Figured silks with elaborate pomegranate or artichoke patterns are still seen in this period, especially in Spain, but a lighter style of scrolling floral motifs, woven or embroidered, was popular, especially in England.
The great flowering of needlelace occurred in this period. Geometric reticella deriving from cutwork was elaborated into true needlelace or punto in aria (called in England "point lace"), which also reflected the popular scrolling floral designs.In England, embroidered linen jackets fastened with ribbon ties were fashionable for both men and women from c. 1600–1620, as was reticella tinted with yellow starch. Gowns with split sleeves (often trimmed with horizontal rows of braid) were worn by both men and women.From the 1620s, surface ornament fell out of fashion in favour of solid-colour satins, and functional ribbon bows or points became elaborate masses of rosettes and looped trim.
Hairstyles and headgear
To about 1613, hair was worn feathered high over the forehead. Married women wore their hair in a linen coif or cap, often with lace trim. Tall hats like those worn by men were adopted for outdoor wear.
In a characteristic style of 1625–1650, hair was worn in loose curls or waves to the shoulders on the sides, with the rest of the hair gathered or braided into a high bun at the back of the head. A shortfringe or bangs might be worn with this style. Very fashionable married women abandoned the linen cap and wore their hair uncovered or with a hat.
Women collection
Style gallery 1600–1620
Hilliard's Unknown Woman of 1602 wears typical Puritan fashion of the early years of the century. Her tall black felt hat with a rounded crown is called a
capotain and is worn over a linen cap. She wears a black gown and a white stomacher over a chemise with blackwork emboridery trim; her neckline is filled in with a linen partlet.
Anne of Denmark wears a bodice with a low, round neckline and tight sleeve, with a matching petticoat pinned into flounces on a drum or cartwheel farthingale, 1605. The high-fronted hairstyle was briefly fashionable.
Isabella Clara Eugenia of Spain, Regent of the Netherlands, wears a cartwheel ruff and wide, flat ruffles at her wrists. Her split-sleeved gown in the Spanish fashion is trimmed with wide bands of braid or fabric, 1609.
Mary Radclyffe in the very low rounded neckline and closed cartwheel ruff of c.1610. The black silk strings on her jewelry were a passing fashion.
Anne of Denmark wears mourning for her son, Henry, Prince of Wales, 1612. She wears a black wired cap and black lace.
An Englishwoman (traditionally called Dorothy Cary, Later Viscountess Rochford) wears an embroidered linen jacket with ribbon ties and embroidered petticoat under a black gown with hanging sleeves lined in gray. Her reticella lace collar, cuffs, and hood are tinted with yellow starch.
Frans Hals' young woman wears a chain girdle over her black
vlieger open-fronted gown, reserved for married women, and an elongated bodice with matching tight sleeves and petticoat. She is wearing a padded roll to hold her skirt in the fashionable shape. Dutch, 1618–20.
Elizabeth, Lady Style of Wateringbury wears an embroidered jacket-bodice and petticoat under a red velvet gown. She wears a sheer partlet over an embroidered high-necked chemise, c. 1620.
Style gallery 1620s
Margaret Laton wears a black gown over an
embroidered linen jacket tucked into the newly fashionable high-waisted petticoat of c. 1620. She wears a sheer apron or overskirt, a falling ruff, and an embroidered cap with lace trim. The jacket itself is in the longer fashion of the previous decade.
Marie de' Medici in widowhood wears black with a black wired cap and veil, c. 1620–21.
Anne of Austria, Queen of France, wears an open bodice over a stomacher and virago sleeves, with a closed ruff. Note looser cuffs. C. 1621–25.
usanna Fourment wears an open high-necked chemise, red sleeves tied on with ribbon points, and a broad-brimmed hat with plumes, 1625.
Élisabeth de France, Queen of Spain, wears her hair in a popular style at the Spanish court, c. 1625.
Isabella Brandt wears a black gown over a gold bodice and sleeves and a striped petticoat, 1623–26.
Paola Adorno, Marchesa Brinole-Sale wears a black gown and a sheer ruff with large, soft figure-of-eight pleats seen in Italian portraits of this period. Her hair is caught in a cylindrical cap or caul of pearls. Genoa, c. 1626.
Marie-Louise de Tassis wears a short-waisted gown with a sash over a tabbed bodice with a long stomacher and matching pettiicoat and virago sleeves, c. 1629–30.
Style gallery 1630s
Large ruffs remained part of Dutch fashion long after they had disappeared in France and England. The dark gown has short puffed sleeves and is worn over tight undersleeves and a pink petticoat trimmed with rows of braid at the hem. The lace-edged
apron shows creases from starching and ironing, 1630.
Henrietta Maria wears a white satin tabbed bodice with full sleeves trimmed with silver braid or lace and a matching petticoat. Her bodice is laced up with a coral ribbon over a stomacher. A matching ribbon is set in a V-shape at her front waist and tied in a bow to one side. She wears a lace-trimmed smock or partlet with a broad, square collar. A ribbon and a string of pearls decorate her hair, 1632.
Henrietta Maria as
Divine Beauty in the masque
Tempe Restored wears a high-necked chemise, a lace collar, and a jeweled cap with a feather, 1632. Masquing costumes such as this one, designed by
Inigo Jones, are often seen in portraits of this period
Portrait of an unknown woman wearing the informal English fashion of a brightly coloured bodice and petticoat without an overgown. Her bodice has deep tabs at the waist and virago sleeves, 1630.
A Lady from Spanish court wears an elegant, black dress. Its simplicity is a testament to the austerity of the Spanish court; however, her high hair is quite fashionable, as well as the mass of curls on both sides of her face c. 1635
Sara Wolphaerts van Diemen wears a double cartwheel ruff that remained popular in Holland through the period. She wears a black gown with a brocaded stomacher and virago sleeves, and a white linen cap, 1635.
Helena Fourment wears a black gown, bodice, and petticoat worn with an open-necked chemise with a broad, starched lace collar, gray satin sleeves tied with rose-coloured ribbons, and a broad-brimmed black hat cocked up on one side and decorated with a hatband and plumes, 1638.
Style gallery 1640s
Elizabeth, Lady Capel wears a bright blue bodice and petticoat with yellow ribbons and a lace-trimmed kerchief pinned at her neck. Her daughters Mary and Elizabeth wear gold-coloured bodices and petticoats, 1640.
Agatha Bas wears a pointed stomacher under a front-lacing, high-waisted black gown. Her matching linen kerchief, collar and cuffs are trimmed with lace, and she wears a high-necked chemise or partlet, Holland, 1641.
Hester Tradescant's costume is trimmed in lace in keeping with her station, but she wears the closed linen cap or coif, tall hat, unrevealing neckline, and sober colours favoured by Puritans, c. 1645. Her long-fronted bodice and open skirt are conservative fashions at this date.
Dutch fashions of the 1640s feature modest, high-necked chemises, broad linen collars with matching kerchiefs and deep cuffs, and lavish use of
bobbin lace.
Engraving of Cecylia Renata, Queen of Poland in riding dress (doublet, skirt, and hat), 1645.
Archduchess Isabella Klara wears her lace collar or tucker off-the-shoulder.
Men's fashions
Shirts, doublets, and jerkins
Linen shirts had deep cuffs. Shirt sleeves became fuller throughout the period. To the 1620s, a collar wired to stick out horizontally, called awhisk, was popular. Other styles included an unstarched ruff-like collar and, later, a rectangular falling band lying on the shoulders. Beards adopted the term Van Dyke, they were pointed and often a large and wide moustache was grown too. Doublets were pointed and fitted close to the body, with tight sleeves, to about 1615. Gradually waistlines rose and sleeves became fuller, and both body and upper sleeves might be slashed to show the shirt beneath. By 1640 doublets were full and unfitted, and might be open at the front below the high waist to show the shirt
Outerwear
Gowns were worn early in the period, but fell out of fashion in the 1620s.Short cloaks or capes, usually hip-length, often with sleeves, were worn by fashionable men, usually slung artistically over the left shoulder, even indoors; a fashion of the 1630s matched the cape fabric to the breeches and its lining to the doublet. Long cloaks were worn for inclement weather
Hairstyles and headgear
Early in the period, hair was worn collar-length and brushed back from the forehead; very fashionable men wore a single long strand of hair called a lovelock over one shoulder. Hairstyles grew longer through the period, and long loose curls were fashionable by the late '30s and '40s, pointing toward the ascendance of the wig in the1660s. pointed beards and wide mustaches were fashionable.To about 1620, the fashionable hat was the capotain, with a tall conical crown rounded at the top and a narrow brim. By the 1630s, the crown was shorter and the brim was wider, often worn cocked or pinned up on one side and decorated with a mass of ostrich plumes.Close-fitting caps called coifs or biggins were worn only by young children and old men under their hats or alone indoors.
Style gallery 1600s–1620s
James I and VI, 1603–1610, wears a satin doublet, wired whisk, short cape, and hose over cannions. Narrow points are tied in bows at his waist. He wears the garter and
collar of the
Order of the Garter.
The young Henry, Prince of Wales and his companion wear doublets with wide wings and tight sleeves, and matching full breeches with soft pleats at the waist. For hunting, they wear plain linen shirts with flat collars and short cuffs at the wrist. Their soft boots turn down into cuffs below the knee, and are worn with linen boot hose. The prince wears a felt hat with a feather, 1606–09.
Peter Saltonstall, in a fashionably melancholic pose c. 1610, wears an embroidered linen jacket under a brown gown with split sleeves. The gown sleeves have buttons and parallel rows of fringed braid that make button loops. The flat pleats or darts that shape his sheer collar and cuffs are visible. He wears an earring hung by a black cord.
Richard Sackville, 3rd Earl of Dorset wears elaborate clothing, probably for the wedding of the King's daughter Elizabeth in 1613 (see notes on
image page). His doublet, shoes, and the cuffs of his gloves are embroidered to match, and he wears a sleeved cloak on one arm and very full hose.
Don Carlos of Spain wears a black patterned doublet with full black breeches, black stockings, and flat black shoes with roses. He carried a wide-brimmed black hat, 1628.
Gustav II Adolf, King of Sweden (1611-1632) wears the Swedish Protestant fashions of the
17th century. Boots adorned with flowers, doublet, cuffs and sheer collar.
Style gallery 1630s–1640s
Philip IV of Spain wears breeches and doublet of brown and silver and a dark cloak all trimmed with silver lace. His sleeves are white and he wears white stockings, plain black shoes, and brown leather gloves, 1631–32.
C
harles I's doublet of 1635 is shorter waisted, and points have disappeared. He wears a broad-brimmed hat and boots.
Royalist style: Brothers Lord John Stuart and Lord Bernard Stuart wear contrasting satin doublets and breeches, satin-lined short cloaks, and high collars with lavish lace scallops. Their high-heeled boots have deep cuffs and are worn over boot hose with lace tops, c. 1638.
Philip IV in military dress, 1644, wears a broad linen collar and matching cuffs. His sleeved short gown or cassock of red with metallic embroidery is worn over a buff jerkin and silver-gray sleeves. He carries a broad-brimmed black hat cocked on one side.
A Dutch civic guardsman wears a shortwaisted
leather buff jerkin and a broad sash, both fashionable among soldiers. 1639.
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