1400–1500 in European fashion

425: 1965: 760: 1341: 1776:, was the characteristic overgarment of the wealthy in the first half of the 15th century. It was essentially a robe with fullness falling from the shoulders in organ-pipe pleats and very full sleeves often reaching to the floor with, in the beginning of the 15th century then at the start of the 16th century, a high collar. The houppelande could be lined in fur, and the hem and sleeves might be dagged or cut into scallops. It was initially often worn belted. The length of the garment shortened from around the ankle to above the knee over this period. The floor-length sleeves were later wrist-length but very full, forming a bag or sack sleeve, or were worn off the arm, hanging ornamentally behind. This style of sleeve appeared towards the 1430s and it is at this time, that in French, the term "houppelande" gets replaced by the word "robe" or gown. A side-less and sleeveless houppelande, called a 1195: 1281: 772: 2203: 2179: 2879: 2429: 886: 1953: 2441: 1479: 22: 1491: 2013: 1087: 904: 922: 1509: 694: 70: 2113: 1527: 2025: 1935: 2137: 748: 706: 940: 2489: 2501: 1153: 1141: 1545: 2302: 1923: 1371: 682: 2477: 970: 958: 2338: 393: 1557: 724: 2453: 373: 148: 1293: 1183: 1983: 2149: 1323: 1455: 2284: 1467: 1129: 4209: 2001: 2405: 1911: 1647: 2326: 2314: 1750: 1663: 982: 736: 1305: 1099: 2465: 1075: 2161: 2191: 1359: 620:, a cone or truncated-cone shaped cap with a wire frame covered in fabric and topped by a floating veil. Later hennins featured a turned-back brim, or were worn over a hood with a turned-back brim. Towards the end of the 15th century women's head-dresses became smaller, more convenient, and less picturesque. The gable hood, a stiff and elaborate head-dress, emerged around 1480 and was popular among elder ladies up until the mid-16th century. 2417: 784: 1655: 520:, a separate item to fill in a low neckline, appeared in this period, usually of sheer fabric (linen or possibly silk) with an open V-neckline. Some partlets had a collar and a back similar to the upper part of a shirt. Burgundian partlets were usually depicted worn under the dress (but over the kirtle); in Italy the partlet seems to have been worn over the dress and could be pointed or cut straight across at the lower front. 1111: 1165: 2125: 469:. This style faded rapidly from fashion in favor of the houppelande, a full robe with a high collar and wide sleeves that had become fashionable around 1380 and remained so to mid-15th century. The later houppelande had sleeves that were snug at the wrist, making a full "bag" sleeve. The bag sleeve was sometimes slashed in the front to allow the lower arm to reach through. 2899: 2892:; the motif was also taken up by Ottoman weavers in Bursa and Istanbul on a grand scale during the fifteenth century. Splendid pomegranate textiles had place of pride in Italy's silk cities of Florence, Genoa, and Venice, as well as in Spain's Valencia and Seville. This constitutes another example of the pan-Mediterranean fusion 1596:, a skirt stiffened with reeds set in casings, that would spread to Italy briefly in the 1480s and '90s, and to France and England in the 16th century. The flaring chemise sleeves of striped or embroidered fabric are uniquely Spanish at this time, but the small cap and wrapped braid of hair are common to both Spain and Italy. 1692:) began to be full through the body and sleeves with wide, low necklines; the sleeves were pulled through the slashings or piecing of the doublet sleeves to make puffs, especially at the elbow and the back of the arm. As the cut of doublets revealed more fabric, wealthy men's shirts were often decorated with 480:. Wide turn-backs like revers displayed a contrasting lining, frequently of fur or black velvet, and the sleeves might be cuffed to match. Sleeves were very long, covering half of the hand, and often highly decorated with embroidery. Fine sleeves were often transferred from one dress to another. The term 1703:. From around the mid-15th century very tight-fitting doublets, tailored to be tight at the waist, giving in effect a short skirt below, were fashionable. Sleeves were generally full, even puffy, and when worn with a large chaperon, the look was extremely stylish, but very top-heavy. Very form-fitting 2388:

Children's clothing during the Italian Renaissance reflected that of their parents. In other words, kids dressed exactly like the adults and looked like miniature versions of them. As babies and toddlers, children were all put in dresses to make the potty training process easier for parents or maids.

263:

Towards the end of the 14th century, Italian silk and velvet manufacturers were applying their advanced weaving skills to achieve ever more complex designs. By the 15th century, they were creating bold and intricate variations on an undulating "pomegranate pattern" (a name applied later, to encompass

324:

nobles and used the scraps to patch their tattered clothes. In reality, images appear of sleeves with a single slashed opening as early as the mid-15th century, although the German fashion for "many small all-over slits" may have begun here. Whatever its origin, the fad for multiple slashings spread

1795:

The middle of the 15th century in Burgundy saw what seems to have been the earliest occurrence of the male fashion for dressing all in black, which was to reappear so strongly in the "Spanish" style of the mid-16th–17th century and again in the 19th–20th centuries. This was apparently begun by Duke

1626:

in her crown wears a gown with long hanging sleeves over pieced and jewelled undersleeves and a gold brocade kirtle. Her companion (probably her daughter Juana or Joanna) wears undersleeves fastened up the back over full chemise sleeves. Her red gown is open from the waist down in back and has very

636:

The general European convention of completely covering married women's hair was not accepted in warmer Italy. Italian women wore their hair very long, wound with ribbons or braided, and twisted up into knots of various shapes with the ends hanging free. The hair was then covered with sheer veils or

512:

was worn with the gamurra or cotta. Toward the end of the period, sleeves were made in sections or panels and slashed, allowing the full chemise sleeves below to be pulled through in puffs along the arm, at the shoulder, and at the elbow. This was the beginning of the fashion for puffed and slashed

84:

As Europe continued to grow more prosperous, the urban middle classes, skilled workers, began to wear more complex clothes that followed, at a distance, the fashions set by the elites. It is in this time period that fashion took on a temporal aspect. People could now be dated by their clothes, and

1791:

These houppelandes, giorneas and gowns were pleated thanks to different techniques but the most common ones were using a fabric ring and fastening the gown to it in a way that pleated the garment and adding a layer of interlining (either densely woven linen or low-quality fulled wool) which would

311:

Slashing is a decorative technique that involved making small cuts on the outer fabric of a garment in order to reveal the sometimes brightly colored inner garment or lining. It was performed on all varieties of clothing, both men's and women's. Contemporary chroniclers identify the source of the

138:

prevented the citizens from wearing the most luxurious cloths on which the city's fortunes were built, the materials of men's clothing in particular often appear plain in paintings, but contemporaries who understood the difference in grades of cloth very well would have appreciated the beauty and

2267:'s self-portrait shows the influence of Italian fashion: His low-necked shirt or chemise of fine linen, gathered and trimmed with a band of gold braid or embroidery, is worn under an open-fronted doublet and a cloak tied over one shoulder. His hair is worn long, under a draped pointed hat with a 1842:

In mid-15th century, a bowl haircut with the hair shaved at the back of the neck was stylish. In Germany, and briefly in Venice, a wide shock of frizzy blond hair was often seen on images of lovers (and angels) in the later part of the 15th century—less often in portraits. By the end of the 15th

1245:

of this period features a striped veil wrapped over an embroidered padded roll with a jewel, worn over a coif tied under the chin. The portion over the brow is probably a matching "forehead cloth" rather than part of the coif. The loose, square-necked gown of figured silk is worn over a black

2681:. The bee-hive hair above the cap should be ignored, and the striping and quilting in the cap are not seen in older photographs and drawings, where it appears flat and made from one piece of cloth. The clothes on the body are original apart from retouched areas. See Hand & Wolff (1986). 1838:

of various styles—tall-crowned with small brims or no brims at all, hats with brims turned up on one side for variations of the coif, or low-crowned with wider brims pulled to a point in front—began to compete with the draped chaperon, especially in Italy and after the 1460s in

2065: 191:

with a velvety nap. High-value broadcloth was a backbone of the English economy and was exported throughout Europe. Wool fabrics were dyed in rich colours, notably reds, greens, golds, blues, and even shades of pink and purple, although the actual blue colour achievable by dyeing with

867:, Duchess of Burgundy, wears an elaborate embroidered and jeweled headdress with a sheer veil. Her gown is made of an artichoke-patterned red velvet on a gold ground, lined with ermine, and laces at the front opening. She wears a sheer linen partlet and a checkered belt, c. 1445–1450. 854: 1435:

wears her hair wrapped in ribbon which is coiled at her ears and covered with a ruched veil. Her black gown is high necked in front and lower at the back, typical of Italian fashion at this time, and is worn with floral sleeves, probably attached to an underdress,

2039:

on the left wears a long figured houppelande with full sleeves lined in fur, while the men of his household wear short solid-coloured houppelandes with parti-coloured or matching hose. Several of the men wear hoods around their necks, and some wear hats. France,

1636:

wears her long hair smoothed over her ears and pulled back into a braid. Her sleeves are tied to her gown, and the chemise beneath is pulled out in puffs between the ribbon ties. The puffs and the lower waist would be important fashion trends in the next

1730:

made out of wool were used to cover the legs, and were generally brightly colored. Early hose sometimes had leather soles and were worn without shoes or boots. Hose were generally tied to the breech belt, or to the breeches themselves, or to a doublet.

2888:, p. 240: "The pomegranate motif had its roots in ancient Mesopotamian iconography as a symbol of life and fertility through its display of a fruit with many seeds. Central Asian textile versions of the pomegranate had reached Europe during the 1036:

wears a truncated cone hennin with a veil draped over the back. The black loop on her forehead is thought to be part of the wire frame that balances the hennin. Her houppelande has a black collar trimmed in white fur and she wears an elaborate

1001:

shows the hair pulled smoothly back from her face and confined in a caul or early hennin beneath a sheer veil. The gown has a wide V-neckline that shows the dark kirtle beneath and is worn with a wide red belt and a sheer partlet at the neck,

1711:/gown was often elaborately pleated. The pleats being achieved by various means. In Italy both shirt and doublet were often high, tight and collarless at the front of the neck; sometimes they are shown higher at the front than the back. 2050:(d. 1419), Duke of Burgundy and father of Philip the Good, wears a fur-lined black houppelande with high neck and dagged sleeves over a red doublet. His bag-shaped hat has a rolled brim and is decorated with a jewel. Early 15th century. 2702:

This is one of several extant copies of a work likely from life, between her marriage in 1464 and the death of her husband in 1483; a brass rubbing dated 1479 with the same style of headdress and neckline is shown in Payne (1965).

653:

for one), and visitors to Venice reported that ladies sat out in the sun on their terraces with their hair spread out around large circular disks worn like hats, attempting to bleach it in the sun. Chemical methods were also used.

582:, had evolved into a mesh of jeweler's work that confined the hair on the sides of the head by the end of the 14th century. Gradually the fullness at the sides of head was pulled up to the temples and became pointed, like horns ( 451:

was replaced by a high-waisted style with fullness over the belly, often confined by a belt. The wide, shallow scooped neckline was replaced by a V-neck, often cut low enough to reveal the decorated front of the kirtle beneath.

355:. As a result, the French nobility were introduced to the new fabrics and styles of Italy, which would combine with German influence to become mainstream fashion of the nobility in France (and later spread to England) in the 1741:

The hose exposed by short tops were, especially in Italy late in the 15th century, often strikingly patterned, parti-coloured (different colours for each leg, or vertically divided), or embroidered. Hose were cut on the

1265: 1428:

of mid-15th century has an obvious waist seam and a skirt pleated to the bodice. The figured undergown has a high front neckline and wide upper sleeves. Her hair is lightly covered with a cap and veil twisted into a

1577:

wears her very long hair in a knot at the back with a tail wrapped in black cord or ribbons. A single braid is studded with pearls, and a long loose lock is looped over the braid. Her neckline is lower and squared,

1421:

in this portrait as the Virgin Mary with her son Galeazzo as the infant Jesus. She is wearing a high-waisted gown of embroidered gold with tight-fitting sleeves. Her blonde hair is partially covered by a long black

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In Italy, the low scoop-neck of the early decades gave way to a neckline that was high in front with a lower V-neck at the back at mid-15th century. This was followed by a V-neckline that displayed the kirtle or

1389: 2691: 864: 2248: 2515:

wear looser robes belted at the waist while younger men wear fashionable short robes fitted through the body and belted at the hip. The higher-ranking figures wear less practical clothes and chaperons,

1227:, Regent of France, in the ceremonial ermine-trimmed sideless surcoat and mantle of royalty, c. 1490s. The small cap worn with her coronet is a new French fashion of the last decade of the 15th century. 590:, sat on the back of the head. Very fashionable women shaved their foreheads and eyebrows. Any of these styles could be topped by a padded roll, sometimes arranged in a heart-shape, or a veil, or both. 873:, Queen consort of Henry VI of England. She is wearing the close-fitting cotehardie with gold buttons and tight gold sleeves. Her red mantel is richly embroidered at the neck and clasped with a brooch. 1209:

is portrayed in contemporary dress of 1480. The low front opening now laces over the kirtle or an inserted panel or plackard, and the gown is draped up to reveal the richer fabric of the kirtle skirt.

1408:

wears a fur-lined red gown with a belt at the high waistline and full slashed sleeves over dark patterned undersleeves gathered to the elbow. Her headdress features a red chaperon, Florence, c. 1440.

2384:, a banker's daughter of Bruges, wears a green dress laced up the front with a single lace over a dark kirtle. Her hair is worn loose under a black cap with a pendant jewel, Netherlands, 1476–1478. 2535: 1734:

As overgarments became shorter, hose reached to the waist rather than the hips, and were sewn together into a single garment with a pouch or flap to cover the front opening; this evolved into the

1239:

is depicted wearing an embroidered coif or cap decorated with small slashes, with her hair braided down her back underneath. She wears a square-necked dress with flared sleeves, French, 1496–1498.

1830:

Early in the 15th century, the hood remained a common component of dress for all classes, although it was frequently worn around the neck as a cowl or twisted into the fantastical shapes of the

831:

wears a linen headdress and a grey houppelande lined in black fur confined with a belt at the high waist. Her veil is pinned to her cap, and has sharp creases from ironing, Netherlands, 1430.

818:

wears a houppelande of dark blue figured fabric with a narrow belt. Her hair is shaved back from her forehead, and she wears a blunt pointed cap (now over-restored), France or Flanders,

627:

of crisp linen (often with visible creases from ironing and folding). A brief fashion added rows of gathered frills to the coif or veil; this style is sometimes known by the German name

1602:

features the sheer pointed partlet worn over the gown that was popular in Italy at this time. This woman wears a small cap with a brim on the back of her head; it ties under her chin.

3674:

Throughout Europe and Asia Minor, during the entire Renaissance period and even for some time beyond, the sumptuous Italian gold-brocaded red velvets with the pomegranate motif, the

812:

with a broad collar and a heart-shaped headdress. Her books stress that women should dress appropriately to their station in life, as her own less sumptuous headdress here reflects.

1964: 2545: 2523: 1792:

have been pleated as any other garment. The outer fabric and lining would have been sewn over this inter-lining in order to take the pleat's shape but without a visible seam line.

1018:

in another illustration from Boccaccio wear tall steeple hennins with white veils. A long gown with a train has fur at the cuffs and neckline and is worn with a wide belt, c. 1460.

1402:. The woman on the right has her hair held in a long, thick braid encased in sheer fabric and twisted around her head. Her simple gown laces up the front with a single lace, 1423. 759: 1340: 2366:, son of Philip III of Burgundy, wears a velvet gold floral figured short robe, black hose, and pointed shoes with pattens underneath, and a "pudding-basin" haircut 1447–1448. 2257:

wears an open robe fastened across his chest with pairs of ribbon ties. Beneath the overgown he wears a brown velvet doublet with sleeves buttoned to the wrist. Bruges, 1487.

1815:

In the last decades of the 15th century, a new style of gown appeared; this was of various lengths, generally worn unbelted, and featured wide turned back revers and collar.

1581: 861:(likely godmother and mother) wear heart-shaped headdresses with veils and belted, fur-lined gowns open at the front to display the chemises beneath, Burgundy, 1445–1450. 1608:'s "Lady" wears a V-necked, high-waisted gown with hanging sleeves over a floral silk gamurra with a square neckline. Her cap is of the same floral silk. Siena, c. 1490. 3684:

The pomegranate motif is widespread in Middle Eastern Islamic architectural decoration. It also appears in garments as is seen in eleventh-century Persian ivory plaque

637:

small caps. Toward the 1480s women wore chin-length sections of hair in loose waves or ripples over the ears (a style that would inspire "vintage" hair fashions in the

4105: 662:

Women from the 14th century wore laced ankle-boots, which were often lined with fur. Later in the 15th century, women began to wear long-toed footwear styled on men's

566:) and a mantle draped from the shoulders; it can be seen in variety of royal portraits and as "shorthand" to identify queens in illuminated manuscripts of the period. 461:

fitted smoothly from the shoulders to the hips and then flared by means of inserted triangular gores. It featured sleeves tight to the elbow with hanging streamers or

424: 3321:

Laura Rinaldi Dufresne, "A Woman of Excellent Character: A Case Study of Dress, Reputation and the Changing Costume of Christine de Pizan in the Fifteenth Century",

4534: 2220: 2083: 1839:

France/Flanders. A brimless scarlet cap became nearly universal for young Florentines in particular, and was widely worn by older men and those in other cities.

1599: 1030:

wears a simple headdress of draped linen and a red houppelande trimmed with white fur. Note that the sleeve is only attached to the dress at the top, 1467–1471.

3431: 1212: 1788:

in France, was popular. It was usually pleated and was worn hanging loose or belted. Young men wore them short and older men wore them calf- or ankle-length.

1887:

of the period's armor followed suit, reaching such awkward extremes in the second half of the century that they fell entirely out of fashion in favor of the

1021: 1015: 396: 1627:

long hanging sleeves, one of which is looped up over her right shoulder. Her hair is braided and wrapped with a knot or tassel at the end. Spain, 1490–1495.

1605: 805: 2056:

wears a draped chaperon and a dark robe over a reddish doublet. Note the characteristic high front neckline compared to the back neckline, Florence, 1425.

2214: 272:). These grand, symmetrical, vegetal designs were seen most frequently in Europe between 1420 and 1550, almost to the exclusion of other pattern types. 85:

being in "out of date" clothing became a new social concern. National variations in clothing seem on the whole to have increased over the 15th century.

4032: 1194: 2074:

wears a bold floral patterned robe with fur trim and bag sleeves. The "bowl" haircut with the back of the neck shaved was popular in mid-15th century.

2239:(right) wears a long floral patterned gown, while his attendants wear very short gowns with hose. All wear long pointed shoes, France, 1468–1470. 2097: 1280: 473: 4636: 4552: 4098: 771: 4069: 551:, where it was worn with pieced or slashed sleeves and the second new style, a chemise with trumpet sleeves, open and very wide at the wrist. 232:

motifs had reached Europe from (northern) China and Central Asia, becoming dominant in the stately variations designed by the silk weavers of

2100:, Duke of Burgundy, wears an elaborately draped chaperon with a black-on-black figured silk short robe with width at the shoulder, 1447–1448. 2852:

Pour soi vêtir honnêtement à la cour de monseigneur le duc: Costume et dispositif vestimentaire à la cour de Philippe le Bon, de 1430 à 1455

2094:

or houppelande of figured silk. One sleeve is turned back to the shoulder to reveal the lining and the doublet sleeve beneath. Sienna, 1442.

1024:

in the same illustration wears a red hood with a long liripipe. Her blue dress is "kirtled" or shortened by poufing it over a belt, c. 1460.

4114: 2226: 848: 594:

were supported by wire frames that exaggerated the shape and were variously draped from the back of the headdress or covered the forehead.

2202: 2178: 1675:

The basic outfit of men in this period consisted of a shirt, doublet, and hose, with some sort of over garment (robe worn over clothing).

1442:

showing women with their hair braided or twisted, and wrapped around their heads, secured with ribbons laced through the coils, 1468–1470.

228:, are increasingly seen in Italian dress and in the dress of the wealthy throughout Europe. By the 14th century, floral designs featuring 2674: 2581: 2908:, pp. 195–196: "The pomegranate. which signified fertility and immortality in Eastern religions, was absorbed into Christian symbolism." 2590: 1620:

or platform shoes to the left. As with other similar pictures, historians argue as to whether these are patrician ladies or courtesans.

1242: 1236: 4052: 2428: 885: 4567: 4091: 2819: 2627: 2622: 2363: 1623: 2922: 2528: 1808:, wore their long red robes as a uniform virtually unchanged throughout the 15th century. In contrast, the young men and the famous 815: 4056: 2047: 406:

and her attendants in Italian fashion of the 1480s. The tight slashed sleeves reveal the full chemise sleeves beneath. She wears a

484:

was coined in the mid-1400s to describe garments reflecting the very latest fashions, a term which endured into the 16th century.

1439: 795: 447:

or smock worn next to the skin. The sleeves were made detachable and were heavily ornamented. The long-waisted silhouette of the

4308: 4061: 4042: 2538:. She wears a black hood with a long liripipe and a scrip or bag at her waist. He wears a floppy black hat tied under the chin, 3533: 2571: 2381: 1033: 1027: 4078: 2440: 2416: 1658:

Hats in a variety of styles are also worn by this group of French noblemen in high-collared overgowns lined with fur, c. 1470.

623:

Women of the merchant classes in Northern Europe wore modified versions of courtly hairstyles, with coifs or caps, veils, and

175:

At all levels of society, wool continued to be the predominant material for fabrics, exceeding by far the next most important

4004: 3981: 3955: 3841: 3820: 3788: 3761: 3719: 3647: 3624: 2217:

of the conjoined hose of the 15th century. The man on the right has slashed undersleeves. Note V-shaped back neckline, 1460s.

1707:, and long pointed shoes or thigh-boots gave a long attenuated appearance below the waist, and a stout, solid one above. The 3275: 2124: 213: 31: 4151: 1952: 1230: 1012:, shows the formal ermine-trimmed sideless surcoat that identifies royalty in illuminated manuscripts of this period, 1460. 2743: 2673:

This, the earliest panel portrait of a woman, has been heavily restored or "improved" at various points, most recently by

1478: 3348: 3233: 3222: 3059: 3019: 994: 2962: 1749: 4641: 4241: 3140:

Vocabulaire des Quinze joyes de mariage: d'après le texte de la seconde édition de la Bibliothèque elzévirienne de 1857

3120: 3093: 2229:, all in black, wears a soft "sugarloaf" hat and a doublet laced at the neck with a collar. He wears the emblem of the 2071: 828: 1086: 4329: 4324: 4281: 4276: 4271: 3933: 3741: 3658: 3599: 3584: 3560: 3510: 3463: 3343: 2998: 2786: 2617: 2555: 1490: 476:: a low V-neck that showed a glimpse of the square-necked kirtle. The neckline could be filled in with a sheer linen 336:

A second result of the defeat at Grandson was the decline of Burgundy as a fount of culture and fashion. The heiress

329:

and thence to France, Italy, and England, where it was to remain a potent current in fashionable attire into the mid-

3878: 3423: 1822:

or mantles were worn overall for ceremonial occasions and in bad weather; these typically fastened on one shoulder.

1233:

wears a red velvet front-opening gown lined in ermine. Her hood has black velvet lappets and gold embroidery, 1490s.

693: 29:

with voluminous sleeves worn with elaborate headdresses are characteristic of the earlier 15th century. Detail from

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and her attendants are pictured in Catalan dress of the 1470s. This image is one of the earliest depictions of the

1395: 1055:, wears a black gown with patterned collar and cuffs and a matching truncated English hennin beneath a sheer veil, 939: 921: 341: 2012: 1508: 1221:, the woman wears a pointed hennin with a sheer veil. Her gown is laced across her kirtle, Netherlands, 1485–1490. 106:

through most of the 15th century, European fashion north of the Alps was dominated by the glittering court of the

4646: 2236: 1568: 1425: 1630: 903: 287:, went out of style except at court, first for men and then for women; the new fashionable furs were dark brown 2112: 2077: 2024: 1574: 264:

any design incorporating the pomegranate motif, even where the motifs came to more closely resemble flora such

2260: 1259: 4631: 4266: 4143: 4023: 3896: 2349: 834: 3228:, The Compleat Anachronist, The Society for Creative Anachronism, SCA monograph series: Autumn 2006, no. 133 2136: 1934: 1526: 3680:

recorded in contemporary documents, were an indication of high social status: luxury, power and sacredness.

2512: 2375: 2369: 2068:(d. 1433), King of Portugal, wears a red fur-lined houppelande over a patterned doublet and a black bonnet. 2036: 586:). By mid-15th century, the hair was pulled back from the forehead, and the crespine, now usually called a 171:

was important for headdresses and for the shirts and chemises revealed by new lower necklines and slashing.

111: 1370: 1152: 1140: 4246: 4236: 3285: 2951:, Victoria and Albert Museum, 13 December 2006, Textile and Fashion Collection Accession number 1339-1864 2301: 1544: 858: 705: 3827: 3809: 3750: 2944: 2500: 1922: 4579: 4557: 4188: 3947: 3358: 3243: 3069: 3029: 2753: 2230: 1405: 1218: 1206: 747: 681: 42:

was characterized by a surge of experimentation and regional variety, from the voluminous robes called

3905: 3799: 3711: 3704: 3568: 2972: 2488: 2476: 2337: 969: 957: 21: 4605: 4258: 4173: 4132: 2565: 2254: 2242: 2059: 1666:

Late in the 15th century, a new style of loose overgown with revers and collar appeared. Italy, 1495.

457: 401: 3776:"Value-Added Stuffs and Shifts in Meaning: An Overview and Case-Study of Medieval Textile Paradigms" 558:

became fossilized as a ceremonial costume for royalty, usually with an ermine front panel (called a

4574: 4462: 4439: 4434: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4371: 4193: 4066: 3775: 1844: 1432: 670:—often themselves with elongated toes during this era—to protect their shoes proper while outside. 638: 555: 448: 356: 330: 187:. Wool fabrics were available in a wide range of qualities, from rough undyed cloth to fine, dense 3970: 2989:

Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages

1650:

Italian fashion of the 1470s featured short overgowns worn over doublets, and hats of many shapes.

1556: 4166: 3891: 3735:. Translated by Alexander K. Dallas. London: George Harrap & Co. Translation from the German. 3730: 3258: 134:

amounted to a noticeable proportion of all government expenditure. Especially in Florence, where

69: 3636: 3266: 2829: 380:

that displays the black kirtle and a band of the chemise. Hair is pulled back in an embroidered

4251: 2148: 1896: 1005: 431:

wears a headdress comprising a truncated-cone hennin, a jewelled padded roll, and a sheer veil.

345: 208: 3502: 3492: 3455: 3449: 3110: 3083: 2912:... "In ancient times the pomegranate fruit passed from the East into the Graeco-Roman world." 1982: 1633: 1466: 4595: 4562: 4047: 3138: 2053: 1411: 1322: 1224: 998: 723: 224:

by the beginning of the 15th century, and figured silks, often silk velvets with silver-gilt

3137: 2452: 2404: 1910: 2283: 1292: 1249: 1182: 1052: 2464: 1454: 1128: 1098: 279:

layer, by those who could afford it. The grey and white squirrel furs of the Middle Ages,

8: 4610: 3338:(catalogue), pp. 90–97, National Gallery of Art, Washington: Cambridge University Press. 2930: 2587:

wear open-fronted, slashed doublets and hose divided into upper and lower sections, 1494.

2000: 1831: 1611: 1048: 598: 47: 3944:

Illuminating Fashion: Dress in the Art of Medieval France and the Netherlands, 1325–1515

2372:

holding a teething ring wears a short robe with a sash and open-toed shoes, Italy, 1461.

1358: 1304: 981: 4600: 4303: 3993: 2987: 2325: 2313: 2160: 1843:

century, shoulder-length hair became fashionable, a trend that would continue into the

1700: 799: 317: 131: 2857:

To dress honestly at the court of the Lord Duke: Costume and clothing at the court of

1757:, German, 1482. Only the younger adult men wear short doublets showing off their legs. 1678:

Linen shirts were worn next to the skin. Toward the end of the period, shirts (French

783: 735: 500:

were popular, and the gamurra sleeves displayed were often of rich figured silks. The

122:

of Italy and the East and to English wool exports through the great trading cities of

4429: 4387: 4223: 4198: 4183: 4000: 3977: 3951: 3929: 3912: 3886: 3837: 3816: 3784: 3757: 3737: 3715: 3654: 3643: 3620: 3595: 3591: 3556: 3530: 3506: 3459: 3339: 3116: 3089: 2994: 2782: 2353: 1872: 1614:

with blonde frizzy hair and caps. The very high waist is typical of Venice. Note the

1074: 870: 802:

in a cotehardie. She wears a wired "horned" headdress with a veil. France, 1410–1411.

466: 352: 321: 221: 107: 103: 99: 2798: 2264: 2190: 1392:

with a simple red gown with a green girdle belt and a braided hairstyle, circa 1410.

1252:

is depicted in the royal ermine-trimmed sideless surcoat and a symbolic mantle with

1110: 4529: 4524: 4519: 4503: 4498: 4493: 4488: 4364: 4298: 4083: 3691:

Fourth Biennial Symposium of the Textile Society of America, 22–24 September 1994:

2575: 2390: 1805: 1215:

of the 1480s are carried looped up to allow walking, displaying the kirtle beneath.

646: 642: 579: 428: 337: 3264:(First ed.). New York: Robert. M. McBride & Company. p. 83. (Author 1164: 392: 4228: 4073: 4027: 3710:. Translated by Caroline Higgitt. London; New York: Holmes & Meier. pp. 3537: 3496: 3155: 2858: 2655:

For the fashion of bleached blond hair in Venice, see Tortora and Eubanks (1994)

2606: 1864: 1856: 1797: 1723: 1704: 602: 276: 245: 130:. Purchases of fabrics through Italian merchants like the two cousins both named 55: 3666:"The Pomegranate Pattern in Italian Renaissance Textiles: Origins and Influence" 2692:

Image:Rogier van der Weyden (workshop of) - Portrait of Isabella of Portugal.jpg

2378:

wear the family colours with parti-coloured hose with ornamental points (laces).

159:-patterned silks are characteristic of the 15th century, as are richly coloured 4178: 3665: 2548:

work barefoot and wear their kirtles looped up over long-sleeved linen smocks,

1868: 1800:

and his court. we have records of him buying black gowns for his retainers. In

1743: 574:

A variety of hats and headdresses were worn in Europe in the 15th century. The

508:

was a lighter-weight undergown for summer wear. A sideless overgown called the

253: 3916: 4625: 2574:

shown fastening of the hose to the short doublet by means of points or ties,

2389:

Then, around the age of 6 or 7, boys would receive their first pair of hose (

1888: 1880: 1719: 667: 372: 147: 135: 2923:"European Sculpture and Decorative Arts: Length of velvet – Italian, Venice" 1722:, a loose undergarment, usually made of linen, which was held up by a belt. 4038:

15th Century Female Flemish Dress: A Portfolio of Images, by Hope Greenberg

4033:

Late 15th century Italian (Venice) Velvet at the Metropolitan Museum of Art

2889: 2559: 1571:

wears sleeves of figured silk with the fashionable pomegranate motif, 1470.

348: 326: 201: 4208: 2850: 3699: 2664:

Depictions after de Pisan's death in 1430 tend to "promote" her socially.

1892: 1876: 1767: 1754: 1708: 1646: 1593: 544: 313: 229: 152: 43: 26: 2863:] (Doctorat d'histoire thesis) (in French). Université de Bourgogne. 1662: 4293: 3907:

History of Costume, From the Ancient Egyptians to the Twentieth Century

1693: 650: 540: 472:

Around 1450, the houppelande went out of fashion to be replaced by the

188: 3586:

20,000 Years of Fashion: The History of Costume and Personal Adornment

3570:

20,000 years of fashion: The history of costume and personal adornment

2568:

in well-worn and basic versions of the clothes of the more prosperous.

2678: 2611: 2584: 1860: 1809: 1009: 663: 548: 265: 156: 76: 59: 46:

with their sweeping floor-length sleeves to the revealing giornea of

4037: 2800:

Dressing Renaissance Florence: Families, Fortunes, and Fine Clothing

4020: 3756:. Translated by Alexander K. Dallas. New York: Dover Publications. 2593: 2357: 1784: 1735: 1727: 1654: 1253: 1042: 606: 269: 233: 115: 3035: 543:

with visible casings stiffened with reeds, which would become the

377: 118:

to their dominion, the Dukes of Burgundy had access to the latest

3525:

Miller, I: "Miraculous childbirth and the Portinari altarpiece",

1884: 1738:

which only begins being exposed formally after the 1480s in art.

1680: 1616: 477: 444: 408: 284: 249: 204: 176: 127: 119: 63: 3972:

Encountering Medieval Textiles and Dress: Objects, Texts, Images

3781:

Encountering medieval textiles and dress: Objects, texts, images

2985:

Pendergast, Sara; Pendergast, Tom (2004). Hermsen, Sarah (ed.).

320:

in 1476. Supposedly the Swiss plundered the rich fabrics of the

3634:

Crowfoot, Elisabeth; Prichard, Frances; Staniland, Kay (1992).

2268: 1801: 1399: 1398:

headdresses. The woman on the left wears a veil twisted into a

624: 617: 610: 440: 413: 381: 295:. Toward the end of the 15th century, wild animal furs such as 292: 241: 197: 164: 160: 123: 1446: 1066: 877: 673: 4161: 1819: 809: 616:

The most extravagant headdress of Burgundian fashion was the

300: 288: 257: 237: 180: 168: 62:

assumed increasing importance, and were draped, jeweled, and

3613:

The Greenwood encyclopedia of clothing through world history

3454:. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. p. 3291: 2245:

are worn with a Giornea belted at the waist. Italy, c. 1470.

2223:

Short gown, heavily pleated, with chaperon and thigh boots.

591: 523:

Two uniquely Spanish fashions appeared from the 1470s. The

436: 385: 296: 280: 225: 193: 184: 3706:

Gold & spices: The Rise of Commerce in the Middle Ages

2251:

wears the high collarless Italian style at the neck, 1478.

376:

A fur-trimmed robe a tassel of the mid-15th century has a

3783:. Basingstoke, UK: Palgrave Macmillan. pp. 237–249. 3633: 3203: 3201: 2867: 2825: 1835: 435:

Women's fashions of the 15th century consisted of a long

51: 3472: 344:

but died young. In the last decade of the 15th century,

2759: 2646:

Two per cent to the elder Giovanni alone, in 1444–1446.

3926:

Survey of historic costume: A history of Western dress

3403: 3303: 3198: 837:

wears a horned headdress with a ruffled veil called a

110:, especially under the fashion-conscious power-broker 2716: 806:

Christine de Pisan presents her book to Queen Isabeau

4113: 3391: 3381: 3379: 3186: 3176: 3174: 3172: 3085:

Handbook to Life in the Medieval World, 3-Volume Set

2984: 2807: 1804:, the patrician class, after the age of joining the 1272: 547:. The earliest depictions of this garment come from 93: 3968:Koslin, Désirée G.; Snyder, Janet E., eds. (2009). 3047: 3007: 3992: 3969: 3928:(2nd ed.). New York: Fairchild Publications. 3904: 3808: 3774: 3749: 3703: 3635: 3583: 3567: 3364: 3257: 3221: 3115:. Lanham, Md.: Scarecrow Press, Inc. p. 251. 2986: 578:of Northern Europe, originally a thick hairnet or 303:remained the prerogative and hallmark of royalty. 3376: 3169: 1871:, ecclesiastical censure for vanity, and even—in 845:. Her red houppelande is lined in grey fur, 1439. 4623: 3779:. In Désirée G. Koslin; Janet E. Snyder (eds.). 3670:Textile Society of America Symposium Proceedings 3594:(Expanded ed.). New York: Harry N. Abrams. 3255: 312:fashion for slashing garments to the actions of 3619:. Westport, Connecticut (US): Greenwood Press. 2945:"Woven Silk Velvet ca. 1450 to ca. 1500 (made)" 2356:, drawn after his tomb effigy. He is wearing a 609:, and a variety of related draped and wrapped 4099: 3923: 3675: 3297: 2779:The Fifteenth Century Netherlandish Paintings 2558:on a dock wear short robes with hats, Italy, 2088: 1863:in the previous century continued, prompting 1777: 1771: 1586: 569: 533: 525: 220:Silk weaving was well established around the 3999:. Jefferson, N.C. (US): McFarland & Co. 3967: 2844: 2842: 2840: 2838: 839: 649:). Blonde hair was considered desirable (by 628: 465:. The tight fit was achieved with lacing or 367: 114:(ruled 1419–1469). Having added Holland and 3924:Tortora, Phyllis G.; Eubank, Keith (1994). 3867:"The Renaissance and the Sixteenth Century" 3108: 1761: 1670: 1447:Style gallery – Italy and Spain 1470s–1490s 1262:with an elaborated braided hairstyle, 1497. 1067:Style gallery – Northern Europe 1480s–1490s 878:Style gallery – Northern Europe 1450s–1470s 808:, who wears a figured houppelande lined in 674:Style gallery – Northern Europe 1400s–1440s 513:sleeves that would last for two centuries. 455:Various styles of overgowns were worn. The 4106: 4092: 3801:The concise history of costume and fashion 3224:Headdresses of the 14th and 15th Centuries 3144:(in French). Geneva: Slatkine. p. 42. 2690:On the dating of this image, see notes at 2104: 2080:worn with braies and tied to a belt, 1440. 1902: 200:) could not match the characteristic rich 4043:Women's Clothing in 15th Century Florence 3490: 2835: 2396: 851:with fur-lined bag sleeves, Bruges, 1443. 4067:Glossary of some medieval clothing terms 4048:Burgundian wedding c1470, from the Getty 3664:Fanelli, Rosalia Bonito (January 1994). 3430:. The Society for Creative Anachronism. 2677:in 1922–1923, who wanted it to become a 1812:of the city dressed very extravagantly. 1748: 1661: 1653: 1645: 1268:with dresses and underskirts, 1496–1499. 423: 391: 371: 146: 68: 20: 4062:Men's clothing in 15th century Florence 3976:. Basingstoke, UK: Palgrave Macmillan. 3663: 3578: 3565: 3551:Black, J. Anderson, and Madge Garland: 3447: 3409: 3309: 3219: 3207: 3135: 2905: 2848: 2826:Crowfoot, Prichard & Staniland 1992 2749: 2722: 260:, from this period and into the 1400s. 102:and its aftermath and then the English 4624: 3990: 3772: 3747: 3728: 3698: 3638:Textiles and clothing: c.1150 – c.1450 3610: 3370: 3281: 3192: 3081: 2968: 2885: 2873: 2813: 2781:. National Gallery Catalogues p. 195. 2734: 2566:The very poor of Florence receive alms 2550:Les Très Riches Heures du duc de Berry 2540:Les Très Riches Heures du duc de Berry 256:silk-producing cities of Istanbul and 73:Young Italian men wear brimless caps, 4637:History of clothing (Western fashion) 4087: 4021:Late Medieval clothing and embroidery 3902: 3815:. London: Thames & Hudson. 1979. 3807: 3797: 3478: 3443: 3441: 3434:from the original on 7 February 2023. 3397: 3385: 3354: 3265: 3239: 3180: 3065: 3053: 3041: 3025: 3013: 2765: 2628:1550–1600 in Western European fashion 2623:1500–1550 in Western European fashion 2275: 98:With England and France mired in the 4152:Prehistory of nakedness and clothing 3702:(1998). "Learning About the World". 3424:"15th century Giornea/Cioppa pleats" 3421: 3088:. Infobase Publishing. p. 868. 2849:Jolivet, Sophie (23 November 2003). 2791: 496:). Sleeveless overgowns such as the 439:, usually with sleeves, worn over a 139:great expense of a very fine grade. 4079:Article on Burgundian women's dress 3849:"The Dark Ages and the Middle Ages" 3531:retrieve 3/19/2007 encyclopedia.com 2261:At the very end of the 15th century 657: 13: 3961: 3642:. London: Museum of London; HMSO. 3438: 3109:Lewandowski, Elizabeth J. (2011). 2529:Très Riches Heures du Duc de Berry 1433:Battista Sforza, Duchess of Urbino 362: 214:Très Riches Heures du duc de Berry 142: 32:Très Riches Heures du Duc de Berry 14: 4658: 4014: 3082:Cosman, Madeleine Pelner (2009). 1273:Style gallery – Italy 1400s–1460s 316:soldiers in the aftermath of the 94:Dominance of the Burgundian court 4207: 4128:History of clothing and textiles 2499: 2487: 2475: 2463: 2451: 2439: 2427: 2415: 2403: 2336: 2324: 2312: 2300: 2282: 2201: 2189: 2177: 2159: 2147: 2135: 2123: 2111: 2023: 2011: 1999: 1981: 1963: 1951: 1933: 1921: 1909: 1641: 1606:Neroccio di Bartolomeo de' Landi 1555: 1543: 1525: 1507: 1489: 1477: 1465: 1453: 1369: 1357: 1339: 1321: 1303: 1291: 1279: 1193: 1181: 1163: 1151: 1139: 1127: 1109: 1097: 1085: 1073: 980: 968: 956: 938: 920: 902: 884: 782: 770: 758: 746: 734: 722: 704: 692: 680: 342:Maximilian I, Holy Roman Emperor 4535:impact of the COVID-19 pandemic 3677:zetani vel lutati al lucciolati 3519: 3501:, Abingdon: Routledge, p. 3484: 3415: 3334:Hand, J. O.; Wolff, M. (1986). 3328: 3315: 3256:Nesfield-Cookson, Mary (1935). 3249: 3220:Vibbert, Marie (October 2006), 3213: 3148: 3129: 3112:The complete costume dictionary 3102: 3075: 2978: 2937: 2915: 2696: 2684: 2667: 2658: 2649: 2062:worn in elaborate twists, 1433. 666:. They used outer shoes called 207:blues depicted in contemporary 3911:. New York: Harper & Row. 3887:"European Fashion (1450–1950)" 3693:Contact, Crossover, Continuity 3491:Snodgrass, Mary Ellen (2015), 2927:The Metropolitan Museum of Art 2804:Johns Hopkins University Press 2797:Frick, Carole Collier (2002). 2771: 2728: 2640: 1714:Men of all classes wore short 1237:Hypsipylé, first wife of Jason 539:was a gown with a bell-shaped 357:first half of the 16th century 40:Fashion in 15th-century Europe 16:Costume in the years 1400-1500 1: 3995:Daily life in the Middle Ages 3897:Institute of European History 3498:World Clothing and Fashion... 2710: 2618:1300–1400 in European fashion 2290: 2167: 1989: 1971: 1941: 1533: 1515: 1497: 1415: 1377: 1347: 1329: 1311: 1243:Another fashionable headdress 1219:In this allegory of True Love 1171: 1117: 1056: 946: 928: 910: 892: 819: 712: 4057:Images of Burgundian hennins 3811:A concise history of costume 3336:Early Netherlandish Painting 2739:. New York, NY: I.B. Tauris. 2536:Man and woman shearing sheep 2227:Antoine, Bastard of Burgundy 1861:poulaines, pikes, or crakows 601:, a draped hat based on the 554:The sideless surcoat of the 7: 4451:1920s–1950s Western fashion 4381:1830s–1910s Western fashion 4318:1500s–1820s Western fashion 3948:Morgan Library & Museum 2600: 2526:in linen braies and shirt, 2233:around his neck, 1467–1470. 1891:supposedly prompted by the 1850: 1825: 1246:partlet, French, 1496–1498. 859:Seven Sacraments Altarpiece 443:or undergown, with a linen 306: 10: 4663: 3899:, retrieved June 16, 2011. 3885:Mentges, Gabriele (2011). 3611:Condra, Jill, ed. (2008). 3566:Boucher, François (1967). 3545: 3529:, June 1, 1995, online at 2735:Wilson, Elizabeth (1985). 2231:Order of the Golden Fleece 1699:Over the shirt was worn a 570:Hairstyles and headdresses 275:Fur was worn, mostly as a 4642:Medieval European costume 4588: 4545: 4512: 4481: 4450: 4380: 4317: 4216: 4205: 4142: 4133:History of fashion design 4122: 3804:. New York: H. N. Abrams. 3574:. New York: H. N. Abrams. 3451:Costume History and Style 3448:Russell, Douglas (1983). 3298:Tortora & Eubank 1994 2993:. MI, USA: Thomson Gale. 2777:'Campbell, Lorne (1998). 2086:of a knee-length Italian 1045:, Netherlands, 1478–1478. 368:Gown, kirtle, and chemise 351:and was briefly declared 88: 4458:Suffrage Movement period 4053:Burgundian women's dress 3991:Newman, Paul B. (2001). 3773:Koslin, Désirée (2009). 3590:. With a new chapter by 3136:Cressot, Marcel (1939). 2633: 1762:Over-robes and outerwear 1671:Shirt, doublet, and hose 4117:of clothing and fashion 3903:Payne, Blanche (1965). 3892:European History Online 3871:(registration required) 3853:(registration required) 3828:Reprint of 1969 edition 3230:. (By Lyonnete Vibert ) 2255:Maarten van Nieuvenhove 2105:Style gallery 1450–1500 1903:Style gallery 1400–1450 1859:" fashion of long-toed 1600:1490 portrait of a lady 1426:Italian sleeveless gown 384:and covered by a short 209:illuminated manuscripts 4647:15th century in Europe 3729:Köhler, Carl (1956) . 3676: 3269: Mary Jones-Parry 2397:Working class clothing 2089: 1778: 1772: 1770:, in Italy called the 1758: 1667: 1659: 1651: 1587: 855:Two women at a baptism 840: 829:Modestly dressed woman 629: 534: 526: 432: 421: 389: 346:Charles VIII of France 268:, thistles, lotus and 172: 81: 36: 4546:By country and region 3833:registration required 3798:Laver, James (1969). 3748:Köhler, Karl (1963). 1752: 1665: 1657: 1649: 1412:Bianca Maria Visconti 999:Rogier van der Weyden 427: 395: 375: 196:(and less frequently 150: 72: 24: 4632:15th-century fashion 4513:2000–present fashion 3752:A history of costume 3617:Prehistory to 1500CE 3553:A History of Fashion 3325:16:2 (1990), 105–117 3044:, Ch. 3 & ch. 4. 2382:Margherita Portinari 2360:with tucked sleeves. 1624:Isabella of Castille 1053:Edward IV of England 1006:Emilia in the garden 865:Isabella of Portugal 597:Women also wore the 4553:Indian subcontinent 4482:1960s-1990s fashion 4026:2 July 2007 at the 3942:Van Buren, Anne H. 3806:(Alternative tile: 3481:, pp. 219–220. 3422:Petrucci, Lorenzo. 2949:V&A Collections 2876:, pp. 235–236. 2861:, from 1430 to 1455 2768:, pp. 211–220. 2376:Two Gonzaga princes 2249:Giuliano de' Medici 2243:Parti-coloured hose 2066:John of Fond Memory 1744:cross-grain or bias 1634:La Belle Ferronière 1631:Leonardo da Vinci's 1612:Two Venetian ladies 1406:Woman at a casement 1231:Margaret of Austria 1051:, Queen consort of 1049:Elizabeth Woodville 492:(sometimes spelled 397:Giovanna Tornabuoni 4072:2016-12-28 at the 3732:History of costume 3536:2007-12-10 at the 3428:Lorenzo's Workshop 2614:- horned headdress 2276:Children's fashion 2221:France, late 1460s 1845:early 16th century 1759: 1696:or applied braid. 1668: 1660: 1652: 1575:Simonetta Vespucci 1250:Juana I of Castile 995:Portrait of a Lady 835:Margarete van Eyck 800:Christine de Pisan 433: 422: 390: 318:Battle of Grandson 173: 132:Giovanni Arnolfini 82: 37: 4619: 4618: 4006:978-0-7864-0897-9 3983:978-0-230-60235-9 3956:978-1-9048-3290-4 3842:978-0-19-520379-0 3822:978-0-500-18092-1 3790:978-0-230-60235-9 3763:978-0-486-21030-8 3721:978-0-8419-1232-8 3672:: 193–204. 1042. 3649:978-0-11-290445-8 3626:978-0-313-33664-5 3592:Yvonne Deslandres 3580:Boucher, François 2737:Adorned in Dreams 2048:John the Fearless 871:Margaret of Anjou 641:and again in the 108:Duchy of Burgundy 104:Wars of the Roses 100:Hundred Years War 48:Renaissance Italy 4654: 4365:Directoire style 4211: 4108: 4101: 4094: 4085: 4084: 4010: 3998: 3987: 3975: 3939: 3920: 3910: 3876: 3872: 3858: 3854: 3836: 3826: 3814: 3805: 3794: 3778: 3767: 3755: 3736: 3725: 3709: 3690: 3687: 3683: 3679: 3653: 3641: 3630: 3605: 3589: 3575: 3573: 3540: 3527:The Art Bulletin 3523: 3517: 3515: 3488: 3482: 3476: 3470: 3469: 3445: 3436: 3435: 3419: 3413: 3407: 3401: 3395: 3389: 3383: 3374: 3368: 3362: 3352: 3346: 3332: 3326: 3319: 3313: 3307: 3301: 3295: 3289: 3279: 3273: 3272: 3270: 3263: 3260:The Costume Book 3253: 3247: 3237: 3231: 3229: 3227: 3217: 3211: 3205: 3196: 3190: 3184: 3178: 3167: 3166: 3164: 3162: 3152: 3146: 3145: 3143: 3133: 3127: 3126: 3106: 3100: 3099: 3079: 3073: 3063: 3057: 3051: 3045: 3039: 3033: 3023: 3017: 3011: 3005: 3004: 2992: 2982: 2976: 2966: 2960: 2959: 2958: 2956: 2941: 2935: 2934: 2933:on 5 April 2024. 2929:. Archived from 2919: 2913: 2911: 2903: 2897: 2895: 2883: 2877: 2871: 2865: 2864: 2846: 2833: 2823: 2817: 2811: 2805: 2795: 2789: 2775: 2769: 2763: 2757: 2747: 2741: 2740: 2732: 2726: 2720: 2704: 2700: 2694: 2688: 2682: 2671: 2665: 2662: 2656: 2653: 2647: 2644: 2546:Women raking hay 2503: 2491: 2479: 2467: 2455: 2443: 2431: 2419: 2407: 2391:called breeching 2340: 2328: 2316: 2304: 2295: 2292: 2286: 2237:Charles the Bold 2205: 2193: 2181: 2172: 2169: 2163: 2151: 2139: 2127: 2115: 2092: 2078:Hose or chausses 2072:Chancellor Rolin 2027: 2015: 2003: 1994: 1991: 1985: 1976: 1973: 1967: 1955: 1946: 1943: 1937: 1925: 1913: 1781: 1775: 1590: 1569:Florentine woman 1559: 1547: 1538: 1535: 1529: 1520: 1517: 1511: 1502: 1499: 1493: 1481: 1469: 1457: 1420: 1417: 1382: 1379: 1373: 1361: 1352: 1349: 1343: 1334: 1331: 1325: 1316: 1313: 1307: 1295: 1283: 1197: 1185: 1176: 1173: 1167: 1155: 1143: 1131: 1122: 1119: 1113: 1101: 1089: 1077: 1061: 1058: 984: 972: 960: 951: 948: 942: 933: 930: 924: 915: 912: 906: 897: 894: 888: 843: 824: 821: 786: 774: 762: 750: 738: 726: 717: 714: 708: 696: 684: 658:Women's footwear 632: 537: 529: 506: 505: 429:Mary of Burgundy 405: 338:Mary of Burgundy 299:became popular. 4662: 4661: 4657: 4656: 4655: 4653: 4652: 4651: 4622: 4621: 4620: 4615: 4584: 4541: 4508: 4477: 4446: 4376: 4313: 4212: 4203: 4138: 4137: 4118: 4112: 4074:Wayback Machine 4028:Wayback Machine 4017: 4007: 3984: 3964: 3962:Further reading 3936: 3874: 3870: 3856: 3852: 3830: 3823: 3791: 3764: 3722: 3685: 3681: 3650: 3627: 3615:. Vol. 1: 3602: 3548: 3543: 3538:Wayback Machine 3524: 3520: 3513: 3489: 3485: 3477: 3473: 3466: 3446: 3439: 3420: 3416: 3408: 3404: 3396: 3392: 3384: 3377: 3369: 3365: 3353: 3349: 3333: 3329: 3320: 3316: 3308: 3304: 3296: 3292: 3280: 3276: 3254: 3250: 3238: 3234: 3218: 3214: 3206: 3199: 3191: 3187: 3179: 3170: 3160: 3158: 3156:"Robe à Tassel" 3154: 3153: 3149: 3134: 3130: 3123: 3107: 3103: 3096: 3080: 3076: 3064: 3060: 3052: 3048: 3040: 3036: 3024: 3020: 3012: 3008: 3001: 2983: 2979: 2967: 2963: 2954: 2952: 2943: 2942: 2938: 2921: 2920: 2916: 2909: 2904: 2900: 2893: 2884: 2880: 2872: 2868: 2859:Philip the Good 2847: 2836: 2824: 2820: 2812: 2808: 2796: 2792: 2776: 2772: 2764: 2760: 2748: 2744: 2733: 2729: 2721: 2717: 2713: 2708: 2707: 2701: 2697: 2689: 2685: 2672: 2668: 2663: 2659: 2654: 2650: 2645: 2641: 2636: 2607:Byzantine dress 2603: 2524:Peasant reaping 2518:Livre de Chasse 2507: 2504: 2495: 2492: 2483: 2480: 2471: 2468: 2459: 2456: 2447: 2444: 2435: 2432: 2423: 2420: 2411: 2408: 2399: 2344: 2341: 2332: 2329: 2320: 2317: 2308: 2305: 2296: 2293: 2287: 2278: 2209: 2206: 2197: 2194: 2185: 2182: 2173: 2170: 2164: 2155: 2152: 2143: 2140: 2131: 2128: 2119: 2116: 2107: 2098:Philip the Good 2042:Livre de Chasse 2031: 2028: 2019: 2016: 2007: 2004: 1995: 1992: 1986: 1977: 1974: 1968: 1959: 1956: 1947: 1944: 1938: 1929: 1926: 1917: 1914: 1905: 1865:sumptuary taxes 1853: 1828: 1798:Philip the Good 1782:in Italy and a 1764: 1673: 1644: 1582:Princess Salome 1563: 1560: 1551: 1548: 1539: 1536: 1530: 1521: 1518: 1512: 1503: 1500: 1494: 1485: 1482: 1473: 1470: 1461: 1458: 1449: 1418: 1414:is depicted in 1384: 1380: 1374: 1365: 1362: 1353: 1350: 1344: 1335: 1332: 1326: 1317: 1314: 1308: 1299: 1296: 1287: 1284: 1275: 1225:Anne de Beaujeu 1201: 1198: 1189: 1186: 1177: 1174: 1168: 1159: 1156: 1147: 1144: 1135: 1132: 1123: 1120: 1114: 1105: 1102: 1093: 1090: 1081: 1078: 1069: 1059: 1034:Maria Portinari 988: 985: 976: 973: 964: 961: 952: 949: 943: 934: 931: 925: 916: 913: 907: 898: 895: 889: 880: 822: 790: 787: 778: 775: 766: 763: 754: 751: 742: 739: 730: 727: 718: 715: 709: 700: 697: 688: 685: 676: 660: 572: 503: 502: 449:previous period 399: 370: 365: 363:Women's fashion 309: 145: 143:Fabrics and fur 112:Philip the Good 96: 91: 17: 12: 11: 5: 4660: 4650: 4649: 4644: 4639: 4634: 4617: 4616: 4614: 4613: 4608: 4603: 4598: 4592: 4590: 4586: 4585: 4583: 4582: 4577: 4572: 4571: 4570: 4560: 4555: 4549: 4547: 4543: 4542: 4540: 4539: 4538: 4537: 4527: 4522: 4516: 4514: 4510: 4509: 4507: 4506: 4501: 4496: 4491: 4485: 4483: 4479: 4478: 4476: 4475: 4470: 4465: 4460: 4454: 4452: 4448: 4447: 4445: 4444: 4443: 4442: 4437: 4427: 4426: 4425: 4420: 4415: 4410: 4405: 4400: 4395: 4384: 4382: 4378: 4377: 4375: 4374: 4369: 4368: 4367: 4357: 4352: 4347: 4342: 4337: 4332: 4327: 4321: 4319: 4315: 4314: 4312: 4311: 4306: 4301: 4296: 4291: 4290: 4289: 4284: 4279: 4274: 4269: 4261: 4256: 4255: 4254: 4249: 4244: 4239: 4231: 4226: 4220: 4218: 4214: 4213: 4206: 4204: 4202: 4201: 4196: 4191: 4186: 4181: 4176: 4171: 4170: 4169: 4164: 4154: 4148: 4146: 4140: 4139: 4136: 4135: 4130: 4124: 4123: 4120: 4119: 4111: 4110: 4103: 4096: 4088: 4082: 4081: 4076: 4064: 4059: 4050: 4045: 4040: 4035: 4030: 4016: 4015:External links 4013: 4012: 4011: 4005: 3988: 3982: 3963: 3960: 3959: 3958: 3940: 3934: 3921: 3900: 3883: 3882: 3881: 3863: 3821: 3795: 3789: 3770: 3769: 3768: 3762: 3726: 3720: 3696: 3661: 3648: 3631: 3625: 3608: 3607: 3606: 3600: 3563: 3547: 3544: 3542: 3541: 3518: 3511: 3483: 3471: 3464: 3437: 3414: 3412:, p. 197. 3402: 3400:, p. 199. 3390: 3375: 3363: 3347: 3327: 3314: 3312:, p. 200. 3302: 3300:, p. 146. 3290: 3274: 3248: 3232: 3212: 3210:, p. 205. 3197: 3185: 3168: 3147: 3128: 3122:978-0810877856 3121: 3101: 3095:978-1438109077 3094: 3074: 3058: 3046: 3034: 3018: 3006: 2999: 2977: 2961: 2936: 2914: 2906:Fanelli (1994) 2898: 2878: 2866: 2834: 2818: 2816:, p. 234. 2806: 2790: 2770: 2758: 2742: 2727: 2725:, p. 214. 2714: 2712: 2709: 2706: 2705: 2695: 2683: 2666: 2657: 2648: 2638: 2637: 2635: 2632: 2631: 2630: 2625: 2620: 2615: 2609: 2602: 2599: 2598: 2597: 2588: 2579: 2569: 2563: 2553: 2543: 2533: 2532:, c 1412–1416. 2521: 2513:Older huntsmen 2509: 2508: 2505: 2498: 2496: 2493: 2486: 2484: 2481: 2474: 2472: 2470:6 – late 1440s 2469: 2462: 2460: 2457: 2450: 2448: 2445: 2438: 2436: 2433: 2426: 2424: 2421: 2414: 2412: 2409: 2402: 2398: 2395: 2386: 2385: 2379: 2373: 2367: 2361: 2346: 2345: 2342: 2335: 2333: 2330: 2323: 2321: 2318: 2311: 2309: 2306: 2299: 2297: 2288: 2281: 2277: 2274: 2273: 2272: 2265:Albrecht Dürer 2258: 2252: 2246: 2240: 2234: 2224: 2218: 2211: 2210: 2207: 2200: 2198: 2195: 2188: 2186: 2183: 2176: 2174: 2165: 2158: 2156: 2153: 2146: 2144: 2141: 2134: 2132: 2130:2 – late 1460s 2129: 2122: 2120: 2117: 2110: 2106: 2103: 2102: 2101: 2095: 2081: 2075: 2069: 2063: 2057: 2051: 2045: 2033: 2032: 2029: 2022: 2020: 2017: 2010: 2008: 2005: 1998: 1996: 1987: 1980: 1978: 1969: 1962: 1960: 1957: 1950: 1948: 1939: 1932: 1930: 1927: 1920: 1918: 1915: 1908: 1904: 1901: 1852: 1849: 1827: 1824: 1818:Short or long 1763: 1760: 1672: 1669: 1643: 1640: 1639: 1638: 1628: 1621: 1609: 1603: 1597: 1579: 1572: 1565: 1564: 1561: 1554: 1552: 1549: 1542: 1540: 1531: 1524: 1522: 1513: 1506: 1504: 1495: 1488: 1486: 1483: 1476: 1474: 1471: 1464: 1462: 1459: 1452: 1448: 1445: 1444: 1443: 1440:Italian fresco 1437: 1430: 1423: 1409: 1403: 1393: 1390:Statue of Mary 1386: 1385: 1375: 1368: 1366: 1363: 1356: 1354: 1345: 1338: 1336: 1327: 1320: 1318: 1309: 1302: 1300: 1297: 1290: 1288: 1286:1 – circa 1410 1285: 1278: 1274: 1271: 1270: 1269: 1263: 1257: 1247: 1240: 1234: 1228: 1222: 1216: 1210: 1207:Mary Magdalene 1203: 1202: 1200:10 – 1496–1499 1199: 1192: 1190: 1187: 1180: 1178: 1169: 1162: 1160: 1157: 1150: 1148: 1145: 1138: 1136: 1133: 1126: 1124: 1115: 1108: 1106: 1103: 1096: 1094: 1091: 1084: 1082: 1079: 1072: 1068: 1065: 1064: 1063: 1046: 1031: 1025: 1019: 1013: 1003: 990: 989: 986: 979: 977: 974: 967: 965: 962: 955: 953: 944: 937: 935: 926: 919: 917: 908: 901: 899: 890: 883: 879: 876: 875: 874: 868: 862: 852: 846: 832: 826: 813: 803: 792: 791: 788: 781: 779: 776: 769: 767: 764: 757: 755: 752: 745: 743: 740: 733: 731: 728: 721: 719: 710: 703: 701: 698: 691: 689: 686: 679: 675: 672: 659: 656: 639:1620s and '30s 571: 568: 369: 366: 364: 361: 353:King of Naples 308: 305: 144: 141: 136:sumptuary laws 95: 92: 90: 87: 15: 9: 6: 4: 3: 2: 4659: 4648: 4645: 4643: 4640: 4638: 4635: 4633: 4630: 4629: 4627: 4612: 4609: 4607: 4604: 4602: 4599: 4597: 4594: 4593: 4591: 4587: 4581: 4580:Western world 4578: 4576: 4573: 4569: 4566: 4565: 4564: 4561: 4559: 4556: 4554: 4551: 4550: 4548: 4544: 4536: 4533: 4532: 4531: 4528: 4526: 4523: 4521: 4518: 4517: 4515: 4511: 4505: 4502: 4500: 4497: 4495: 4492: 4490: 4487: 4486: 4484: 4480: 4474: 4471: 4469: 4466: 4464: 4461: 4459: 4456: 4455: 4453: 4449: 4441: 4438: 4436: 4433: 4432: 4431: 4428: 4424: 4421: 4419: 4416: 4414: 4411: 4409: 4406: 4404: 4401: 4399: 4396: 4394: 4391: 4390: 4389: 4386: 4385: 4383: 4379: 4373: 4370: 4366: 4363: 4362: 4361: 4358: 4356: 4353: 4351: 4348: 4346: 4343: 4341: 4338: 4336: 4333: 4331: 4328: 4326: 4323: 4322: 4320: 4316: 4310: 4307: 4305: 4302: 4300: 4297: 4295: 4292: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4264: 4262: 4260: 4257: 4253: 4250: 4248: 4245: 4243: 4240: 4238: 4235: 4234: 4232: 4230: 4227: 4225: 4222: 4221: 4219: 4215: 4210: 4200: 4197: 4195: 4192: 4190: 4187: 4185: 4182: 4180: 4177: 4175: 4172: 4168: 4165: 4163: 4160: 4159: 4158: 4155: 4153: 4150: 4149: 4147: 4145: 4141: 4134: 4131: 4129: 4126: 4125: 4121: 4116: 4109: 4104: 4102: 4097: 4095: 4090: 4089: 4086: 4080: 4077: 4075: 4071: 4068: 4065: 4063: 4060: 4058: 4054: 4051: 4049: 4046: 4044: 4041: 4039: 4036: 4034: 4031: 4029: 4025: 4022: 4019: 4018: 4008: 4002: 3997: 3996: 3989: 3985: 3979: 3974: 3973: 3966: 3965: 3957: 3953: 3949: 3945: 3941: 3937: 3935:1-56367-003-8 3931: 3927: 3922: 3918: 3914: 3909: 3908: 3901: 3898: 3894: 3893: 3888: 3884: 3880: 3868: 3864: 3862: 3850: 3846: 3845: 3843: 3839: 3834: 3829: 3824: 3818: 3813: 3812: 3803: 3802: 3796: 3792: 3786: 3782: 3777: 3771: 3765: 3759: 3754: 3753: 3746: 3745: 3743: 3742:0-486-21030-8 3739: 3734: 3733: 3727: 3723: 3717: 3713: 3708: 3707: 3701: 3697: 3694: 3689: 3678: 3671: 3667: 3662: 3660: 3659:0-11-290445-9 3656: 3651: 3645: 3640: 3639: 3632: 3628: 3622: 3618: 3614: 3609: 3603: 3601:0-8109-1693-2 3597: 3593: 3588: 3587: 3581: 3577: 3576: 3572: 3571: 3564: 3562: 3561:0-688-02893-4 3558: 3554: 3550: 3549: 3539: 3535: 3532: 3528: 3522: 3514: 3512:9781317451679 3508: 3504: 3500: 3499: 3494: 3493:"Men's Shoes" 3487: 3480: 3475: 3467: 3465:0-13-181214-9 3461: 3457: 3453: 3452: 3444: 3442: 3433: 3429: 3425: 3418: 3411: 3406: 3399: 3394: 3387: 3382: 3380: 3372: 3367: 3360: 3356: 3351: 3345: 3344:0-521-34016-0 3341: 3337: 3331: 3324: 3318: 3311: 3306: 3299: 3294: 3287: 3283: 3278: 3268: 3262: 3261: 3252: 3245: 3241: 3236: 3226: 3225: 3216: 3209: 3204: 3202: 3195:, p. 22. 3194: 3189: 3182: 3177: 3175: 3173: 3157: 3151: 3142: 3141: 3132: 3124: 3118: 3114: 3113: 3105: 3097: 3091: 3087: 3086: 3078: 3071: 3067: 3062: 3056:, p. 74. 3055: 3050: 3043: 3038: 3031: 3027: 3022: 3016:, p. 78. 3015: 3010: 3002: 3000:0-7876-5420-5 2996: 2991: 2990: 2981: 2974: 2970: 2965: 2950: 2946: 2940: 2932: 2928: 2924: 2918: 2907: 2902: 2891: 2887: 2886:Koslin (2009) 2882: 2875: 2874:Koslin (2009) 2870: 2862: 2860: 2854: 2853: 2845: 2843: 2841: 2839: 2831: 2827: 2822: 2815: 2814:Koslin (2009) 2810: 2803: 2801: 2794: 2788: 2787:1-85709-171-X 2784: 2780: 2774: 2767: 2762: 2755: 2751: 2746: 2738: 2731: 2724: 2719: 2715: 2699: 2693: 2687: 2680: 2676: 2670: 2661: 2652: 2643: 2639: 2629: 2626: 2624: 2621: 2619: 2616: 2613: 2610: 2608: 2605: 2604: 2595: 2592: 2589: 2586: 2583: 2580: 2577: 2573: 2570: 2567: 2564: 2561: 2557: 2554: 2551: 2547: 2544: 2541: 2537: 2534: 2531: 2530: 2525: 2522: 2519: 2514: 2511: 2510: 2502: 2497: 2490: 2485: 2482:7 – 1475–1480 2478: 2473: 2466: 2461: 2454: 2449: 2442: 2437: 2430: 2425: 2418: 2413: 2410:1 – 1405–1410 2406: 2401: 2400: 2394: 2392: 2383: 2380: 2377: 2374: 2371: 2368: 2365: 2362: 2359: 2355: 2351: 2348: 2347: 2343:5 – 1476–1478 2339: 2334: 2327: 2322: 2315: 2310: 2307:2 – 1447–1448 2303: 2298: 2285: 2280: 2279: 2270: 2266: 2262: 2259: 2256: 2253: 2250: 2247: 2244: 2241: 2238: 2235: 2232: 2228: 2225: 2222: 2219: 2216: 2213: 2212: 2204: 2199: 2192: 2187: 2180: 2175: 2162: 2157: 2154:4 – 1468–1470 2150: 2145: 2142:3 – 1467–1470 2138: 2133: 2126: 2121: 2114: 2109: 2108: 2099: 2096: 2093: 2091: 2085: 2082: 2079: 2076: 2073: 2070: 2067: 2064: 2061: 2058: 2055: 2052: 2049: 2046: 2043: 2038: 2035: 2034: 2030:9 – 1447–1448 2026: 2021: 2014: 2009: 2002: 1997: 1984: 1979: 1966: 1961: 1954: 1949: 1936: 1931: 1928:2 – 1400–1419 1924: 1919: 1916:1 – 1405–1410 1912: 1907: 1906: 1900: 1898: 1894: 1890: 1889:duckbill shoe 1886: 1882: 1878: 1877:outright bans 1874: 1870: 1866: 1862: 1858: 1848: 1846: 1840: 1837: 1833: 1823: 1821: 1816: 1813: 1811: 1807: 1806:Great Council 1803: 1799: 1793: 1789: 1787: 1786: 1780: 1774: 1769: 1756: 1751: 1747: 1746:for stretch. 1745: 1739: 1737: 1732: 1729: 1725: 1721: 1717: 1712: 1710: 1706: 1702: 1697: 1695: 1691: 1687: 1683: 1682: 1676: 1664: 1656: 1648: 1642:Men's fashion 1635: 1632: 1629: 1625: 1622: 1619: 1618: 1613: 1610: 1607: 1604: 1601: 1598: 1595: 1591: 1589: 1583: 1580: 1576: 1573: 1570: 1567: 1566: 1562:8 – 1490–1496 1558: 1553: 1550:7 – 1490–1495 1546: 1541: 1528: 1523: 1510: 1505: 1492: 1487: 1480: 1475: 1472:2 – 1476–1480 1468: 1463: 1456: 1451: 1450: 1441: 1438: 1434: 1431: 1427: 1424: 1413: 1410: 1407: 1404: 1401: 1397: 1394: 1391: 1388: 1387: 1372: 1367: 1364:6 – 1465–1470 1360: 1355: 1342: 1337: 1324: 1319: 1306: 1301: 1294: 1289: 1282: 1277: 1276: 1267: 1264: 1261: 1258: 1255: 1251: 1248: 1244: 1241: 1238: 1235: 1232: 1229: 1226: 1223: 1220: 1217: 1214: 1211: 1208: 1205: 1204: 1196: 1191: 1184: 1179: 1166: 1161: 1158:7 – 1496–1498 1154: 1149: 1146:6 – 1496–1498 1142: 1137: 1130: 1125: 1112: 1107: 1104:3 – 1485–1490 1100: 1095: 1092:2 – 1480–1485 1088: 1083: 1076: 1071: 1070: 1054: 1050: 1047: 1044: 1040: 1035: 1032: 1029: 1026: 1023: 1020: 1017: 1014: 1011: 1007: 1004: 1000: 996: 992: 991: 983: 978: 975:6 – 1476–1478 971: 966: 963:5 – 1467–1471 959: 954: 941: 936: 923: 918: 905: 900: 887: 882: 881: 872: 869: 866: 863: 860: 856: 853: 850: 847: 844: 842: 836: 833: 830: 827: 817: 814: 811: 807: 804: 801: 797: 794: 793: 789:9 – 1445–1450 785: 780: 777:8 – 1445–1450 773: 768: 765:7 – 1445–1450 761: 756: 749: 744: 737: 732: 725: 720: 707: 702: 699:2 – 1410–1411 695: 690: 687:1 – 1410–1411 683: 678: 677: 671: 669: 665: 655: 652: 648: 644: 640: 634: 631: 626: 621: 619: 614: 612: 608: 604: 600: 595: 593: 589: 585: 581: 577: 567: 565: 561: 557: 552: 550: 546: 542: 538: 536: 530: 528: 521: 519: 514: 511: 507: 499: 495: 491: 485: 483: 482:robe déguisée 479: 475: 474:robe a tassel 470: 468: 464: 460: 459: 453: 450: 446: 442: 438: 430: 426: 419: 415: 411: 410: 403: 398: 394: 387: 383: 379: 374: 360: 358: 354: 350: 349:invaded Italy 347: 343: 339: 334: 332: 328: 323: 319: 315: 304: 302: 298: 294: 290: 286: 282: 278: 273: 271: 267: 261: 259: 255: 251: 247: 243: 239: 235: 231: 227: 223: 222:Mediterranean 218: 216: 215: 210: 206: 203: 199: 195: 190: 186: 182: 178: 170: 166: 162: 158: 154: 149: 140: 137: 133: 129: 125: 121: 117: 113: 109: 105: 101: 86: 79: 78: 71: 67: 65: 61: 57: 53: 49: 45: 41: 34: 33: 28: 23: 19: 4286: 3994: 3971: 3946:. New York: 3943: 3925: 3906: 3890: 3810: 3800: 3780: 3751: 3731: 3705: 3700:Favier, Jean 3692: 3673: 3669: 3637: 3616: 3612: 3585: 3569: 3552: 3526: 3521: 3497: 3486: 3474: 3450: 3427: 3417: 3410:Boucher 1967 3405: 3393: 3366: 3350: 3335: 3330: 3322: 3317: 3310:Boucher 1987 3305: 3293: 3277: 3259: 3251: 3235: 3223: 3215: 3208:Boucher 1967 3188: 3161:17 September 3159:. 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Knowledge

1400–1500 in European fashion

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