The silhouettes of the seventeenth century.

THE SILHOUETTES OF THE SEVENTEENTH CENTURY

The disappearance of the hoop in the early years of the seventeenth century caused a change in the outline of the costume worn by the woman of fashion. Its influence, however, was still apparent in the drapery and puffing of the overskirt at the hips. The corset remained in fashion as did the fitted bodice, the waistline of which was somewhat pointed in front or, in some cases, raised slightly above the normal position and straight. Over the rather even, round length, underskirt was worn an overskirt which was open in front, its fullness falling in long, graceful folds, or arranged in draperies at the sides. This overdress was frequently very long and trailing.

The neckline of the early seventeenth century bodice was usually round and finished with a wide collar, either flat or wired to stand away from the head, With the long, full, slashed sleeves were worn the turned-back cuffs, lace-edged to repeat the decoration of the collar.

In the latter part of the century, during the reign of Louis XIV (1643-1715), there was greater elaboration of detail in costume, while the general lines remained unchanged. The sleeves decreased in fullness and length, reaching to the elbow, and were finished with soft ruffles. The large collar and cuffs of the earlier years disappeared, while the neckline, as a rule, adhered more closely to the neck at the sides than formerly.

The passing of the ruff from the realm of fashion permitted a low dressing of the hair, which was knotted in the back and worn in soft curls about the face until 1680 when the elaborate coiffure à la Fontage became the favourite of the fashionable world.

The materials of the seventeenth century were exceedingly rich and decorative. Heavy satins, brocades, and velvets, as well as handsome transparent fabrics added to the effectiveness of the costume.

QUESTIONS

1. Make a study of the portraits of the seventeenth century; then cut in muslin, or other practice material, several collars similar in line to those in the portraits and try the collars on various classmates. Note what effect the falling, broad collar has on a person with:
   a. Square shoulders.
   b. Sloping shoulders.
   c. A long, slender neck.
   d. Hair dressed high on the head.
2. Compare the collars and cuffs of the Puritans of New England, with those worn by the French and English at this time.
3. Make a collection of samples of materials, which would be suitable for use in obtaining silhouettes, similar to those in Figs. 8 and 9.

Costume silhouettes by Mary Evans. Philadelphia, J.B. Lippincott Company 1923.

Continuing

The introduction of the vertugale. Costume silhouettes.

16th century costume and fashion history. European renaissance.

The hoop skirt and its development within the history of costumes.

Woman’s dress. Fashion in Europe 16th & 17th century. Ruffs. Hairstyles.

Shoe fashion of authentic specimens. Ladies’ old-fashioned shoes 1885.

The Fontange. Female costumes under the reign of Louis XIV.

Album of historical hairstyles. Album de coiffures historiques par E. Nissy.

Fashion under the Reign of Francis I. 1515 to 1545. French Renaissance.

Woman’s dress. Fashion in Europe 16th & 17th century. Ruffs. Hairstyles.

The costumes of the aristocracy. The kings of fashion. France 17th century.

The Corset and the Crinoline: A Book of Modes and Costumes.

Reign Louis XIV. French fashion history. 1643 to 1715.

Italian Lace History. Reference List of Italian Laces.

On the history of costumes. The Munich Picture Gallery 1848 to 1898.

Transport wagons, coaches and carriages in 16th and 17th century.