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Arnold, Janet: Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620, Macmillan 1985. Revised edition 1986. (ISBN 0-89676-083-9) Arnold, Janet: Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660.
Statue of Mary with a simple red gown with a green girdle belt and a braided hairstyle, circa 1410. Italian headdresses. The woman on the left wears a veil twisted into a turban. The woman on the right has her hair held in a long, thick braid encased in sheer fabric and twisted around her head. Her simple gown laces up the front with a single ...
Portrait of the family of Sir Thomas More shows English fashions around 1528.. Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers (one reaction to the cooling temperatures of the Little Ice Age, especially in Northern Europe and the British Isles).
In the miniature (left) of Chaucer reading to his court both men and women wear very high collars and quantities of jewelry. The King (standing to the left of Chaucer; his face has been defaced) wears a patterned gold-coloured costume with matching hat. Most of the men wear chaperon hats, and the
In England in the beginning of the renaissance, a good doublet would have lasted at least two years but many people reported their doublets to disintegrate after only four months. [5] Items of costume were suitable for New Year's Day gifts amongst the aristocracy. In 1574, Gilbert Talbot gave his father, the Earl of Shrewsbury, a perfumed ...
Men and women wore outer clothes with detachable and often slashed sleeves of varied designs. Wealthy people owned many different pairs of sleeves to match their overcoats and dresses. [6] [7] The Renaissance changed societal attitudes toward clothing and appearance. Men in particular wanted to wear more fitted clothes to emphasize their body ...
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 ...
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 ...
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