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Chapter 4 "The Renaissance and the Sixteenth Century". (registration required) pp. 74–102; Mentges, Gabriele (2011). "European Fashion (1450–1950)", European History Online, Mainz: Institute of European History, retrieved June 16, 2011. Payne, Blanche (1965). History of Costume, From the Ancient Egyptians to the Twentieth Century. New York ...
The girls wear gowns of striped fabric trimmed with bands of black, with linen chemises and partlets. Infantas Isabella Clara Eugenia and Catalina Micaela of Spain wear miniature versions of adult costume, including gown with hanging sleeves and Spanish farthingales, c. 1571. Their skirts appear to have tucks to allow them to be let down as the ...
La Bella Principessa (English: "The Beautiful Princess"), also known as Portrait of Bianca Sforza, Young Girl in Profile in Renaissance Dress and Portrait of a Young Fiancée, is a portrait in coloured chalks and ink, on vellum, of a young lady in fashionable costume and hairstyle of a Milanese of the 1490s. [1]
Costume historian James Laver suggests that the mid-14th century marks the emergence of recognizable "fashion" in clothing, [1] in which Fernand Braudel concurs. [2] The draped garments and straight seams of previous centuries were replaced by curved seams and the beginnings of tailoring, which allowed clothing to more closely fit the human ...
In the first half of the 16th century, German dress varied widely from the costume worn in other parts of Europe. Skirts were cut separately from bodices, though often were sewn together, and the open-fronted gown laced over a kirtle with a wide band of rich fabric, often jeweled and embroidered, across the bust.
Men in particular wanted to wear more fitted clothes to emphasize their body shape. Merchants expanded the market for apparel, and created complementary accessories such as hats, hairnets, bags, and gloves. The widespread use of mirrors, popular in Renaissance interior design and architecture, increased interest in self-image and fashion.
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