A member of FIT's History of Art department since 2015, Dr. De Young specializes in the intersection of art and fashion. People expected a higher standard of living, and there was an expanding middle class. Oil on panel; 38.8 x 27.9 cm. To discover primary/period sources, explore the categories below. Bobbin lace arose from passementerie in this period, probably in Flanders,[10] and was used both as an edging and as applied trim; it is called passamayne in English inventories. Narrow sleeves were worn in the earliest years of the century, and were later decorated with bands of contrasting fabric and rows of small panes or strips over puffed linings. Netherton, Robin, and Gale R. Owen-Crocker, editors, This page was last edited on 13 December 2020, at 03:04. From 1530, elements of Spanish dress were rapidly adopted in fashionable Germany under the influence of the imperial court of Charles V.[16]. This is paired with a kirtle with gold sleeves, a golden girdle (belt) and a French hood. Lacing was used prominently to attach sleeves to the bodice of the gown, with the white of the chemise visible and sometimes puffed out. Florence: Uffizi, Inv. Its sleeves often had a large opening at the wrist and the cuffs were often turned back with a contrasting color or fur lining. Zurich: Winterthur, 1925-1b. In 16th century England most of the population lived in small villages and made their living from farming. [1] But the rising power was Charles V, king of Spain, Naples, and Sicily from 1516, heir to the style as well as the riches of Burgundy, and Holy Roman Emperor from 1520. In 1990-1999, 20th century, garment analysis, In 1860-1869, 19th century, garment analysis, In 1970-1979, 1980-1989, BIPOC, designer profile, LGBTQ+, In 1950-1959, 20th century, garment analysis, LGBTQ+, In 1900-1909, 1910-1919, 20th century, blog, Last updated Aug 18, 2020 | Published on Jun 7, 2019. Oil on wood panel; 31.7 x 21.7 cm. As we saw above, Anne of Brittany was a tremendous consumer of sable fur, as all fashionable men and women who were permitted to wear such furs were. Bianca Maria Sforza (1472-1510), Kaiserin, Halbfigur, 1505/10. In the 16th century gable headdress had long embroidered lappets framing the face and a loose veil behind; later the gable hood would be worn over several layers that completely concealed the hair, and the lappets and veil would be pinned up in a variety of ways. Court fashions changed dramatically from 1500 to 1599, what date range are you interested in? From the 1530s, French and English fashions featured an open, square-necked gown with long sleeves fitted smoothly over a tight corset or pair of bodies and a farthingale. While every attempt at accuracy has been made, the Timeline is a work in progress. Principis Venetiarum.” Biblioteca Digital Hispánica, 1594. London: National Portrait Gallery, NPG 311. Oil on panel; 39 x 33 cm (15.3 x 12.9 in). There was a general shortage of labourers which meant wages were high and rents low. Even more extravagant was Anne’s wedding dress – of ‘drap d’or trait-enlevé’ – a type of figured cloth-of-gold, at 7,350 francs the yard, trimmed with sables.” (Tudor Times). 4 - Bernardino Zaganelli da Cotignola (Italian, 1460-1510). In the military fashion, doublets were commonly cropped at the waist to which the hose was attached.” (354). 8) reflects these trends; the gap left by her extremely low-cut black bodice is filled by a panel of golden floral embroidery. She wears a golden silk damask gown with a square neckline with a slight rise at the center and an ample skirt and train. Sandro Botticelli's Venus and Mars, painted between 1480-1490 depicts Venus as the ultimate amalgamation of female physical beauty. 1502 (Figs. In Quentin Massys’ St. Anne altarpiece (Fig. She has a strong interest in curatorial work and contributed to the “Impressionism, Fashion & Modernity” exhibition at the Metropolitan Museum of Art, Musée d’Orsay, and Art Institute of Chicago. Double portrait, 1502. 1). Men were typically clean shaven, often with medium-length bobbed hair. These were often decorated with bands of embroidery or applied passementerie. She also wears a delicate black circlet in her hair. Dorothy and Apollonia from the St.Sebastian Altar, 1507. Private Collection. Dresses with pencil or full skirts were seen in either plain fabrics o… 9). Grandes Heures d'Anne de Bretagne - f. 3r - Anne de Bretagne entre trois saintes, 1508. A jeweled wreath with enameled "orange blossoms" was sometimes worn. Consistent with this mission, the Timeline’s written commentary, research, and analysis provided by FIT students, faculty, and other members of the community is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. With the smooth, conical line of the skirt, the front of the kirtle or petticoat was displayed, and a decorated panel called a forepart, heavily embroidered and sometimes jeweled, was pinned to the petticoat or directly to the farthingale. “Diuersarū Nationum Habitus Centum, et Quattuor Iconibus in Aere Incisis Diligenter Expressi Item Ordines Duo Processionum Vnus Summi Pontificis Alter Sereniss. Oil on wood; 76 x 43.5 cm. Portrait of Catellano Trivulzio, 1505. 1500. Bands of jeweller's work were worn as trim by the nobility, and would be moved from dress to dress and reused. Elizabeth of York (Fig. 3 above) and ended the War of the Roses (1455-1487). Elizabeth of York, late 16th century, based on a work of circa 1500. Source: Kunsthistorisches, Fig. For practical reasons, boys and girls were dressed in dresses from the age of 2 until they were 5 or 6, when they began to wear miniature versions of adult dress. Fashion in England during the Elizabethan Age was considered a way of self-expression for all members of the social ranks. If you don't find what you are looking for here then jump into out Historic themes and Historic Periods timelines where you will discover a plethora of intriguing connections to the 16th century. Silk brocades and velvets in bold floral patterns based on pomegranate and thistle or artichoke motifs remained fashionable for those who could afford them, although they were often restricted to kirtles, undersleeves and doublets revealed beneath gowns of solid-coloured fabrics or monochromatic figured silks. Half-length portrait of a young Venetian woman, 1505. She first was married by proxy to Maximilian I of Austria, but Charles VIII of France insisted she marry him instead, which she did in 1491. Fig. Open necklines offered an obvious showcase for rich necklaces and jewelry began to be worn more now that the wimples, veils, and high collars favored in the 15th century were being discarded. It covered the skin from the neck to the ankle. Pointed-toe poulaines had begun to be replaced by broad-toe duckbill shoes at the end of the 15th century and became the dominant style in early 16th century. Rorimer, James J. Throughout this period, fashionable men's clothing consisted of: From the 1530s, a narrower silhouette became popular under Spanish influence. As a fitted style emerged under Spanish influence, the gown was made as a separate bodice and skirt; this bodice usually fastened at the side or the side-back with hooks and eyes or lacing. English court fashion tended to follow either French or Spanish fashions, as did Scottish. 1912 nos. This upper robe, worn over the kirtle and chemise, was often voluminous with ample skirt and train. Source: Winterthur. Portrait of Lisa Gherardini, wife of Francesco del Giocondo, known as the Mona Lisa, 1503-1517. Slashing, the deliberate cutting of fabric for decorative effect, and pinking (a more regular, smaller version of slashing) were quite common. The flat hat combined a low, gathered crown with a circular brim and was worn in mid-century. In Italy, women girded their gowns slightly above the natural waistline. Source: Google Arts & Culture, Fig. Once again, the 14th century CE saw a new fashion, that of the cote-hardie, a tight jacket with sleeves going only to the elbows, and buttons or laces from the neck right down to the waist (laces were especially fashionable in the 12th century CE). 6) is more simply dressed, without the elaborate fabrics or jewels of Maddalena Doni, though her gown does seem to have gold embroidery at the neckline. The most popular goller was a round shoulder-capelet, frequently of black velvet lined in silk or fur, with a standing neckband; this goller would remain in use in some parts of Germany into the 17th century and became part of national dress in some areas.[15]. 9). “The Unicorn Tapestries Were Made for Anne of Brittany.”. Wired collars The ruff, which was worn by both men and women, was still popular during the first decade, but it eventually disappeared in England in 1613. 7) confirms these trends, with its low neckline, laced sleeves, and delicate caul (hair net). Partlets (called in German gollers or collars) were worn with the low-cut bodice to cover the neck and shoulders, and were made in a variety of styles. Garments were plain … Juana I de Castilla, ca. Accessed June 6, 2019. Paris: Musee du Louvre, INV. Matthäus Schwarz compiled a Klaidungsbüchlein or Trachtenbuch (usually translated as "Book of Clothes"), a book cataloguing the clothing that he wore between 1520 and 1560. The Spanish were the first to explore America ... Sugar and slaves. “Fashion up to the 17th Century Reading List,” January 13, 2011. Johannes Cuspinian, husband of Anna (Fig. These hoods became more complex and structured over time. Brooklyn Museum, 21.141. Contact us! Tempera and oil on panel; 74 x 56.5 cm (29 1/8 x 22 1/4 in). 7 - Giorgione (Italian, 1470s-1510). Charles d’Amboise, French governor of Milan, (Fig. Source: Uffizi, Fig. 11-12) reveal the strong Italian influence on French fashion and a look at non-elite dress of the day. 12 - Artist unknown (Italian). Fig. Skirts were cut separately from bodices, though often 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. Bianca Maria Sforza, born in Milan, became Holy Roman Empress in 1508 and thus her portrait from around that time (Fig. Paris: Louvre Museum, INV 674. British Costume Fashion through the Ages – Part Two. The comments at the. Costume in the first half of the 16th century, Style gallery – German States and the Low Countries 1500s–1520s, Style gallery – German States and the Low Countries 1530s–1540s, Style gallery – Italy and Spain 1500s–1520s, Style gallery – Italy and Iberia 1530s–1540s, Style gallery – England and France 1500s–1520s, Lester, Katherine and Rose Kerr, "Historic Costume" Chas. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. London: National Gallery, NG6539. Her gown has decorative trim typical of English dress, as the Cunningtons remark in their Handbook of English Costume in the Sixteenth Century (1954): “Bands of velvet (guards) or other trimming usually bordered the neck, with a central band from neck to hem which might also be trimmed” (57). 11), where men wear Italian-style bonnets with cut and laced together brims. The gabled hood’s key feature was the pointed arch (or gable) that was created by means of wires or other stiffened framework. Houppelande: a full-skirted outer garment, usually full length, worn by both men and women in the 14th century and then by women only (except in England, where Richard II introduced a variety) until it went out of fashion about 1450. “Omnium Pene Europae, Asiae, Aphricae, Atque Americae Gentium Habitus.” Biblioteca Digital Hispánica, 1581. 4), shows a young woman in a red gown with lacing at the sleeves left slightly open to reveal her white chemise below. Joanna of Castile, Queen of Castile from 1504, reflects these late 15th- and early 16th-century trends in a donor portrait on the Last Judgement Triptych of Zierikzee (Fig. The German 'barett, with its turned-up brim, was fashionable throughout the period, and a similar hat with a turned-up round or "halo" brim was popular in the court of Henry VIII. Source: Wikipedia, Fig. 11 - Bernhard Strigel (German, 1461-1528). The Standard Bearer, ca. Oil on pine; 60 x 45 cm (23.6 x 17.7 in). https://fashionhistory.fitnyc.edu/wp-content/plugins/zotpress/, 1990 – Vivienne Westwood, “Portrait Collection” Corset, 1995 – Vivienne Tam, “Mao Collection” Dress, In this 1639 painting by Rembrandt, Maria Trip wea, In support of Kamala Harris and in the spirit of s, Vivienne Westwood’s 1990 corset from her “Port, In honor of Martin Luther King Jr. Day, we want to, Spring by Édouard Manet is a breathtaking, youthf, This color-blocked 1973 chiffon evening dress repr. There was no concept of "British history" in the 1500s, except that the word "British" was used to refer to the ancient Britons and the Welsh. The triangular opening of her gown that reveals the golden kirtle beneath is a trend that will become popular in later decades—notably none of her ladies in waiting have yet adopted it, though they all wear gowns with square-cut necklines, large sleeve openings and fur cuffs as Anne does. Valle d'Aosta: Issogne Castle. “1500–1550 in Western European Fashion.” In, “1550–1600 in Western European Fashion.” In. Sts. Styles did not change rapidly. 8 above), wears an immense gown with fur revers and a soft red hat with upturned, notched brim (Fig. Sheer or opaque linen partlets were worn over the chemise or smock, and high-necked smocks began to appear; toward 1550 these might have a small standing collar with a ruffle, which would become the pleated ruff of the next period. Agnolo Doni, ca. Source: SKD, Fig. Oil on spruce; 32.5 × 24.2 cm. 9 - Bernardino de'Conti (Italian, documented 1494-1522). Sherrill, Tawny: "Fleas, Furs, and Fashions: Learn how and when to remove this template message, Eleanor of Austria, Queen of Portugal and France, Empress and Queen of Spain Isabella of Portugal, An unidentified princess believed to be Mary Tudor or Catherine of Aragon, "Tudor Silver-Gilt Dress-hooks: A New Class of Treasure Find in England", https://en.wikipedia.org/w/index.php?title=1500–1550_in_Western_European_fashion&oldid=993905093, Articles lacking in-text citations from April 2017, Creative Commons Attribution-ShareAlike License. The high-waisted gown of the late medieval period evolved in several directions in different parts of Europe. Cuffed sleeves were wide at the wrist and grew wider, displaying a decorated undersleeve attached to the kirtle. She wears a delicate dark veil rather than a circlet. Before coming to FIT, Dr. De Young previously taught art and fashion history at Harvard, Wellesley, Lesley and Northwestern University. As Hill explains: “The high collars of the Gothic styles were eliminated in favor of the open, square and oval lines that had developed in Italy at the end of the 1400s” (373). As shown in the images below, children's clothing was mostly smaller versions of adult clothing, complete with low necklines and cumbersome underthings. 8 - Lucas Cranach the Elder (German, 1472-1553). 3) fighting for Maximilian I, the Holy Roman emperor, shows the typical Northern silhouette and stylistic elements; his doublet is pinked across the abdomen, while his jerkin sleeves are paned (regular strips of fabric left open to reveal the fabric below). Moses undergoing Trial by Fire (Fig. Tauris 2017/Bloomsbury 2019). The Roman man used to wear a Toga over a tunic. As Queen of France, Anne was a great patron of the arts, commissioning very fine illuminated manuscripts, most importantly the Grandes Heures of Anne of Brittany, and possibly the Metropolitan Museum of Art’s famous unicorn tapestries (Rorimer). 12 - Jean Bourdichon (French, 1457-1521). 7 - Albrecht Dürer (German, 1471-1528). Oil on poplar; 77 x 53 cm. This gentleman wears an over-gown with full upper … Welcome to part two of our Fashion Through the Ages series. Fig. Overall the fashion was more rigid and restrained.[26]. That time, corsets were typically worn with a farthingale that held out the skirts in a stiff cone. Vienna: Kunsthistorisches Museum, Picture Gallery, 6440. Designed by Elegant Themes | Powered by WordPress. 1500. This page presents a timeline of events in the history of England and Scotland from 1500 until 1599. GE935. Hill describes Italian fashion at the start of the 16th century, writing that: “Sleeves became voluminous, and the arm opening dropped off the natural shoulderline emphasizing long necks and long, cascading hair. The tailor’s shop mural (Fig. Style in men's and women's footwear was the same in this period. Under Henry VII in England, men wore: “very short doublets, open-necked shirts, tight, often parti-coloured trunk hose” (Boucher 242) – not unlike the fashion in the French murals just described. Bertelli, Pietro. Cranach (Fig. In France, England, and the Low Countries, black hoods with veils at the back were worn over linen undercaps that allowed the front hair (parted in the middle) to show. Leonardo da Vinci’s Mona Lisa (Fig. For women, fashion was simple but made attractive. Arthur, Prince of Wales (1486-1502), ca. 1508–1512 – Michelangelo paints the Sistine Chapel ceiling. 6 essential time management skills and techniques 4 – painted in 18th century depicting c. 1525. Limewood; 94 x 51 cm. In the standalone portrait, her black kirtle with gold lace trim is visible beneath her red gown and the kirtle’s narrow sleeves, also edged in gold, emerge from her gown’s fur-lined cuffs (her white chemise cuffs are also visible). Rodini, Elizabeth, Elissa Weaver, and Kristen Ina Grimes. She wears the same hood and necklace in another illuminated manuscript page (Fig. Sleeves were puffed and slashed, or elaborately cuffed. However, towns grew larger and more important. 1500–1550 in fashion. [7] Small geometric patterns appeared early in the period and, in England, evolved into the elaborate patterns associated with the flowering of blackwork embroidery. 1500-1560s – Men begin layering clothes to give bulk and width, especially at the shoulders, creating a square outline. Interests include nineteenth- and twentieth-century Art and literature, visual and material,. 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