Ideas for Female Pirate Costumes

Transcription

1 Ideas for Female Pirate Costumes

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9 Historical Period Dress Examples from the 17 th Century Fashion in the period in Western European clothing is characterised by rapid change. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion. Overview The wide, high-waisted look of the previous period was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder. Full, loose sleeves ended just below the elbow at mid century and became longer and tighter in keeping with the new trend. The body was tightly corseted, with a low, broad neckline and dropped shoulder. In later decades, the overskirt was drawn back and pinned up to display the petticoat, which was heavily decorated. Spanish court fashion remained out of step with the fashions that arose in France and England, and prosperous Holland also retained its own modest fashions, especially in headdress and hairstyles, as it had retained the ruff in the previous period. Romantic negligence A daring new fashion arose for having one's portrait painted in undress, wearing a loosely fastened gown called a nightgown over a voluminous chemise, with tousled curls. The style is epitomized by the portraits of Peter Lely, which derive from the romanticized style originated by Anthony van Dyck in the 1630s. The clothing in these portraits is not representative of what was worn on the street or at court. Mantua The mantua or manteau was a new fashion that arose in the 1680s. Instead of a bodice and skirt cut separately, the mantua hung from the shoulders to the floor (in the manner of dresses of earlier periods) started off as the female version of the men's Banyan, worn for 'undress' wear. Gradually it developed into a draped and pleated dress and eventually evolved into a dress worn looped and draped up over a contrasting petticoat and a stomacher. The mantua-and-stomacher resulted in a high, square neckline in contrast to the broad, off-the-shoulder neckline previously in fashion. The new look was both more modest and covered-up than previous fashions and decidedly fussy, with

10 bows, frills, ribbons, and other trim, but the short string of pearls and pearl earrings or eardrops worn since the 1630s remained popular. The mantua, made from a single length of fabric pleated to fit with a long train, was ideal for showing the designs of the new elaborately patterned silks that replaced the solid-coloured satins popular in mid-century. Hunting and riding dress In a June 1666 diary entry, Samuel Pepys describes the Maids of Honour in their riding habits of mannish coats, doublets, hats, and periwigs, "so that, only for a long petticoat dragging under their men's coats, nobody could take them for women in any point whatever". For riding side-saddle, the costume had a long, trailing petticoat or skirt. This would be looped up or replaced by an anklelength skirt for shooting or walking. Hairstyles and headgear Early in the period, hair was worn in a bun at the back of the head with a cluster of curls framing the face. The curls grew more elaborate through the 1650s, then longer, until curls were hanging gracefully on the shoulder. In the 1680s hair was parted in the centre with height over the temples, and by the 1690s hair was un-parted, with rows of curls stacked high over the forehead. This hairstyle was often topped with a fontange, a frilly cap of lace wired to stand in vertical tiers with streamers to either side, named for a mistress of the French King. This was popular from the 1690s to the first few years of the 18th century.

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