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In the early Elizabethan period, doublets for men were padded over the belly with bombast in a "pouter pigeon" or "peascod" silhouette. [9] Sleeve attachments at the shoulder were disguised by decorative wings, tabs, or piccadills, and short skirt-like peplums or piccadills covered the waist of the hose or breeches. Padding gradually fell out ...
Anne's gown is open at the front to reveal a figured silk kirtle beneath. The gowns have wide sleeves with turned-back cuffs lined in fur, 1508. Anne Stafford wears a black fur-lined gown with turned-back sleeves over a dark kirtle [13] She wears a soft sash at her waist and a sheer partlet over a square-necked chemise, c. 1535.
A ruff from the early 17th century: detail from The Regentesses of St Elizabeth Hospital, Haarlem, by Verspronck A ruff from the 1620s. A ruff is an item of clothing worn in Western, Central and Northern Europe, as well as Spanish America, from the mid-16th century to the mid-17th century.
Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff , which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or ...
Farthingale sleeves for Catherine Fenton Boyle cost 4 shillings and 4 pence in October 1604 from Robert Dobson, a London tailor. [42] In 1605, Catherine Tollemache wrote to her London tailor, Roger Jones, about farthingale sleeves covered with satin, and he suggested another style of sleeve now in fashion would be "fytter" for her new gown. [ 43 ]
Blackwork in silk thread on linen was the most common domestic embroidery technique for clothing (shirts, smocks, sleeves, ruffs, and caps) and for household items such as cushion covers throughout the reign of Elizabeth I, but lost popularity as a technique by the 17th century.
The "Pelican Portrait" of Elizabeth I shows the Elizabethan fashion for matching partlet and sleeves worked with blackwork embroidery. [12] Such sets of partlet and sleeves were common New Year's gifts to the queen. In 1562, Lady Cobham gifted the queen "a partelett and a peire of sleeves of sypers wrought with silver and black silke". [13]
The hanging veils and lappets could be pinned up in a variety of ways to make complex headdresses. Generally, the gable hood consisted of four parts: the paste, lappets, veil, and decorative jewels (for the most aristocratic only). The paste was a white, stiffened version of the coif, with drawstrings at the back to adjust to the wearer's head ...