Early Modern Fashion

 

Overview

Women's Fashion

Men's Fashion

Class Differences

Consumerism: Fashion & Print Culture

Sources

 

 

Overview of the Time

The early modern period produced many significant contributions to the modern day world. It was characterized by many political upheavals and consequent restorations, particularly in Europe. Furthermore, the concept of the nation state was on the rise, along with secularizing the poitical sphere. Alsong with such developments, came the advent of capitalist economies and mercantilism. In addition, print culture developed and a "pubic sphere" of reasoning was born (Habermas). Society all over Europe began to change as a result of these new developments in several ways. Needless to say, the fashion world evolved right along with everything else.

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Women's Fashion

During the 17th and 18th centuries, women, especially members of the court and upper classes, took full advantage of emerging textile industry and the luxoriuous imports from France.

Formal Gowns

In the early 1600s, women wore formal gowns with many layers and tight, constricting boned bodices and stiff sleeves. The bodices forced women to stand with correct posture. These gowns—usually worn by upper class women—also had full skirts with elaborate gathers of fabric. The elbow length sleeves of the gowns were trimmed with lace, frills, or ruffles. Members of the court, for example Queen Catherine, wore stiff front bodices and skirts with long trains which were worn over striped, brocaded, or patterned petticoats.

 

Various bodices of the 17th century

Work Wear

In the 1670's the style became slightly looser when the separate pieces of the bodice, skirt, and petticoat were replaced by the mantua, a one piece gown that was belted at the waist and fit smoothly. Casual mantuas were worn by lower class women, and were made of inexpensive, lower quality fabric and had less elaborate detailing.

 

Popular Accessories

Elbow length gloves usually made of animal skin for the upper classes, pearl jewelry, and fans imported from France. Hats were also worn on a daily basis, although the style varied according to the occasion. Wide-brimmed hats and scarves were usually worn by lower class women and luxury caps and bonnets were worn by richer women.
 

 

Shoes

Latchet shoes were worn by the lower classes which were very plain and practical and looked similar to men’s work shoes. Upper class women wore shoes with high, curved heels and a pointer toe and intricate detailing. Formal shoes were often made from silk brocade fabric and trimmed with lace or silk braiding.

 

Hairstyles

During the 18th century, fashionable hair included anything extreme and very high. The upper classes usually wore high wigs adorned with masses of curls and even decorative objects, such as flowers and vines, that represented special occasions. Until the 1780’s women often covered their wigs or real hair with snowy white powder.

 

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Men's Fashion

While male fashion throughout the 18th century seemed rather tame, compared to female frills and pleasures, there were significant changes from head to toe.

Hair and Headgear

The Tricorne

The name stems from its triangular shape.

The point normally faced toward the front.

The tricorne hat first became popular in the late 17th century and continued to be worn throughout the 1700s. Styles varied based on brim size and looping, along with decorative trim, such as gold or silver lacing, or feathers, along the brim.

It was worn in both civilian life, as well as naval/military uniforms.

 

Wigs

Wigs were highly favorable until the end of the 18th century.

There were several types of wigs, including:

- the tie wig: full hair of the wig is drawn back from the face and tied in back, then is braided and ribboned

- the bagwig: wig hair was worn as long pigtail looped up into a silken bag

The 1770s marked a trend toward men using their own hair, but still dressed it as a wig.

During the 1790s, men usually gave up on powdering or ornamenting their hair; it was simply tied at the nape of the neck.

 

Coats

During the first half of the 1700s, coats were knee length and full in the skirt. In the latter half, the corners of the coats cut away diagonally, to give a backswept appearance. This developed into a swallow tailed frock coat which is now memorialized in today's "tails". Sleeves gradually became longer and cuffs were less conspicuous. Furthermore, the collars became higher and more prominent. It seems that as the 18th century progressed, men's fashion became more plain and sober.

Waistcoats/vests were worn under the coats. Throughout the century, these vests developed lapels, became shorter, and even sleeveless. However, some ornamentation was retained throughout the century, as jabots (ruffles or frills) often cascaded down shirt fronts.

Pants

Breeches, or culottes, became more important throughout the century as coat lines slanted backward.

They were very tight, and toward the beginning of the century, were worn with stockings with garters.

The middle of the century marked a trend toward longer breeches that covered the stockings and embellishments. This look becomes the pioneer to the modern day suit.

At the end of the 1780s, tight pantaloons began to replace breeches.

Shoes

At first, leather shoes adorned with buckles were worn with leather or wool stockings.

Elites wore black toed, square shoes with a red heel that was originally adopted for court occasions.

Boots were worn for riding or military combat. The jackboot became popular, as it flared out at the top. Now, jackboots are associated with totalitarianism, yet had no such connection in the 18th century.

The later part of the 1700s showed a rise in tight, calf length boots of soft leather.

 

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Class Differences

One of the effects of a stratified society in England during the Early Modern Period was a recurring belief that clothing had to be regulated according to class. During this period high fashion was usually defined by law as being only for the upper classes. This means that the privilege of participating in the market culture and economy of trading luxurious fabrics and imports was reserved for the Royal family and the rich, upper classes. An exception was the merchant class, who were largely responsible for the trade which made up much of England’s economy and wealth. The Sumptuary Legislation began in the 14th century and lasted until the early 17th century and reinforced this class separation. It was intended to protect England’s textile industry and placed taxes on luxury materials—imported gold and silver tissues, fine woven silks and rich furs—making them accessible to only the wealthy members of society. There were also penalties for the misuse of these luxuries by the lower classes. Therefore, these laws divided the population into distinct categories, with detailed descriptions of what should be worn.

 

Style of dress varied between three distinct social groups: The court, the upper class, and the working class

 

Upper Class woman wearing a mantua and holding a fur muff (1720)

 

There was an important second hand market of material and pieces of clothing available to the lower classes, reflecting the costly economy of imported textiles. The cheaper textiles available to the lower classes were usually locally spun in order to make them less expensive.

 

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Consumerism: Fashion & Print Culture

During the 18th century, we see a dramatic increase in consumerism and commercialism in the fashion world, and in print culture as well. We can see direct parallels between the two industries, as they influenced each other greatly. As printing became more popular, so did women's magazines and opinion articles that often commented on fashionable trends in society. While members of the elite class were often kept most up to date in regards to trends, the 1700s marked a change in consumerism, as frequent shifts in style opened the market up to a wider audience and consuming public. New publications helped to push these shifts in clothing much faster, as they focused on the importance of constructing image and identity. However, divisions of society based on age, gender, locality, class, and sexuality were not blurred, as we may think to be the case, but rather re-enforced (see Breward). The focus on visual appearance and aesthetics was perpetuated through publications of the time.
New periodicals, such as The Tatler and The Spectator, perpetuated the commercial stake of fashion in publication by portraying their journals as judges of manner and morals. They helped to show luxury as necessity, which caused readers to feel obligated to keep up with societal expectations and pressures. This created a gender gap in a way, as men were encouraged to dress fashionably in the business world, while women were portrayed as vapid and weak (see Maurer). This created a dichotomy for females, as they were pressured to stay fashionably current, yet often criticized by men for doing so (i.e. Swift's "The Lady's Dressing Room"). Print culture greatly influenced consumer culture and created gender stereotypes in ways that had previously not existed.

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Sources

Images

http://www.englishcountrydancing.org/clothing.html

http://www.rarenewspapers.com/viewissue.aspx?ID=120488

http://en.wikipedia.org/wiki/1700-1750_in_fashion

http://www.answers.com/topic/joseph-addison

http://costumes.org/history/100pages/17thlinks.htm

 

Information

Breward, Christopher.  The Culture of Fashion: A New History of Fashionable Dress
     Manchester University Press: 1995, 109-144.  UCSB Library Call Number GT 511 B74 (1995).

     Gorsline, Douglas.  What People Wore.  The Viking Press: 1952, 97-126.  UCSB Call Number GT 513 G6.

Mackie, Erin. Market á La Mode: Fashion, Commodity, and Gender in The Tatler and The
Spectator. The John Hopkins University Press, 1997. PR925.M26

Maurer, Shawn Lisa.  “Designing Women: The Fabric of Gender Politics in the Tatler
     and Spectator Papers,” The Clothes that Wear Us. Jessica Munns and Penny Richards,
     Ed.  University of Delaware Press: 1999, 208-229.  UCSB Library Call Number PN
     56 C684 C58 (1999).

Ribeiro, Aileen. The Visual History of Costume. Costume and Fashion Press, 1989.

 

 

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