Overgowns with split sleeves (often trimmed with horizontal rows of braid) were worn by both men and women.įrom 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. 1600–1620, as was reticella tinted with yellow starch. In England, embroidered linen silk jackets fastened with ribbon ties were fashionable for both men and women from c. 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.
The great flowering of needlelace occurred in this period. 1614–18.įigured 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. Scrolling floral embroidery decorates this Englishwoman's dress, petticoat, and linen jacket, accented with blue-tinted reticella collar, cuffs, and headdress, c. In the early decades of the century, a trend among poets and artists to adopt a fashionable pose of melancholia is reflected in fashion, where the characteristic touches are dark colours, open collars, unbuttoned robes or doublets, and a generally disheveled appearance, accompanied in portraits by world-weary poses and sad expressions. The social tensions leading to the English Civil War were reflected in English fashion, with the elaborate French styles popular at the courts of James I and his son Charles I contrasting with the sober styles in sadd colours favoured by Puritans and exported to the early settlements of New England ( see below). The ruff lingered longest in Spain and the Netherlands, but disappeared first for men and later for women in France and England. Spanish fashions remained very conservative. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath. The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened.
Her long, rounded stomacher and jacket-like bodice are characteristic Dutch fashions
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