The "Cavalier" style of dress became popular during the early part of the Baroque period. This style marked a distinct change from the fashions of the prior age. Starched, stiff fabrics were replaced with natural satins and silks. Trimmings were simple and confined to buttons, buttonholes, and lace. Women's bodice necklines were cut wide and square, and waistlines heightened. By 1630, sleeves became full and draped softly below the elbow, revealing the wearer's lower arm for the first time in centuries.
As can be expected, ladies' fashion also lost much of its stiffness. Hoop skirts were replaced by voluminous layers of petticoats; corsets lost some of their stiffness - for a while. The low and wide neckline was framed by full, even puffed sleeves. The fact that the upper half of the breast was visible led to much exasperation among the moralists, but the neckline travelled even deeper and became wider, oval.
Two countries did not quite follow that fashion: On one hand, the Dutch and Flemish who, sticking to protestant severity, went on wearing black and huge, circular collar ruffs. Spanish influence probably played a role as the Netherlands freed themselves from Spanish rule only in 1648, Flanders even later.
On the other hand, the Spanish themselves remained attached to stiffness and even increased it by wearig even larger, wide hoop skirts. Velázquez' paintings evokes the impression of absolute control of the shape, even over the hair.
The Fashion Years of
1630 - 1660
The thirty years from 1630 to 1660, the female silhouette completely changed from the 1630's high waisted gown to the 1660's slender, long waisted waistlines. Gowns of this time frame were made with bodices and skirts attached at the waistline and it was slightly elevated. Gowns opened in the front center. The outer layer was worn over the underbodice which was a boned garment that had a V-shaped section called a stomacher at the front. The stomacher filled in the upper part of the gown. The sleeves were very full on gowns and fashionable jackets. Sleeves were paned which puffed them out. The bodice necklines were low, some were V-shaped and some square-shaped and others were horizontal in shape. Stiff ruffs had been replaced with falling ruffs, gathered collars tied under the chin. The horizontal necklines were edged with a wide, flat collar. Another thing that was seen at this time were large neckerchiefs.
The Fashion Years of
1660 - 1680
During these twenty years, gowns had changed considerably in the shaping and silhouette of the women's body. Bodices were lengthened and narrowed so that the gown became long-waisted and more slender with the extended V-shaped point at the front. Necklines were still low as in the last thrity years but they changed to become wide, horizontal or oval and were frequently edged with a white lace collar or band of linen called a whisk. Sleeves were sewn low on the shoulder while opening into a full ruff that ended below the elbow.
The ladies of the French court during the 1650;s and 1660's were looking towards Holland for advice in fashion, even though the petticoat breeches were still fashionable. It also seems that the female fashion was more restricted in its lavishness and even ridicule regarding the decorations, ribbons and such, than the male fashion. The motto: "less is more" was present with the male fashions of this time were very elegant while being less extravagant and
rather simple.
The upper skirts extended into a train just like during the middle ages where the length of the train denoted the rank at the French court. The waistline became extremely small and a woman was only satisfied when she could span her own hands around her waist. The corset looked similar to what it did in the late 16th century at the time of high fashion in Spain. The corset was very long in front, ending in the middle in an extended piece. This extended piece was very rigid which was achieved with "Baleen"(whalebone.) The fashion was different though in the French court than from earlier Spanish fashions with the silhouettes and the garments were no longer concealing the figure and body of the female. These garments were made to accentuate the beauty of the female figure.
The Fashion Years of
1680 - 1700
The features of the gown were evolved during the time period of the 1660s to the 1680s. The features that described these gowns were the neckline revealed less bosom and became more square, which it was documented, a result of Madame de Maintenon's influence on the French court and their king, Louis XIV. She was quite conservative and religious so this may explain the changes in the gowns. Corsets were now visible at the front of the bodice. It was heavily decorated and ended in a pronounced V at the waistline. Stomachers were separated and could be tied or pinned to the front of the corset, which this would vary the appearance of the gown.
A new dress emerged at this time as well. This dress was know as a Mantua or Manteau. This meant the bodice and skirt were not being cut as seperate pieces but as one piece from shoulder to hem. Cut to fall in back and front and worn over a corset, an undershirt and a chemise. When it was for casual wear, it was loose but when it was for formal wear; it was pleated to fit the body at the front, back and it was also belted. The skirt edges in the front were pulled back and fastened so it would have a draped appearance. The corset was now meant to accentuate the curves of the female body and gained more importance. The bodice was usually held together at the waist and the gap in front was filled in with a stomacher as it all perfectly fitted the corset. A corset could be worn with a bodice and in this case, sleeves would be directly laced onto and fastened to the corset. This was usually made of exquisite fabrics and was decorated usually with ribbons. Many of the corsets of this time had their own stomacher with several rows of ribbon bows called Enchelles, which became bigger from the waist up to the decollete', such as steps of a ladder. The decollete' was an important factor as well since it wasn't hidden any longer underneath the tight lacing of the 16th century. First cutting was an oval and then later on was cut almost straight. The lace collar which had been used as a cover over the decollete' was now out of fashion. The collar was not to come back into female fashion for a long time.
Sleeves became shorter, reaching only to the elbow. Since the decollete' was cut lower and sleeves became shorter, the chemises became important. The necklines were decorated with lace as were the sleeves. Laces flowed around the lower arms. But in France, when Louis XIV grew old and went more under the influence of his mistress or even his wife, the decollete' was higher again, became smaller, the sleeves lengthened sometimes down below the elbows, with the lavish lace ruffles covering most of the rest of the arm.
The skirts of Louis' court were designed for representation. Robe or Manteua ended in a train, and as mentioned before the length of this train was determined by rank in the court. In an edict from 1710, there is a clear description of this. For example: the train of the Queen of France was eleven feet long while those of the Princesses were nine feet long. Further relations were allowed seven feet. For the Princesses that were not daughters of the King were five feet in length and Duchesses were allowed three feet. The ladies' dresses were made of heavy fabric such as silks, brocades and velvets. They were of bright colours and in the beginning, plain and later on, patterned especially with striped and/or flower patterns. They still accentuated the women's figure with the upper skirt slitted in the front and draped back. In the 1670's, this drapery was held gravefully with one arm or by a young page, soon to be fastened.
During the 1660's black lace became fashionable as was mainly used for winter garments, hence the name "winter lace." Also at this time, the coat was, for the most part, completely absent from women's fashion, especially since the upper skirt was lined and provided protection against the cold. Only a large shawl, a short cloak or a large fur round-shaped collar was worn during winter months. Gloves were worn to the elbow to protect the lower arms that were not covered.
References
Arnold, Janet. _A Handbook of Costume._ London: Macmillan, 1973
Arnold, Janet. "Dashing Amazons: the Development of Women's Riding Dress, c. 1500-1900." in: Defining Dress: Dress as Object, Meaning and Identity. de la Haye, Amy; Wilson, Elizabeth. (Eds.) Manchester: Manchester University Press, 1999.
Arnold, Janet. _Patterns of Fashion 1: Englishwomen's dresses & their construction c. 1660-1860_ London., 1973
Arthur, Liz. _Embroidery 1600-1700 at the Burrell Collection._ Glasgow: Glasgow Museum, 1995
Cumming, Valerie. _Exploring Costume History 1500-1900._ London: Batsford, 1981.
Cunnington, Willet C.; Cunnington, Phillis. _Handbook of English Costume in the Seventeenth Century._ London: Faber and Faber, 1955.
Ewing, Elizabeth. _Everyday Dress 1650-1900._ London: Batsford, 1984
Waugh, Norah. _Corsets and Crinolines_ New York., 1954. Reprinted in 2000 &2004.
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