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Dress Design: An Account of Costume for Artists and Dressmakers

<h2>CHAPTER V</h2> <h3>SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.</h3> Before the 16th century we find the art of decoration in costume had been confined chiefly to applied ornamental bands at the neck, waist, and borders of skirt and cloak. They had up till this time utilised, with great artistry of design (no doubt partly due to the heraldic study), the patterns of the finely decorated damasks and velvets. The counter colour effects and relative proportions, such as a small-patterned, dull-coloured silk setting off a large full-coloured design was ably considered, as well as the introduction of a nicely-balanced black note or setting, which proved these designers were highly skilled in judgment of style. They also discovered the art of giving enrichment and lightness to the effect by means of the various serrated edgings to the materials, which also gave a flutter to the movement. A preference of lacing for fastening added to the charm of the dress, but the long rows of close buttons were also a feature of the clinging robes, the clasps and brooches, neck-chains, girdle, belt, and wallet being further very important items of enrichment to the effect. On coming to the 16th century we enter what may be termed the slashed and puffed period. The sleeves of Henry VIII's reign are very rich in design and jewel-setting, the design of the sleeve as in Fig. 40 giving a striking effect, the angle of the top sleeve being held out by the stiffness of the under silk one. The neck-setting and festooning of the jewel-chains play an important part in the design on the plain velvet corset bodices. The head-dress is one of the most remarkable, and gave a great chance for individual arrangement in binding the back fall to set at various angles on the shaped cap piece, combining severity with a big loose draping which is extremely picturesque. With Edward VI commences what may be termed the braided period of decoration. This latter came suitably with the stiffer corsage and set up. Mary's reign was not of attractive severity, but the over-robe with the short circular sleeve at the shoulder and high collar was a graceful creation, and was retained by many as late as 1630. There was little to admire in the Elizabethan age as regards design, except the beauty of the materials and the exquisite needlework. The proportions of the dresses were exceedingly ugly, and the pleated farthingale an absurdity. The male dress had much interest and often beauty of setting and decorative effect. The slashed materials gave a broken quality to what would otherwise be a hard effect, and it also cleverly introduced another colour change through the suit. There will be found many examples in these illustrations of the pricked and punctured designs on leather-work which are worth examining for modern treatment. Quilting and pleating were ably combined with the braiding, and we see the clever adaptation of straw patterns sewn on (a feature of the late 16th century), which harmonised with the gold braidings or gold lace, or resembled the same effect. The trimmings of braid were often enriched with precious or ornamental stones and pearls, the stomacher, waist, front band down the skirt, and borders of most garments. The points of slashes were often held by jewelled settings, and the long slashes were caught here and there with the same. Another important item was the black stitchwork on linen, sometimes mingled with gold, so highly prized now for its beauty of design and effect, but beginning probably in the reign of Henry VII. Short coats of this type of the Elizabethan age are marvels of skill, and many caps are still in existence. Fine linen ruffs and collars were often edged with this work, as well as with gold lace. Jackets and caps, both male and female, bearing geometrical and scroll designs in gold, filled in with coloured needlework of flowers, birds, or animals have happily been preserved for our admiration. Sequins appear on work from Henry VIII's time, and were much appreciated by the Elizabethan workers, who no doubt found the trembling glitter added much to the gold-lace settings and delicate veilings: long pear-shaped sequins were favoured for this. Sleeves were often separate, and could be changed at will. <h3>SIXTEENTH CENTURY. HENRY VIII. FEMALE.</h3> The hair at this period was parted in the centre and gathered into a plait at the back; it was also seen rather full and waved at the sides of the head, and a small circlet was often carried across the brow. A cap of velvet or gold brocade, sometimes with a padded front, curved over the ears to the neck, keeping the shape of the head. Over this again a velvet fall was turned back from the front or shaped as in the illustration, reaching to the shoulder. These falls were also bound into set-out shapes, which gave many picturesque effects. Dress had now taken a new phase, and the set bodice became a lasting feature. At this period the waist was rather short, and the neck, arranged in a low square or round form, generally filled in with gathered lawn. The upper part of the sleeve was often divided from the bodice by ties with lawn puffs, and was made in a full circular form, slashed or puffed and banded, with a tight-fitting sleeve on the forearm. Another type divided the upper and lower part of the arm at the shoulder and elbow, the forearm being effectively tied or laced, and the under lawn sleeve pulled through; small slashings are also seen on these. At times a bell-shaped sleeve was worn, showing a slashed or puffed under one. Many dresses were still cut in one, and were often high-necked; with these usually a girdle or band of drapery was worn, and some skirts opened up the front, showing a rich underskirt. <div class="figcenter"> <ANTIMG src="images/fig040.png" width-obs="444" height-obs="614" alt="See caption" title="See caption" /> Fig. 40.—Sixteenth century, 2nd quarter. </div> <div class="figcenter"> <ANTIMG src="images/fig041.png" width-obs="460" height-obs="600" alt="See caption" title="See caption" /> Fig. 41.—Period Henry VIII. </div> Full skirts, heavily pleated at the waist, were worn in the earlier part of this reign, banded in varying widths of designs to about the knee; but a new development was in progress—a stiff, bell-shaped dress, set on hoops over a rich underskirt which usually bore a jewelled band down the centre, the upper one being divided in front to display this feature. The bodice with this type becomes longer in the waist, and was made on a stiff corset. Gloves are occasionally seen, serrated at the cuff-end. Shoes of the slashed character and square toes were also worn by the ladies, but many preferred a shoe with a moderately rounded toe. The first mention of a leather umbrella is 1611, but this is a rare instance, as they were not in use till the 18th century here, though they are noted in continental prints during the 17th century. <div class="figcenter"> <ANTIMG src="images/fig042.png" width-obs="452" height-obs="599" alt="See caption" title="See caption" /> Fig. 42.—Sixteenth-century modes, 1st half Henry VIII. </div> <h3>SIXTEENTH CENTURY. HENRY VIII. MALE.</h3> The modes at the end of the last century now developed into a heavier character of design. The long hair soon began to be closely cut, and a short beard came into fashion. A flat type of hat was worn, with serrated brim, or tabs which could be turned down at times, and others were kept in place by a lacing cord through holes. There was also a flat "Tam o' Shanter" shape, generally worn well tilted on one side, and amongst the upper classes mostly adorned with feathers. The V-shaped collar, or opening to the belt, was still retained on the jerkin, and plain or pleated skirts are seen, also a square close-fitting vest, with a low square neck, filled with gathered lawn, or one with a high neck and short collar, on which a very small ruff appeared for the first time, and at the wrist as well. These were now decorated with long slashes or gathered puffs: heraldic design was still seen on the breast, and even parti-colour was worn, but this character was now treated more by decorating with coloured bands on the tunics or tights. <div class="figcenter"> <ANTIMG src="images/plate10thumb.jpg" width-obs="235" height-obs="403" alt="See caption" title="See caption" /> larger image Plate X. <ul class="left"> <li>(a) Black Velvet Bodice. 1600-25. Pattern, see p. 292.</li> <li>(b) Five Embroidered Waistcoats. Between 1690 and 1800.</li> </ul></div> <div class="figcenter"> <ANTIMG src="images/fig043.png" width-obs="758" height-obs="416" alt="See caption" title="See caption" /> Fig. 43.—Period Henry VIII. </div> <div class="figcenter"> <ANTIMG src="images/fig044.png" width-obs="436" height-obs="582" alt="See caption" title="See caption" /> Fig. 44.—Cap shapes. Period Henry VIII. </div> <div class="figcenter"> <ANTIMG src="images/fig045.png" width-obs="450" height-obs="559" alt="See caption" title="See caption" /> Fig. 45.—Variety of shapes and slashing. Henry VIII. </div> Long coats were still worn of the shape described at the end of the 15th century, but a short surcoat was the mode, reaching just below the knee, sleeveless, or with the various hanging sleeves of this period, the fronts usually turned back to form a wide collar, either round or square in shape on the shoulder, or at times falling to a deep square at the back. The sleeves were full in the upper part, tightening to the wrist, sometimes open up to the elbow and laced, or they were pleated into a full round shape at the shoulder. Puffs and slashings increased in these designs, and by 1520 we find the sleeves mostly divided into puffed and slashed forms, which grew to fantastic proportions. Very short, tight breeches or trunks, with a front flap or codpiece, were decorated to match the body design and colour schemes; they increased in length to the knee, or just below, during this reign, and usually finished in a serrated roll. <div class="figcenter"> <ANTIMG src="images/plate11thumb.jpg" width-obs="402" height-obs="271" alt="See caption" title="See caption" /> larger image Plate XI.—16 Leather Boots and Shoes. Between 1535 and 1860. <ol> <li>1740-1780.</li> <li>1535-1550.</li> <li>1680-1700.</li> <li>1645-1690.</li> <li>1665-1685.</li> <li>1690-1710.</li> <li>1845-1860.</li> <li>1790-1820.</li> <li>1665-1670.</li> <li>1800-1820.</li> <li>1820-1840.</li> <li>1820-1840.</li> <li>1815-1850.</li> <li>1760-1780.</li> <li>1650-1670.</li> <li>1630-1660.</li> </ol></div> <div class="figcenter"> <ANTIMG src="images/fig046.png" width-obs="460" height-obs="747" alt="See caption" title="See caption" /> Fig. 46.—Footwear, 1510-1540. </div> Shoes were of the square form, some very short in front, held on by a strap across the instep, others with fronts to the instep. The corners were often brought out to a point on each side of the toes, and the mode of decorating with slashing and punctures made them very interesting. The sides of these shoes are very low, from ¾ to 1 inch, and no heels are seen. A big, round shape was also favoured, which increased in width till a proclamation forbade it exceeding 6 inches. Chains were still a decorative feature round the neck, and the belt carried a sword and pouch, or, amongst the working classes, other necessities. <div style="break-after:column;"></div>

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