1550–1600 in European fashion

600:, commonly known as the Dutch cloak, was another kind of cloak. Its name implies some military ideals and has been used since the beginning of the 16th century and therefore has many forms. The cloak is identified by its flaring out at the shoulders and the intricacy of decoration. The cloak was worn to the ankle, waist or fork. It also had specific measurements of 3/4 cut. The longer lengths were more popular for travel and came with many variations. These include: taller collars than normal, upturned collar or no collar at all and sleeves. The French cloak was quite the opposite of the Dutch and was worn anywhere from the knees to the ankle. It was typically worn over the left shoulder and included a cape that came to the elbow. It was a highly decorated cloak. The Spanish cloak or cape was well known to be stiff, have a very decorated hood and was worn to the hip or waist. The over-gown for women was very plain and worn loosely to the floor or ankle length. The Juppe had a relation to the safeguard and they would usually be worn together. The Juppe replaced the Dutch Cloak and was most likely a loose form of the doublet. 2194: 688: 1661: 2218: 382: 2902: 64: 859: 793: 1791: 2603: 2914: 1014: 2866: 1477: 978: 2543: 871: 2392: 2591: 1266: 397:(or both). An alternative to the gown was a short jacket or a doublet cut with a high neckline. The narrow-shouldered, wide-cuffed "trumpet" sleeves characteristic of the 1540s and 1550s in France and England disappeared in the 1560s, in favor of French and Spanish styles with narrower sleeves. Overall, the silhouette was narrow through the 1560s and gradually widened, with emphasis at the shoulder and hip. The slashing technique, seen in Italian dress in the 1560s, evolved into single or double rows of loops at the shoulder with contrasting linings. By the 1580s these had been adapted in England as padded and jeweled 1501: 2579: 3055: 2848: 1465: 1435: 2794: 3031: 148: 1595: 2806: 653: 1631: 2206: 847: 3007: 1423: 1194: 1230: 2236: 2374: 1026: 3043: 1296: 2890: 2452: 2260: 2830: 2428: 1218: 2248: 124:. Black garments were worn for the most formal occasions. Black was difficult and expensive to dye, and seen as luxurious, if in an austere way. As well as Spanish courtiers, it appealed to wealthy middle-class Protestants. Regional styles were still distinct. The clothing was very intricate, elaborate and made with heavy fabrics such as velvet and raised silk, topped off with brightly coloured jewellery such as rubies, diamonds and pearls to contrast the black backdrop of the clothing. 47:, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the 2164: 3107:. The woman in the foreground wears a gown with a contrasting lining tucked into her belt to display her kirtle. The woman at the back wears contrasting sleeves with her gown. Both women wear dark parlets; the V-neck front and pointed back are common in Flanders. They wear linen headdresses, probably a single rectangle of cloth pinned into a hood (note knots in the corners behind). Men wear baggy hose, short doublets (one with a longer jerkin beneath), and soft, round hats, 1568. 1489: 1453: 1399: 2615: 1038: 1411: 1284: 1206: 4661: 2567: 2440: 1086: 769: 3019: 2410: 464:

compressed the torso into a smaller but equally geometric cone. Bodices could be high-necked or have a broad, low, square neckline, often with a slight arch at the front early in the period. They fastened with hooks in front or were laced at the side-back seam. High-necked bodices styled like men's doublets might fasten with hooks or buttons. Italian and German fashion retained the front-laced bodice of the previous period, with the ties laced in parallel rows.

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previously. As in the first half of the century, shoes were made from soft leather, velvet, or silk. In Spain, Italy, and Germany the slashing of shoes also persisted into the latter half of the century. In France however, slashing slowly went out of fashion and coloring the soles of footwear red began. Aside from slashing, shoes in this period could be adorned with all sorts of cord, quilting, and frills. Thick-soled

2878: 817: 2818: 3137:. Fruit and vegetable-sellers are often shown with more cleavage exposed than other women, whether reflecting a reality or an iconographic convention is hard to say. It might also reflect the common suspect in XVI Italy about the so-called "treccole", women that sold food of any kind in the streets; respectable people tended to see their going around as a sort of cover for prostitution or loose behaviour. 883: 3456: 1673: 2531: 2555: 2633: 498:. Smocks were made of rectangular lengths of linen; in northern Europe the smock skimmed the body and was widened with triangular gores, while in Mediterranean countries smocks were cut fuller in the body and sleeves. High-necked smocks were worn under high-necked fashions, to protect the expensive outer garments from body oils and dirt. There is pictorial evidence that Venetian 570:(a fine linen). Partlets were also worn over the kirtle and gown. The colours of "over-partlets" varied, but white and black were the most common. The partlet might be made of the same material as the kirtle and richly decorated with lace detailing to complement it. Embroidered partlet and sleeve sets were frequently given to Elizabeth as New Year's gifts. 642:

the Elizabethan style by being a multipurpose piece of clothing. They could be worn on the head to protect desirable pale skin from the sun, warm the neck on a colder day, and accentuate the colour scheme of a gown or whole outfit. The upper class had silken scarves of every color to brighten up an outfit with the gold thread and tassels hanging off of it.

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were worn overall in bad weather. One description mentions strings being attached to the stirrup or foot to hold the skirts in place when riding. Mantles were also popular and described as modern day bench warmers: a square blanket or rug that is attached to the shoulder, worn around the body, or on

2032:

Although beards were worn by many men prior to the mid-16th century, it was at this time when grooming and styling facial hair gained social significance. These styles would change very frequently, from pointed whiskers to round trims, throughout these few decades. The easiest way men were able to

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are well-documented. Belts were a surprising necessity: used either for fashion or more practical purposes. Lower classes wore them almost as tool belts with the upper classes using them as another place to add jewels and gems alike. Scarves, although not often mentioned, had a significant impact on

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The bodices of French, Spanish, and English styles were stiffened into a cone or flattened, triangular shape ending in a V at the front of the woman's waist. Italian fashion uniquely featured a broad U-shape rather than a V. Spanish women also wore boned, heavy corsets known as "Spanish bodies" that

2748:

Fashionable shoes for men and women were similar, with a flat one-piece sole and rounded toes. Shoes were fastened with ribbons, laces or simply slipped on. Shoes and boots became narrower, followed the contours of the foot, and covered more of the foot, in some cases up to the ankle, than they had

723:

The ideal standard of beauty for women in the Elizabethan era was to have light or naturally red hair, a pale complexion, and red cheeks and lips, drawing on the style of Queen Elizabeth. The goal was to look very "English," since the main enemy of England was Spain, and in Spain darker hair was

2741: 1856:, usually sleeveless and often made of leather, was worn over the doublet. During this time the doublet and jerkin became increasingly more colorful and highly decorated. Waistlines dipped V-shape in front, and were padded to hold their shape. Around 1570, this padding was exaggerated into a 548:) held the skirts out in a rounded shape at the waist, falling in soft folds to the floor. In England, the Spanish farthingale was worn through the 1570s, and was gradually replaced by the French farthingale. By the 1590s, skirts were pinned to wide wheel farthingales to achieve a drum shape. 2733: 225:

The upper classes, too, were restricted. Certain materials such as cloth of gold could only be worn by the Queen, her mother, children, aunts, and sisters, as well as duchesses, marchionesses, and countesses. Viscountesses and baronesses, among others, however, were not allowed to wear this

206:

were used to control behaviour and to ensure that a specific social structure was maintained. These rules were well known by all the English people and penalties for violating these sumptuary laws included harsh fines. Most of the time they ended in the loss of property, title and even life.

1747:

wears a bodice with split, round hanging sleeves. Her tight undersleeves are characteristic of Spanish influence. From the folds of her skirt, she appears to be wearing a small roll over a narrow Spanish farthingale. Note that her oversleeves are the same shape as those worn by Lettice

1731:

wears a fashion seen in many formal portraits of Puritan women in the 1590s, characterized by a black gown worn with a blackwork stomacher and a small French farthingale or half-roll, with a fine linen ruff and moderate use of lace and other trim. She wears a tall black hat called a

1522:

wears a black gown with vertical bands of trim on the bodice. The curved waistline and dropped front opening of the overskirt suggest that she is wearing a French roll to support her skirt. She wears a heart-shaped cap and a sheer veil decorated with a pattern of pearls, early

1764:

featured bodices cut below the breasts and terminating in a blunt U-shape at the front waist, worn over open high-necked chemises with ruffled collars that frame the head. The Dogaressa of Venice wears a cloth of gold gown and matching cape and a sheer veil over a small cap,

1714:, 1592, wears a dark red gown (the fabric is just visible at the waist under her arms) with hanging sleeves lined in white satin to match her bodice, undersleeves, and petticoat, which is pinned to a cartwheel farthingale. She carries leather gloves and an early folding 1576:, aged 14, wears a black brocade gown over a French farthingale. The blackwork embroidery on her smock is visible above the arch of her bodice; her cuffs are also trimmed with blackwork. This style is uniquely English. She wears an open-fronted cartwheel ruff. 2148:

Gloves were often used as a social mediator to recognize the wealthy. Beginning in the second half of the 16th century, many men had trimmed tips off of the fingers of gloves in order for the admirer to see the jewels that were being hidden by the glove.

1161:

in modest German style: she wears a light-colored petticoat trimmed with a broad band of dark fabric at the hem, with a brown bodice and sleeves and an apron. An elaborate purse hangs from her belt, and she wears a linen headdress with a sheer veil,

1529:

c. 1580 wear gowns with wide French farthingales, long pointed bodices with revers and open ruffs, and full sleeves. This style appears in England around 1590. Note the fashionable sway-backed posture that goes with the long bodice resting on the

187:, Queen of England, was the ruler, women's fashion became one of the most important aspects of this period. As the Queen was always required to have a pure image, and although women's fashion became increasingly seductive, the idea of the perfect 1751: 2663:

wears the cartwheel ruff popular in England in the 1580s. His white satin doublet is laced with a red-and-white cord at the neck. A red cloak with gold trim is slung fashionably over one shoulder, and he wears a tall black hat with a feather,

2650:

shown in a black doublet with golden embroidery, with matching hose. Black silk stockings, and black shoes with golden embroidery. He also wears a cape in the same fashion. He wears a black top hat with golden embroidery and white feathers,

920:

wears a cloth-of-gold gown with fur-lined "trumpet" sleeves and a matching overpartlet with a flared collar, probably her coronation robes, 1554. Neither the sleeves nor the overpartlet would survive as fashionable items in England into the

103:

in 1558, ending the domination of western Europe by a single court, but the Spanish taste for sombre richness of dress would dominate fashion for the remainder of the century. New alliances and trading patterns arose as the divide between

214:. Other nobles (lesser ones) were allowed only to wear foxes and otters. Those lower in the social hierarchy were allowed to make use of other animal products in the use of their clothing, "Padding and quilting together with the use of 739:, resulting in death before the age of 50. Other ingredients used as make-up were sulfur, alum, and tin ash. In addition to using make-up to achieve a pale complexion, women in this era were bled to take the color out of their faces. 2117:

which belongs in a deck of playing cards. The beard is broad on the higher part of the cheeks which then curves at each side to meet at the tip of the chin. This style was thought to give a martial appearance and was favoured by

198:

had its own customs and social rules that were reflected in their fashion. Style would depend usually of social status and Elizabethans were bound to obey The Elizabethan Sumptuary Laws, which oversaw the style and materials worn.

1515:

wears an embroidered black high-necked bodice with round sleeves and skirt over a gold petticoat or forepart and matching undersleeves, a lace cartwheel ruff and lace cuffs, and a tall black hat with a jeweled ostrich feather, c.

2307:

wears a severe black jerkin with the new, shorted bases over a light grey doublet with rows of parallel cuts between bands of gold braid. His rose-coloured pansied slops are also decorated with cuts and narrow applied gold trim,

1754:(assumed to be Maria de Medici) shows the adaptation of fashion to accommodate pregnancy. A loose dark gown is worn over a matching bodice and skirt, with tight white undersleeves. The lady wears an open figure-of-eight ruff of 233:, but also colours, depending on social status. Purple was only allowed to be worn by the Queen and her direct family members. Depending on social status, the colour could be used in any clothing or would be limited to mantles, 1968:

were increasingly old-fashioned, and were worn by older men for warmth indoors and out. In this period robes began their transition from general garments to traditional clothing of specific occupations, such as scholars (see

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Married and grown women covered their hair, as they had in previous periods. Early in the period, hair was parted in the center and fluffed over the temples. Later, front hair was curled and puffed high over the forehead.

945:

wears a gold-colored gown with tied-on sleeves and a chemise with a wide band of gold embroidery at the neckline. She holds a jewelled fur or zibellino suspended from her waist by a gold chain, Lombardy (Northern Italy),

1569:

wears an entirely black gown with lace collar and cuffs, with white inner sleeves trimmed with gold embroidery or applied braid. Her jewellery includes a double string of pearls, a necklace, worked golden buttons and a

903:

of 1554: A black gown with high puffed upper sleeves is worn over a black bodice and a gray skirt with black trim. The high-necked chemise or partlet is worn open with the three pairs of ties that fasten it dangling

516:

likely originated in sixteenth-century Spain from bodice-like garments that were made with thick fabrics. The fashion spread from there to Italy, and then to France and (eventually) England, where it was called a

4909: 2985: 237:, jerkins, or other specific items. Lower classes were only allowed to use brown, beige, yellow, orange, green, grey and blue in wool, linen and sheepskin, while usual fabrics for upper class were silk or velvet. 1343:

wears a fitted gown with hanging sleeves over a matching arched bodice and skirt or petticoat, elaborate undersleeves, and a high-necked chemise with a ruff. Her skirt fits smoothly over a Spanish farthingale.

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wears German front-laced gowns of red satin trimmed with black bands of fabric. They wear high-necked black over-partlets with bands of gold trim and linen aprons. Their hair is tucked into jewelled cauls,

1155:

in severe Spanish fashion of the 1560s. Her high-necked black gown with split hanging sleeves is trimmed in bows with single loops and metal tags or aiglets, and she carries a jewelled flea-fur on a chain.

1128:

wears an open French collar with an attached ruff under a black gown with a flared collar and white lining. Her black hat with a feather is decorated with pearls and worn over a caul that covers her hair,

1724:

wears a painted petticoat with her black gown and cartwheel farthingale. She wears an open lace ruff and a sheer, wired veil frames her head and shoulders. Her skirt is ankle-length and shows her shoes,

1546:

is seen here again wearing a Spanish farthingale, a closed overskirt, and the typically Spanish, long, pointed oversleeves. She is wearing black, a testament to the austere side of the Spanish court, c.

1771:, formerly called Elizabeth I, wears a black gown over a white bodice and sleeves embroidered in black and gold, and a spotted white petticoat. Her hood is draped over her forehead in a style called a 444:

The gown was worn over a kirtle or petticoat (or both, for warmth). Prior to 1545, the kirtle consisted of a fitted one-piece garment. After that date, either kirtles or petticoats might have attached

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wear miniature versions of adult costume, including gown with hanging sleeves and Spanish farthingales, c. 1571. Their skirts appear to have tucks to allow them to be let down as the girls grow.

3117:

is pinned into a capelet or collar over her shoulders, and she wears a high-crowned hat over a coif, a chin-cloth, and an apron. She carries gloves in her left hand and a chicken in her right,

3101:

wears a black partlet, a front-lacing brown gown over a pink kirtle with matching sleeves, and a gray apron. Her collar has a narrow ruffle, and she wears a coif or cap under a straw hat, 1567.

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in England and the Netherlands, which still showed heavy Spanish influence, and the light, revealing fashions of the French and Italian courts. This distinction would carry over well into the

2961: 711:, or cap, of net-work lined in silk attached to a band, which covered the pinned up hair. This style of headdress had also been seen in Germany in the first half of the century. Widows in 456:

and most had sleeves that were pinned or laced in place. The parts of the kirtle or petticoat that showed beneath the gown were usually made of richer fabrics, especially the front panel

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is unique in a sense that it entails the groomer to take the hairs from the centre of the chin and separate the hairs toward opposite directions. This is very common variation of the

1349:

wears a doublet with fringed braid trim that forms button loops and a matching petticoat. Janet Arnold suggests that this method of trimming may be a Polish fashion (similar trimmings

377:

Spanish fashion: Elizabeth of Valois, Queen of Spain, wears a black gown with floor-length sleeves lined in white, with the cone-shaped skirts created by the Spanish farthingale, 1565.

163:

by the 1580s. Ruffs were worn throughout Europe, by men and women of all classes, and were made of rectangular lengths of linen as long as 19 yards. Later ruffs were made of delicate

1106:

wears the high-collared gown of the 1560s with puffed hanging sleeves. Under it she wears a high-necked bodice and tight undersleeves and a petticoat with an elaborately embroidered

2967: 630:

received one as a New Years gift in 1584. Gloves of perfumed leather featured embroidered cuffs. Folding fans appeared late in the period, replacing flat fans of ostrich feathers.

2512:

shows a deep figure-of-eight ruff in pointed lace (probably reticella). Note the jeweled buttons on his doublet fasten to one side of the front opening, not down the center, 1577.

2991: 1097: 334:, England, France, and Italy all absorbed the sobering and formal influence of Spanish dress after the mid-1520s. Fine textiles could be dyed "in the grain" (with the expensive 703:

was worn, alone or under other hats or hoods, especially in the Netherlands and England. Many embroidered and bobbin-lace-trimmed English coifs survive from this period. The

1566: 3130:

wears a front-fastening gown with ties or points for attaching sleeves, a green apron, and a chemise with a ruffled collar. Her uncovered hair is typical of Italian custom,

949: 1374:

Margarethe Elisabeth von Ansbach-Bayreuth wears a tall-collared black gown over a reddish-pink doublet with tight sleeves and a matching petticoat. She wears a black hat.

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of 1554: High-necked gown, in Spanish style, trimmed with ruched white silk braid held in place with gold buttons. With ample embroidered sleeves. Hair is covered with a

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in captivity wears French fashions: her open ruff fastens at the base of the neck, and her skirt hangs in soft folds over a French farthingale. She wears a cap and veil.

311:. Toward the end of the period, polychrome (multicoloured) silk embroidery became highly desirable and fashionable for the public representation of aristocratic wealth. 3913: 3840: 4557: 1998:

of the previous period, and over time the hat was stiffened and the crown became taller and far from flat. Later, a conical felt hat with a rounded crown called a

961:

wears a black gown (probably velvet) over black satin sleeves. Her collar lining and chemise are embroidered with blackwork, and she wears a black hood and a fur

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fastens with buttons and loops. The detailed stitching on the lining can be seen. The black-and-white doublet below also fastens with tiny buttons, German, 1566.

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of 1588 wears a lace or cutwork-edged collar rather than a ruff, with matching sleeve cuffs. He wears a tall grey hat with a feather which is called capotain.

1368:

of his wife Alice shows her wearing an open partlet and a closed ruff. Her blackwork sleeves have a sheer overlayer. She wears a black hood with a veil, 1578.

521:, being made in two parts which laced back and front. The corset was restricted to aristocratic fashion, and was a fitted bodice stiffened with reeds called 2145:

A baldrick or "corse" was a belt commonly worn diagonally across the chest or around the waist for holding items such as swords, daggers, bugles, and horns.

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of Florence, Italy wears a blue gown with a flared collar and tight undersleeves with horizontal trim. The uncorseted S-shaped figure is clearly shown, 1571.

4032: 2483: 1660: 494:. This was the only article of clothing that was worn by every woman, regardless of class. Wealthy women's smocks were embroidered and trimmed with narrow 1116:, thought to be Elizabeth I, shows her wearing a red gown with a fur lining. She wears a red flat hat over a small cap or caul that confines her hair. 4075: 3127: 385:

Elizabeth I wears padded shoulder rolls and an embroidered partlet and sleeves. Her low-necked chemise is just visible above the arched bodice, 1572.

683:

In a typical hairstyle of the period, front hair is curled and back hair is worn long, twisted and wound with ribbons and then coiled and pinned up.

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Hair was generally worn short, brushed back from the forehead. Longer styles were popular in the 1580s. In the 1590s, young men of fashion wore a

51:, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, 687: 5093: 5004: 4550: 2931: 1543: 637:

circles reaching as far down as the waist. Ruffs also had a jewelry attachment such as glass beads, embroidery, gems, brooches or flowers. The

3104: 2901: 2102:, just as its name suggests, is trimmed to add emphasis to the roundness of the male cheekbones. Another common name for this style was the 3404:

Sarah A. Bendall, 'Whalebone and the Wardrobe of Elizabeth I: Whaling and the Making of Aristocratic Fashions in Sixteenth Century Europe',

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Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660.

2295:

wears an embroidered black doublet with worked buttons and a matching robe. His high collar is worn open at the top in the French fashion.

2033:

maintain the style of their beards was to apply starch onto their groomed faces. The most popular styles of beards at this time include:

3730:

Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660

3284:

Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660

2152:

Late in the period, fashionable young men wore a plain gold ring, a jewelled earring, or a strand of black silk through one pierced ear.

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wears a white gown with embroidery and pearls. Her hair is twisted and coiled against her head and pinned in place with pearls, 1560.

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with long sleeves sewn or laced in place. Doublets were stiff, heavy garments, and were often reinforced with boning. Optionally, a

2301:

wears a jerkin with short slashed sleeves over a red satin doublet. His velvet hose are made in wide panes over a full lining, 1566.

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wears a cutwork cartwheel ruff. Her stomacher and wired heart-shaped coif are both decorated with blackwork embroidery, 1585–90.

2320: 2317:

wears a red doublet with gold embroidery and red paned hose in the same fashion. He also wears reddish silk stockings, c. 1560.

1702: 1340: 1013: 933:

in a gown with a high-arched bodice fur-lined "trumpet" sleeves, over a pink forepart and matching paned undersleeves, c. 1555.

2289:

wears matching black doublet, paned hose, and robe trimmed with bands of gold braid or embroidery closed with jewels, c. 1550.

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and coloured silk threads, trimmed with silver-gilt and silk thread fringe and tassel, and lined with pink linen, 1580–1600 (

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of the early 1550s features a loose gown of light-weight silk over a bodice and skirt (or kirtle) and an open-necked partlet.

63: 3813: 2865: 1313: 29:

lace ruff, (possibly) Polish ornamentation, a French farthingale, and Spanish severity: The "Ermine Portrait" of Elizabeth I

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was, at the time, a common name for the beard, but it referred specifically to a mustache finely groomed to a pointed tip.

977: 3762: 2542: 2515: 1805: 479:(later Countess of Southampton) at her dressing table wears an embroidered linen jacket over her rose-pink corset, 1590s. 5098: 4693: 4061:

The date of 1549 on the portrait of her husband refers to the date of his execution, not of the painting, see notes at

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were worn over delicate indoor shoes to protect them from the muck of the streets. A variant on the patten popular in

2503: 2332: 870: 2979: 2329:

wears an embroidered black jerkin with long bases or skirts over a white satin doublet and matching padded hose, 1566.

952:

wears a cloth-of-red velvet gown with "trumpet" sleeves and a gold neckline with a gold embroidered overpartlet, 1557.

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and vinegar. While this makeup was effective, the white lead made it poisonous. Women in this time often contracted

4924: 4919: 4811: 4806: 4801: 4796: 4791: 4786: 4608: 4579: 1848:

and matching wrist ruffs, which were laundered with starch to be kept stiff and bright. Over the shirt men wore a

1265: 633:

Jewelry was also popular among those that could afford it. Necklaces were beaded gold or silver chains and worn in

540:

remained in fashion into the early 17th century. It was only briefly fashionable in France, where a padded roll or

222:

for stiffening purposes were used to gain geometric effect with emphasis on giving the illusion of a small waist".

2391: 2017:

continued to be worn by children and older men under their hats or alone indoors; men's coifs were usually black.

1500: 939:

wears a dark gown trimmed or lined in fur over fitted undersleeves. A chain is knotted at her neck. England, 1557.

314:

The origins of the trend for sombre colours are elusive, but are generally attributed to the growing influence of

5088: 4483: 2590: 2283: 1573: 1519: 151:

Italian doublet and hose decorated with applied trim and parallel cuts contrast with a severe black jerkin, 1560.

100: 4040: 2958:, c. 1570. The girls wear gowns of striped fabric trimmed with bands of black, with linen chemises and partlets. 2326: 1936:

with rounded toes, with slashes early in the period and ties over the instep later. Boots were worn for riding.

1563:. Her blackwork sleeves have sheer linen oversleeves, and she wears wired veil with bands of gold lace, 1585–90. 1325: 1310:

over a stomacher and an open chemise are characteristic of Venetian fashion. The skirt is gathered at the waist.

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shows a linen cartwheel ruff with lace (possibly reticella) edging and the stylish small pointed beard of 1585.

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in the narrow fashions of the 1560s: Ruff, doublet, slashed leather jerkin, and paned trunk hose with codpiece.

1550: 1526: 1365: 1332:

in a brocade gown and a partlet with a lattice of jewels, 1571. The lattice partlet is a common French fashion.

1132: 638: 338:), alone or as an over-dye with woad, to produce a wide range of colours from blacks and greys through browns, 2847: 1464: 5083: 4718: 4595: 4516: 2578: 1165: 76: 1915:

form of pansied slops with a very full inner layer pulled out between the panes and hanging below the knee.

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wears Venetian fashion of 1555. The front-lacing bodice remained fashionable in Italy and the German States.

3914:"Irish mantles, English nationalism: apparel and national identity in early modern English and Irish texts" 3841:"Irish mantles, English nationalism: apparel and national identity in early modern English and Irish texts" 3572:

Munro, John H. "Medieval Woollens: Textiles, Technology, and Organisation". In Jenkins (2003), pp. 214–215.

3098: 2493: 1113: 894: 2006:

became fashionable. These became very tall toward the end of century. Hats were decorated with a jewel or

4698: 4688: 2793: 2720: 2673: 2292: 1158: 1152: 1146: 958: 930: 3030: 1100:

wears a black loose gown over a bodice and a sheer linen partlet. Her brown gloves have tan cuffs, 1560.

626:

or "flea furs". The most expensive zibellini had faces and paws of goldsmith's work with jewelled eyes.

5031: 5009: 4640: 2925: 2805: 1768: 1711: 1139:

wears a black gown with puffed upper sleeves over a striped high-necked bodice or doublet. She wears a

917: 1630: 620:

spread from continental Europe into England in this period; costume historians call these accessories

5057: 4710: 4625: 4584: 3355: 3113:

wears an open-fronted gown laced over a kirtle and a chemise with narrow ruffs at neck and wrists. A

2976:

of Ammerzoden, aged 8, wears a red velvet dress with embroidery and several gold chains. Dutch, 1586.

2463: 2338: 1582:, wears a black bodice with pointed shoulder pads, a high collar with a ruff. A coif covers her hair. 1307: 900: 2323:

wears a shirt trimmed in black on ruff and sleeve ruffles. He wears a belt pouch at his waist. 1563.

1229: 1149:

bodice fastens with small gold buttons and loops. A double row of loops trims the shoulder, 1560–65.

67:

Isaac Oliver's allegorical painting of 1590–95 contrasts virtuous and licentious dress and behavior.

5103: 5026: 4914: 4891: 4886: 4874: 4869: 4864: 4859: 4854: 4849: 4844: 4823: 4645: 4189: 4185: 2695:(d. 1598) in old age. Spanish fashion changed very little from the 1560s to the end of the century. 2373: 2205: 1741: 727:

To further lighten their complexion, women wore white make-up on their faces. This make-up, called

362: 3006: 1422: 1193: 846: 4618: 4341: 3961:

as Luxury Accessories of the Renaissance", in Robin Netherton and Gale R. Owen-Crocker, editors,

3140: 2235: 1594: 1103: 1025: 664: 210:

Regarding fabrics and materials for the clothes construction, only royalty was permitted to wear

3514: 3042: 4703: 2889: 2829: 1721: 1295: 707:

was worn throughout the period in both France and England. Another fashionable headdress was a

627: 357:

By the end of the period, there was a sharp distinction between the sober fashions favoured by

184: 129: 2496:

features very short pansied slops over canions and peascode-bellied doublets and jerkins, the

2470:, wears doublet and matching cape with the high collar and figure-of-eight ruff of c. 1573–74. 2451: 5047: 5014: 2763:– a platform-soled mule that raised the wearer sometimes as high as two feet off the ground. 2427: 2342: 2259: 2163: 354:, while a variety of common plants produced yellow dyes, although most were prone to fading. 2614: 2506:

in a peascod-bellied doublet with full sleeves under a buff jerkin with matching hose, 1577.

2247: 1452: 1217: 1037: 2973: 2949: 2934: 2676:

wears the Queen's colors (black and white). His cloak is lined and collared with fur, 1588.

2286: 1398: 4242: 2409: 1488: 1410: 768: 8: 5062: 4461: 3242:

Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life,

2946: 2706: 2647: 2566: 2439: 1813: 1283: 1205: 1085: 1049: 924: 828: 584: 159:

grew from a narrow frill at neck and wrists to a broad "cartwheel" style that required a

147: 1684: 5052: 4755: 4062: 3933: 3860: 3537: 3167: 3018: 2644: 2361: 2314: 1849: 1825: 1761: 1536:

wears a black gown and full white sleeves trimmed with gold lace or braid. She wears a

1061: 1001: 955: 509:

were generally made of woven wool sewn to shape and held in place with ribbon garters.

234: 96: 92: 3788: 2701:

wears a fur-lined robe with hanging sleeves over a slashed doublet and hose, with the

2181: 1648: 1329: 1247: 1073: 4881: 4839: 4675: 4650: 4635: 4494: 4479: 4465: 4447: 4433: 4418: 4404: 4390: 4375: 4360: 4329: 4321: 4307: 4292: 4277: 4263: 4140: 4106: 4081: 3892: 3758: 3733: 3696: 3674: 3643: 3612: 3604: 3541: 3496: 3311: 3287: 3263: 2781: 2692: 2497: 1606: 1386: 804: 652: 566:). Partlets worn over the smock but under the kirtle and gown were typically made of 323: 4274:

Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620

3937: 3864: 3493:

Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620

2271: 1181: 780: 4981: 4976: 4971: 4955: 4950: 4945: 4940: 4816: 4750: 4535: 3925: 3852: 3529: 3409: 3187: 2928:

wears an unusual doublet (or robe?) that appears to fasten up the back, Italy, 1551

2772: 2660: 2346: 1853: 1705: 754: 596:

Besides keeping warm, Elizabethans cloaks were useful for any type of weather; the

476: 438: 351: 4389:, Dover Publications reprint, 1963, from 1928 Harrap translation from the German, 3380: 3072: 989: 757:

was used to darken the eyelashes and enhance the size and appearance of the eyes.

55:

or embroidery, and shaped into crisp, precise folds with starch and heated irons.

4680: 4446:, Volume 2, Woodbridge, Suffolk, UK, and Rochester, NY, the Boydell Press, 2006, 3886: 3817: 3192: 3182: 3172: 2970:

at table wear brownish doublets and slops over cannions, the Low Countries, 1585.

1983: 1912: 1863: 1845: 1744: 1715: 1618: 1512: 882: 728: 708: 389:

Women's outer clothing generally consisted of a loose or fitted gown worn over a

252: 230: 195: 188: 156: 48: 2084:

is a small portion of the beard easing to a point around the centre of the chin.

425:. Gowns were made in a variety of styles: Loose or fitted (called in England a 4630: 3356:"Daily Life - Renaissance and Reformation Reference Library | Encyclopedia.com" 2877: 2712: 1970: 736: 502:

wore linen or silk drawers, but no evidence that drawers were worn in England.

219: 203: 4530: 4211: 2817: 2632: 2518:

wears a pinked white doublet with worked buttons and a plain linen ruff, 1579.

1672: 816: 5077: 2702: 2530: 2114: 1809: 1708:, Countess of Shrewsbury, wears a black gown and cap with a linen ruff, 1590. 3413: 2994:

wears a black jacket, black silk breeches, a ruff and hat, Netherlands, 1599

2937:

wears fashionable dresses suitable for aristocratic daughters in Italy, 1555

753:

were used as dyes to achieve the bright red effects on the cheeks and lips.

3725: 3279: 2554: 453: 335: 125: 4660: 3929: 3856: 2988:

wears a lace trimmed coif, lace collar and a lace apron, Netherlands, 1596

2136:, although it is greater in length and it is more noticeably spread apart. 645:

While travelling, noblewomen would wear oval masks of black velvet called

4184: 3177: 3088: 2716: 2345:

in a black jerkin over a white satin doublet decorated with a pattern of

1537: 911: 746: 704: 529: 358: 347: 331: 292: 256: 246: 160: 133: 43:

was characterized by increased opulence. Contrasting fabrics, slashes,

4745: 4077:

The Anatomy of Fashion: Dressing the Body from the Renaissance to Today

3533: 2740: 732: 660: 634: 533: 472: 172: 109: 44: 2732: 373: 4511: 4212:

Cunnington, C. Willett; Phillis Cunnington and Charles Beard (1960).

3330: 3197: 3157: 2683: 2487: 1961: 1925: 1820: 1801: 1777: 1140: 750: 742: 622: 579: 499: 484: 394: 276: 272: 164: 26: 2125:; a very sleek trim of the beard in which is cuts close to the chin. 2013:

Close-fitting caps covering the ears and tied under the chin called

112:

countries became more pronounced. The severe, rigid fashions of the

21: 3114: 2092: 1964:, were fashionable. Long cloaks were worn in cold and wet weather. 1867: 1734: 1336: 1136: 712: 562:

A low neckline might be filled with an infill (called in English a

343: 308: 105: 40: 2049:

in 1596. It resembles a large and discussed growth upon the chin.

1902:

were loose hose reaching just below the knee. Slops could also be

1808:

wears a stiffened, gathered hat with a jeweled band. He wears the

1559:

wears a cartwheel ruff slightly open at the front, supported by a

4105:. Great Britain: National Trust Enterprises Limited. p. 28. 3732:. Hollywood, CA: Quite Specific Media Group. pp. 13, 50–51. 3695:. Great Britain: National Trust Enterprises Limited. p. 20. 2760: 2751: 2007: 1828:

wears an embroidered cape with a collar over his doublet c. 1580.

597: 557: 491: 327: 288: 268: 260: 168: 52: 914:, instead of the traditional white coif, ornamented with pearls. 251:

The general trend towards abundant surface ornamentation in the

2771:

Toddler boys wore gowns or skirts and doublets until they were

2756: 2057: 1957: 1953: 1352: 962: 646: 617: 588:

over their dresses for riding or travel on dirty roads. Hooded

513: 445: 390: 339: 319: 300: 284: 215: 141: 137: 117: 88: 84: 37: 4139:. Cambridge, England: Cambridge University Press. p. 59. 4613: 3888:

Fashion and Fancy: Dress and Meaning in Rembrandt's Paintings

3515:"East &West: Textiles and Fashion in Early Modern Europe" 2962:

Infantas Isabella Clara Eugenia and Catalina Micaela of Spain

2480:

doublet over heavily padded hose. His shirt has a small ruff.

1945: 1933: 1882:, fitted hose that ended above the knee. Trunk hose could be 1878:

were short padded hose. Very short trunk hose were worn over

1841: 1838: 613: 589: 488: 315: 264: 211: 121: 113: 80: 4357:

Dynasties: Painting in Tudor and Jacobean England 1530–1630

3162: 2024:

was worn informally indoors; these were often embroidered.

2014: 1965: 1949: 696: 678: 495: 296: 280: 4491:

A survey of historic costume: A history of Western dress.

4403:, translated by Claudia Rosoux, Paul Hamlyn/Crown, 1968, 3286:. Hollywood, CA: Quite Specific Media Group. p. 10. 2982:

wears a coif, ruff, and lace-trimmed cuffs, England, 1590

1991: 609: 304: 4399:

Kybalová, Ludmila, Olga Herbenová, and Milena Lamarová:

4027: 4025: 4023: 3671:

A survey of historic costume: A history of Western dress

3429:. New York: Pub Drama Book Publishers. pp. 230–233. 3973: 3971: 1994:

with a gathered crown was worn. These derived from the

1316:

by Alonso Sánchez Coello wearing Spanish fashion, 1571.

409:

The common upper garment was a gown, called in Spanish

3637: 2689:, or with the sleeves hanging in front and back, 1588. 2020:

A conical cap of linen with a turned up brim called a

4531:

Power Dressing and Renaissance Fashion: Sarah Bendall

4442:

Netherton, Robin, and Gale R. Owen-Crocker, editors,

4231:. New York, NY: Dover Publications. pp. 227–274. 4020: 346:. Inexpensive reds, oranges and pinks were dyed with 4565: 4318:

The Visual History of Costume: The Sixteenth Century

3968: 3601:

The Visual History of Costume: The Sixteenth Century

3091:

in contemporary dress shows a table servant wearing

1987:, a long section of hair hanging over one shoulder. 1921:

were semi-fitted hose reaching just below the knee.

4415:

The Tudor tailor: Reconstructing 16th-century dress

3997: 3995: 3640:

The Tudor tailor: Reconstructing 16th-century dress

2715:of red satin, couched and embroidered with silver, 3147:with full skirts, hose, hats, and low shoes, 1594. 681:and false hairpieces were used to extend the hair. 255:was expressed in clothing, especially amongst the 4291:Hollywood, CA: Quite Specific Media Group, 2008, 3325: 3323: 5075: 4304:The Art of Dress: Clothing and Society 1500–1914 4235: 4137:Renaissance Clothing and the Materials of Memory 4135:Jones, Ann Rosalind; Stallybrass, Peter (2000). 4134: 4003:"The Painted Lady-Tudor Portraits at the Ferens" 3992: 3229:The Art of Dress: Clothing and Society 1500–1914 1540:with a jewelled biliment and a black veil, 1582. 3244:p. 317, William Collins & Sons, London 1981 4517:Description Of Elizabethan England, 1577(from 4207: 4205: 4203: 4178: 4103:The Art of Dress Clothes and Society 1500-1914 3693:The Art of Dress Clothes and Society 1500-1915 3638:Mikhaila, Ninya; Malcolm-Davies, Jane (2006). 3320: 404: 95:, handed over the kingdom of Spain to his son 16:Costume in the second half of the 16th century 4551: 4158: 4156: 3957:Sherrill, Tawny: "Fleas, Furs, and Fashions: 3808: 3806: 3665: 3663: 3661: 3659: 3427:A Visual History of Costume: The 16th Century 667:in a widow's black hood and veil, after 1559. 132:wardrobe records identifies French, Italian, 3786: 3512: 2522: 2155: 1976: 4428:Montupet, Janine, and Ghislaine Schoeller: 4413:Mikhaila, Ninya, and Malcolm-Davies, Jane: 4200: 3789:"Recreating 16th and 17th Century Clothing" 3487: 3485: 3483: 3481: 3479: 3477: 3306:Montupet, Janine, and Ghislaine Schoeller: 1544:The Infanta Isabella Clara Eugenia of Spain 4558: 4544: 4153: 4119: 3803: 3673:, New York: Fairchild Publications, 1994, 3656: 3633: 3631: 3629: 3627: 3625: 3272: 1837:Men's fashionable clothing consisted of a 1738:over a sheer linen cap and simple jewelry. 1166:Sisters Ermengard and Walburg von Rietberg 671: 528:Skirts were held in the proper shape by a 4521:), Chapter VII: Of Our Apparel And Attire 4372:The Cambridge History of Western Textiles 4276:, Macmillan 1985. Revised edition 1986. ( 4100: 3918:Journal for Early Modern Cultural Studies 3845:Journal for Early Modern Cultural Studies 3718: 3715:Kemper, Rachel H: "Costume", 1992, pp. 82 3690: 3595: 3593: 3591: 3513:Lemire, Beverly; Riello, Giorgio (2008). 3495:, Macmillan 1985. Revised edition 1986. ( 2998: 1866:, in variety of styles, were worn with a 1328:is portrayed by the French court painter 715:wore black hoods with sheer black veils. 4493:New York, Fairchild Publications, 1994, 3757:. Yale University Press. pp. 6–12. 3555: 3553: 3551: 3474: 2739: 2731: 2353: 1819: 1800: 1789: 686: 659: 651: 608:The fashion for wearing or carrying the 471: 380: 372: 318:and possibly the importation of Spanish 229:Not only fabrics were restricted on the 146: 62: 20: 4196:. London: Adam & Charles Black LTD. 4073: 3911: 3838: 3771: 3622: 2682:wears a loose military jacket called a 1781:or flea-fur, with a jeweled face, 1595. 5076: 4226: 3884: 3752: 3746: 3724: 3588: 3439: 3424: 3278: 3209: 1894:) over a full inner layer or lining. 1586: 1378: 1173: 969: 760: 5094:History of clothing (Western fashion) 4539: 4262:, W S Maney and Son Ltd, Leeds 1988. 4033:"Beauty History: The Elizabethan Era" 3885:Winkel, Marieke de (1 January 2006). 3548: 3262:, W S Maney and Son Ltd, Leeds 1988. 2766: 649:to protect their faces from the sun. 433:or long sleeves; and floor length (a 291:were further ornamented with applied 4604:Prehistory of nakedness and clothing 4374:, Cambridge University Press, 2003, 3951: 3454: 3254: 3252: 3250: 2486:'s shirt collar is embroidered with 240: 178: 4260:Queen Elizabeth's Wardrobe Unlock'd 4216:. London: Adam & Charles Black. 3442:Daily Life in Ancient Modern London 3260:Queen Elizabeth's Wardrobe Unlock'd 1104:Margaret Audley, Duchess of Norfolk 695:A close-fitting linen cap called a 13: 4352:. New York: Thomas Yoseloff, 1964. 3381:"Putting on an Elizabethan Outfit" 3221: 3095:with full, drooping linings, 1565. 1143:cap beneath a sheer veil, 1560–65. 656:Curled hair, twisted and pinned up 368: 14: 5115: 4505: 4401:Pictorial Encyclopedia of Fashion 3247: 2060:. It is also very similar to the 2010:, and were worn indoors and out. 1990:Through the 1570s, a soft fabric 1952:, usually hip-length, often with 1567:Infanta Catalina Micaela of Spain 1551:Nicholas Hilliard's Unknown Woman 1314:Consort of Spain, Anna of Austria 144:and sleeves, as well as Spanish. 58: 4659: 4580:History of clothing and textiles 3642:. London: Batsford. p. 20. 3071: 3053: 3041: 3029: 3017: 3005: 2912: 2900: 2888: 2876: 2864: 2846: 2828: 2816: 2804: 2792: 2780: 2631: 2613: 2601: 2589: 2577: 2565: 2553: 2541: 2529: 2450: 2438: 2426: 2408: 2390: 2372: 2360: 2270: 2258: 2246: 2234: 2216: 2204: 2192: 2180: 2162: 2140: 1795:Robert Dudley, Earl of Leicester 1785: 1683: 1671: 1659: 1647: 1629: 1617: 1605: 1593: 1499: 1487: 1475: 1463: 1451: 1433: 1421: 1409: 1397: 1385: 1294: 1282: 1264: 1246: 1228: 1216: 1204: 1192: 1180: 1153:Isabel de Valois, Queen of Spain 1084: 1072: 1060: 1048: 1036: 1024: 1012: 1000: 988: 976: 965:over her shoulders, later 1550s. 881: 869: 857: 845: 827: 815: 803: 791: 779: 767: 116:were dominant everywhere except 71: 4987:impact of the COVID-19 pandemic 4478:. Yale University Press, 2001, 4220: 4214:A Dictionary of English Costume 4194:A Dictionary of English Costume 4173:Patterns of Fashion...1560–1620 4165: 4128: 4094: 4067: 4055: 3980: 3905: 3878: 3832: 3780: 3709: 3684: 3575: 3566: 3506: 3448: 3433: 3418: 3398: 2655:Miniature of Sir Walter Raleigh 1356:were worn in the 19th century). 950:Mary Howard, Duchess of Norfolk 34:Fashion in the period 1550–1600 4512:The Elizabethan Costuming Page 4476:The Corset: A Cultural History 4444:Medieval Clothing and Textiles 3963:Medieval Clothing and Textiles 3891:. Amsterdam University Press. 3755:The Corset: A Cultural History 3373: 3348: 3300: 3234: 2510:Miniature of the Duc d'Alençon 2468:Henry III of France and Poland 2321:Thomas Howard, Duke of Norfolk 2095:in which it obtained its name. 1939: 1120:Woman wearing a red silk dress 639:jewels of Mary, Queen of Scots 603: 99:and the Empire to his brother 1: 4252: 3131: 3118: 3061: 2854: 2836: 2621: 2416: 2398: 2380: 2224: 2170: 2113:derives from the design of a 1691: 1637: 1441: 1366:Nicholas Hilliard's miniature 1272: 1254: 1236: 835: 452:that fastened with lacing or 4458:Tudor and Jacobean Jewellery 2045:, which was named after the 1762:Italian fashion of the 1590s 1159:Portrait of Elsbeth Lochmann 593:the knees for extra warmth. 573: 536:. In Spain, the cone-shaped 483:During this period, women's 467: 7: 4903:1920s–1950s Western fashion 4833:1830s–1910s Western fashion 4770:1500s–1820s Western fashion 4359:. New York: Rizzoli, 1995. 4162:Tortora (1994), pp. 158160. 3444:. Online Book. p. 127. 3151: 2727: 2091:is shaped similarly to the 1832: 959:Mary Nevill, Baroness Dacre 691:Ribboned hairstyles ca 1570 405:Gown, kirtle, and petticoat 191:women was never forgotten. 171:lace that evolved into the 10: 5120: 4417:. London: Batsford, 2006, 1527:Ladies of the French court 555: 551: 244: 25:English opulence, Italian 5099:Medieval European costume 5040: 4997: 4964: 4933: 4902: 4832: 4769: 4668: 4657: 4594: 4585:History of fashion design 4574: 4348:Digby, George Wingfield. 3912:Zeigler, John R. (2013). 3839:Zeigler, John R. (2013). 3559:Digby, George Wingfield: 3522:Journal of Social History 2744:Elizabeth I's shoes, 1592 2523:Style gallery 1580s–1590s 2156:Style gallery 1550s–1560s 2027: 1890:, with strips of fabric ( 943:Bianca Ponzoni Anguissola 718: 303:embroidery, spangles and 4910:Suffrage Movement period 4526:Fathingales and Bumrolls 4192:; Charles Beard (1960). 4101:Ashelford, Jane (1996). 3791:. The Renaissance Tailor 3753:Steele, Valerie (2001). 3691:Ashelford, Jane (1996). 3461:World History in Context 3440:Norris, Herbert (1997). 3203: 2941:François Duke of Alençon 487:consisted of a washable 417:, and in English either 4569:of clothing and fashion 4342:20,000 Years of Fashion 4125:Tortora (1994), p. 157. 4074:Vincent, Susan (2009). 3965:, Volume 2, pp. 121–150 3814:"Late Period Outerware" 3777:Mikhaila (2006), p. 21. 3583:20,000 Years of Fashion 3414:10.4000/apparences.3653 3217:20,000 Years of Fashion 2333:Highnecked black jerkin 2299:Don Gabriel de la Cueva 1977:Hairstyles and headgear 1122:, with slashed sleeves. 672:Hairstyles and headgear 5089:16th century in Europe 4519:Holinshed's Chronicles 4350:Elizabethan Embroidery 4186:Cunnington, C. Willett 3977:Tortora (1994), p. 167 3561:Elizabethan Embroidery 3425:Arnold, Janet (1983). 3385:elizabethancostume.net 3335:elizabethan-era.org.uk 3099:Dutch vegetable seller 2999:Working class clothing 2745: 2737: 2699:Sir Christopher Hatton 2484:Sir Christopher Hatton 1870:early in the period. 1829: 1817: 1798: 1114:The Gripsholm Portrait 925:Titian's Lady in White 692: 668: 657: 525:, wood, or whalebone. 480: 386: 378: 152: 68: 30: 4998:By country and region 4430:Lace: The Elegant Web 4345:, Harry Abrams, 1966. 4227:Kohler, Carl (1963). 4037:Beautiful With Brains 3930:10.1353/jem.2013.0001 3857:10.1353/jem.2013.0001 3308:Lace: The Elegant Web 2980:A five-year-old child 2743: 2735: 2343:Henry Lee of Ditchley 1823: 1804: 1793: 1147:Isabella de' Medici's 690: 663: 655: 544:(called in England a 475: 437:) or with a trailing 384: 376: 175:of the 17th century. 150: 66: 24: 5084:16th-century fashion 4965:2000–present fashion 4456:Scarisbrick, Diana, 4387:A History of Costume 4370:Jenkins, David, ed. 4229:A History of Costume 4080:. Berg. p. 49. 3455:Toht, David (2001). 3360:www.encyclopedia.com 3128:Italian fruit seller 3111:English countrywoman 3105:Flemish country folk 2992:Hector van Bouricius 2974:Catherine van Arckel 2950:Marguerite of Valois 2935:Sofonisba Anguissola 2504:Sir Martin Frobisher 2464:Henry, Duke of Anjou 2327:Charles IX of France 2287:Edward VI of England 2130:Swallow's Tail Beard 1775:, and she carries a 1769:Unknown English lady 1360:Mary, Queen of Scots 1326:Elizabeth of Austria 931:Catherine de' Medici 665:Catherine de' Medici 5005:Indian subcontinent 4934:1960s-1990s fashion 4339:Boucher, François: 4243:"Elizabethan Shoes" 4063:Image:LadyDacre.jpg 4043:on 13 February 2015 3581:Boucher, François: 3215:Boucher, François: 2947:The French princess 2926:Francesco de Medici 2736:Men's shoes c. 1600 2707:Order of the Garter 2648:Johan III of Sweden 2354:Style gallery 1570s 2305:Prospero Alessandri 1814:Order of the Garter 1806:The Earl of Lincoln 1587:Style gallery 1590s 1379:Style gallery 1580s 1174:Style gallery 1570s 1126:Mary Queen of Scots 970:Style gallery 1560s 761:Style gallery 1550s 538:Spanish farthingale 363:seventeenth century 128:in her analysis of 4489:Tortora, Phyllis: 4355:Hearn, Karen, ed. 4190:Phillis Cunnington 3988:History of Costume 3787:Tammie L. Dupuis. 3669:Tortora, Phyllis: 3534:10.1353/jsh.0.0019 2767:Children's fashion 2746: 2738: 2693:Philip II of Spain 2674:Sir Walter Raleigh 2315:Eric XIV of Sweden 2293:Antoine de Bourbon 1830: 1826:John III of Sweden 1818: 1799: 1339:painting c. 1572, 895:Florentine fashion 693: 669: 658: 578:Women wore sturdy 542:French farthingale 481: 387: 379: 153: 93:Holy Roman Emperor 69: 31: 5071: 5070: 4474:Steele, Valerie: 4380:978-0-52134-107-3 4328:), 1994 reprint ( 4316:Ashelford, Jane. 4302:Ashelford, Jane: 4112:978-0-8109-6317-7 3702:978-0-8109-6317-7 3611:), 1994 reprint ( 3599:Ashelford, Jane: 3585:, pp. 219 and 244 3563:, Thomas Yoseloff 3331:"ELIZABETHAN ERA" 3240:Fernand Braudel, 3227:Ashelford, Jane: 3141:English gardeners 2943:, France, 1556–58 2687:colley-westonward 2498:Valois Tapestries 2474:An Italian tailor 2347:armillary spheres 2068:style of beards. 1913:Northern European 1574:Elizabeth Brydges 1320:Leonora di Toledo 1308:Horizontal lacing 1098:Eleanor of Toledo 731:, was made up of 324:The Low Countries 241:Fabrics and trims 179:Elizabethan style 130:Queen Elizabeth's 5111: 4817:Directoire style 4663: 4560: 4553: 4546: 4537: 4536: 4320:. 1983 edition ( 4306:, Abrams, 1996. 4247: 4246: 4239: 4233: 4232: 4224: 4218: 4217: 4209: 4198: 4197: 4182: 4176: 4169: 4163: 4160: 4151: 4150: 4132: 4126: 4123: 4117: 4116: 4098: 4092: 4091: 4071: 4065: 4059: 4053: 4052: 4050: 4048: 4039:. Archived from 4029: 4018: 4017: 4015: 4013: 3999: 3990: 3984: 3978: 3975: 3966: 3955: 3949: 3948: 3946: 3944: 3909: 3903: 3902: 3882: 3876: 3875: 3873: 3871: 3836: 3830: 3829: 3827: 3825: 3816:. Archived from 3810: 3801: 3800: 3798: 3796: 3784: 3778: 3775: 3769: 3768: 3750: 3744: 3743: 3722: 3716: 3713: 3707: 3706: 3688: 3682: 3681:, pages 164–165. 3667: 3654: 3653: 3635: 3620: 3603:, 1983 edition ( 3597: 3586: 3579: 3573: 3570: 3564: 3557: 3546: 3545: 3519: 3510: 3504: 3489: 3472: 3471: 3469: 3467: 3452: 3446: 3445: 3437: 3431: 3430: 3422: 3416: 3402: 3396: 3395: 3393: 3391: 3377: 3371: 3370: 3368: 3366: 3352: 3346: 3345: 3343: 3341: 3327: 3318: 3304: 3298: 3297: 3276: 3270: 3256: 3245: 3238: 3232: 3225: 3219: 3213: 3136: 3133: 3123: 3120: 3087:painting of the 3075: 3066: 3063: 3057: 3045: 3033: 3021: 3009: 2956:Italian children 2916: 2904: 2892: 2880: 2868: 2859: 2856: 2850: 2841: 2838: 2832: 2820: 2808: 2796: 2784: 2635: 2626: 2623: 2617: 2605: 2593: 2581: 2569: 2557: 2545: 2533: 2454: 2442: 2430: 2421: 2418: 2412: 2403: 2400: 2394: 2385: 2382: 2376: 2364: 2274: 2262: 2250: 2238: 2229: 2226: 2220: 2208: 2196: 2184: 2175: 2172: 2166: 2047:Cádiz Expedition 1956:, or a military 1706:Bess of Hardwick 1696: 1693: 1687: 1675: 1663: 1651: 1642: 1639: 1633: 1621: 1609: 1597: 1503: 1491: 1479: 1467: 1455: 1446: 1443: 1437: 1425: 1413: 1401: 1389: 1298: 1286: 1277: 1274: 1268: 1259: 1256: 1250: 1241: 1238: 1232: 1220: 1208: 1196: 1184: 1088: 1076: 1064: 1052: 1040: 1028: 1016: 1004: 992: 980: 937:An unknown woman 885: 873: 861: 849: 840: 837: 831: 819: 807: 795: 783: 771: 492:chemise or smock 477:Elizabeth Vernon 5119: 5118: 5114: 5113: 5112: 5110: 5109: 5108: 5104:Elizabethan era 5074: 5073: 5072: 5067: 5036: 4993: 4960: 4929: 4898: 4828: 4765: 4664: 4655: 4590: 4589: 4570: 4564: 4508: 4462:Tate Publishing 4287:Arnold, Janet: 4272:Arnold, Janet: 4258:Arnold, Janet: 4255: 4250: 4241: 4240: 4236: 4225: 4221: 4210: 4201: 4183: 4179: 4170: 4166: 4161: 4154: 4147: 4133: 4129: 4124: 4120: 4113: 4099: 4095: 4088: 4072: 4068: 4060: 4056: 4046: 4044: 4031: 4030: 4021: 4011: 4009: 4001: 4000: 3993: 3985: 3981: 3976: 3969: 3956: 3952: 3942: 3940: 3910: 3906: 3899: 3883: 3879: 3869: 3867: 3837: 3833: 3823: 3821: 3812: 3811: 3804: 3794: 3792: 3785: 3781: 3776: 3772: 3765: 3764:978-030009071-0 3751: 3747: 3740: 3723: 3719: 3714: 3710: 3703: 3689: 3685: 3668: 3657: 3650: 3636: 3623: 3598: 3589: 3580: 3576: 3571: 3567: 3558: 3549: 3517: 3511: 3507: 3491:Arnold, Janet: 3490: 3475: 3465: 3463: 3457:"Tudor Custome" 3453: 3449: 3438: 3434: 3423: 3419: 3403: 3399: 3389: 3387: 3379: 3378: 3374: 3364: 3362: 3354: 3353: 3349: 3339: 3337: 3329: 3328: 3321: 3305: 3301: 3294: 3277: 3273: 3258:Arnold, Janet: 3257: 3248: 3239: 3235: 3231:, Abrams, 1996. 3226: 3222: 3214: 3210: 3206: 3173:Elizabethan era 3154: 3134: 3121: 3079: 3076: 3067: 3064: 3058: 3049: 3046: 3037: 3034: 3025: 3022: 3013: 3010: 3001: 2920: 2917: 2908: 2905: 2896: 2893: 2884: 2881: 2872: 2869: 2860: 2857: 2851: 2842: 2839: 2833: 2824: 2821: 2812: 2809: 2800: 2797: 2788: 2785: 2769: 2730: 2661:Sir Henry Unton 2639: 2636: 2627: 2624: 2618: 2609: 2606: 2597: 2594: 2585: 2582: 2573: 2570: 2561: 2558: 2549: 2546: 2537: 2534: 2525: 2458: 2455: 2446: 2443: 2434: 2431: 2422: 2419: 2413: 2404: 2401: 2395: 2386: 2383: 2377: 2368: 2365: 2356: 2278: 2275: 2266: 2263: 2254: 2251: 2242: 2239: 2230: 2227: 2221: 2212: 2209: 2200: 2197: 2188: 2185: 2176: 2173: 2167: 2158: 2143: 2062:'Pick-a-devant 2030: 1979: 1942: 1844:with collar or 1835: 1788: 1745:Maria de Medici 1697: 1694: 1688: 1679: 1676: 1667: 1664: 1655: 1652: 1643: 1640: 1634: 1625: 1622: 1613: 1610: 1601: 1598: 1589: 1513:Lettice Knollys 1507: 1504: 1495: 1492: 1483: 1480: 1471: 1468: 1459: 1456: 1447: 1444: 1438: 1429: 1426: 1417: 1414: 1405: 1402: 1393: 1390: 1381: 1372:German fashion: 1330:François Clouet 1302: 1299: 1290: 1287: 1278: 1275: 1269: 1260: 1257: 1251: 1242: 1239: 1233: 1224: 1221: 1212: 1209: 1200: 1197: 1188: 1185: 1176: 1092: 1089: 1080: 1077: 1068: 1065: 1056: 1053: 1044: 1041: 1032: 1029: 1020: 1017: 1008: 1005: 996: 993: 984: 981: 972: 889: 886: 877: 874: 865: 862: 853: 850: 841: 838: 832: 823: 820: 811: 808: 799: 796: 787: 784: 775: 772: 763: 721: 684: 682: 674: 628:Queen Elizabeth 606: 576: 560: 554: 470: 460:of the skirts. 407: 371: 369:Women's fashion 350:and blues with 342:, purples, and 253:Elizabethan Era 249: 243: 231:Elizabethan era 196:Elizabethan era 181: 74: 61: 17: 12: 11: 5: 5117: 5107: 5106: 5101: 5096: 5091: 5086: 5069: 5068: 5066: 5065: 5060: 5055: 5050: 5044: 5042: 5038: 5037: 5035: 5034: 5029: 5024: 5023: 5022: 5012: 5007: 5001: 4999: 4995: 4994: 4992: 4991: 4990: 4989: 4979: 4974: 4968: 4966: 4962: 4961: 4959: 4958: 4953: 4948: 4943: 4937: 4935: 4931: 4930: 4928: 4927: 4922: 4917: 4912: 4906: 4904: 4900: 4899: 4897: 4896: 4895: 4894: 4889: 4879: 4878: 4877: 4872: 4867: 4862: 4857: 4852: 4847: 4836: 4834: 4830: 4829: 4827: 4826: 4821: 4820: 4819: 4809: 4804: 4799: 4794: 4789: 4784: 4779: 4773: 4771: 4767: 4766: 4764: 4763: 4758: 4753: 4748: 4743: 4742: 4741: 4736: 4731: 4726: 4721: 4713: 4708: 4707: 4706: 4701: 4696: 4691: 4683: 4678: 4672: 4670: 4666: 4665: 4658: 4656: 4654: 4653: 4648: 4643: 4638: 4633: 4628: 4623: 4622: 4621: 4616: 4606: 4600: 4598: 4592: 4591: 4588: 4587: 4582: 4576: 4575: 4572: 4571: 4563: 4562: 4555: 4548: 4540: 4534: 4533: 4528: 4523: 4514: 4507: 4506:External links 4504: 4503: 4502: 4487: 4472: 4454: 4440: 4426: 4411: 4397: 4385:Kõhler, Carl: 4383: 4368: 4353: 4346: 4337: 4314: 4300: 4285: 4270: 4254: 4251: 4249: 4248: 4234: 4219: 4199: 4177: 4164: 4152: 4145: 4127: 4118: 4111: 4093: 4086: 4066: 4054: 4019: 3991: 3979: 3967: 3950: 3904: 3897: 3877: 3831: 3802: 3779: 3770: 3763: 3745: 3739:978-0896762626 3738: 3717: 3708: 3701: 3683: 3655: 3649:978-0713489859 3648: 3621: 3587: 3574: 3565: 3547: 3528:(4): 887–916. 3505: 3473: 3447: 3432: 3417: 3397: 3372: 3347: 3319: 3299: 3293:978-0896762626 3292: 3271: 3246: 3233: 3220: 3207: 3205: 3202: 3201: 3200: 3195: 3190: 3185: 3180: 3175: 3170: 3165: 3160: 3153: 3150: 3149: 3148: 3138: 3125: 3108: 3102: 3096: 3081: 3080: 3077: 3070: 3068: 3059: 3052: 3050: 3047: 3040: 3038: 3035: 3028: 3026: 3023: 3016: 3014: 3011: 3004: 3000: 2997: 2996: 2995: 2989: 2983: 2977: 2971: 2965: 2959: 2953: 2944: 2938: 2932:The sisters of 2929: 2922: 2921: 2918: 2911: 2909: 2906: 2899: 2897: 2894: 2887: 2885: 2882: 2875: 2873: 2870: 2863: 2861: 2852: 2845: 2843: 2834: 2827: 2825: 2822: 2815: 2813: 2810: 2803: 2801: 2798: 2791: 2789: 2786: 2779: 2768: 2765: 2729: 2726: 2725: 2724: 2723:no. 793–1901). 2721:V&A Museum 2710: 2696: 2690: 2677: 2671: 2665: 2658: 2652: 2641: 2640: 2637: 2630: 2628: 2619: 2612: 2610: 2607: 2600: 2598: 2595: 2588: 2586: 2583: 2576: 2574: 2571: 2564: 2562: 2559: 2552: 2550: 2547: 2540: 2538: 2535: 2528: 2524: 2521: 2520: 2519: 2513: 2507: 2501: 2494:French fashion 2491: 2481: 2471: 2460: 2459: 2456: 2449: 2447: 2444: 2437: 2435: 2432: 2425: 2423: 2414: 2407: 2405: 2396: 2389: 2387: 2378: 2371: 2369: 2366: 2359: 2355: 2352: 2351: 2350: 2336: 2330: 2324: 2318: 2309: 2302: 2296: 2290: 2280: 2279: 2276: 2269: 2267: 2264: 2257: 2255: 2252: 2245: 2243: 2240: 2233: 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3996: 3989: 3983: 3974: 3972: 3964: 3960: 3954: 3939: 3935: 3931: 3927: 3923: 3919: 3915: 3908: 3900: 3898:9789053569177 3894: 3890: 3889: 3881: 3866: 3862: 3858: 3854: 3850: 3846: 3842: 3835: 3820:on 8 May 2012 3819: 3815: 3809: 3807: 3790: 3783: 3774: 3766: 3760: 3756: 3749: 3741: 3735: 3731: 3727: 3726:Arnold, Janet 3721: 3712: 3704: 3698: 3694: 3687: 3680: 3676: 3672: 3666: 3664: 3662: 3660: 3651: 3645: 3641: 3634: 3632: 3630: 3628: 3626: 3618: 3617:0-7134-6828-9 3614: 3610: 3609:0-89676-076-6 3606: 3602: 3596: 3594: 3592: 3584: 3578: 3569: 3562: 3556: 3554: 3552: 3543: 3539: 3535: 3531: 3527: 3523: 3516: 3509: 3502: 3501:0-89676-083-9 3498: 3494: 3488: 3486: 3484: 3482: 3480: 3478: 3462: 3458: 3451: 3443: 3436: 3428: 3421: 3415: 3411: 3408:, 11 (2022). 3407: 3401: 3386: 3382: 3376: 3361: 3357: 3351: 3336: 3332: 3326: 3324: 3317: 3316:0-8109-3553-8 3313: 3309: 3303: 3295: 3289: 3285: 3281: 3280:Arnold, Janet 3275: 3269: 3268:0-901286-20-6 3265: 3261: 3255: 3253: 3251: 3243: 3237: 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Knowledge

1550–1600 in European fashion

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