst the sun.


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Spanish farthingale


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Documents

16thcenturycostumesnorthernrenaissance-120808014540-phpapp02