EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
EVOLUTION OF WOMEN’S COSTUME
FROM THE 17TH CENTURY TO THE 18TH CENTURY
Gabrielle Olson
ADM 561
November 7, 2012
San Francisco State University
Abstract
1
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
2
The purpose of this paper is to describe the major changes and the evolution of women’s
fashion garments in the seventeenth and eighteenth century of the aristocracy. This paper strictly
discussed the clothes women wore. France and the effects of French fashion on England was the
main focus. As well as the effects of English fashion in France in the late eighteenth century.
Major garment and silhouette changes of the centuries are described. Historical events are used
to correlate with the causes of fashions of the time. How fashions spread and the influences of
certain trends are also discussed.
Table of Contents
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
3
Abstract...........................................................................................................................................2
Chapter
I.
Introduction..................................................................................................................4
Purpose...........................................................................................................................4
II.
1600-1700: The Seventeenth Century.........................................................................5
Women’s Dress.............................................................................................................5
Mid Seventeenth
Century................................................................................5
Late Seventeenth Century...............................................................................6
Conclusion....................................................................................................................7
III.
1700-1750: The Early Eighteenth Century..............................................................8
Historical Background.................................................................................................8
Women’s Dress............................................................................................................9
Sacque Gown.................................................................................................9
Figure 3.1..............................................................................................9
Robe à la Française......................................................................................10
Figure 3.3............................................................................................10
IV. 1750-1800: The Late Eighteenth
Century....................................................................11
Women’s
Dress.........................................................................................................11
Fashion Plates............................................................................................12
French Revolution, the end of the Eighteenth Century..............................12
Figure 4.1...........................................................................................12
Conclusion..............................................................................................................12
List of References.........................................................................................................................14
Chapter I
Introduction
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
4
The fashions of the seventeenth and eighteenth centuries reflects the spirit of the time,
decades of change, with political and social shifts that can be seen in the evolution of women’s
dress. In its evolution, fashion was influenced by art and thought and by the Baroque and Rococo
artistic styles. The major European powers were France and England and these countries were
the inspirational force of fashion. Writers of the period were amazed of the rapidity with which
new fashions were introduced (Tortora & Eubank, 2010, p. 233). The considerable development
of industry and trade made great contributions to costume and how fast it started changing in the
coming decades (Boucher, 1982, p. 291). The style of women’s dress of this time was abundant,
exaggerated, luxurious and anything but practical.
Purpose
The objective of this paper is to describe women’s fashion garments in the seventeenth
and eighteenth century of the aristocracy. Particularly in France, the effects on England, and vice
versa. It describes the major garment and silhouette changes of the time. The major historical
events are used to correlate with the fashions of the time. This paper strives to describe the
evolution of dress and the different garments that were worn in different time periods. This is the
time when fashions started changing rapidly and some even say it was the beginning of true
fashion in society, because of the new inventions and the decreased dominance of the courts.
Chapter II
1600-1700: The Seventeenth Century
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
5
Women’s Dress
Spanish influence continued into the 1600s. The ruffs developed in the Renaissance were
still worn and became enormous (Tortora & Eubank, 2010, p. 237). The invention of starch
replaced the use of the wire frames that supported the large Medici collars (Laver, 2012, p. 103).
The wheel farthingale was also still being worn but had flattened slightly in the front, leaving the
sides with the most width and fullness. Slashing on the bodice sleeve, which were still
voluminous was apparent. The bodice had a U-shaped stomacher (Totora & Eubank, 2010, p.
261). The Spanish style lasted until about 1620. The French would now take over fashion
influence across Europe and even the New World (Kelly & Schwabe, 2002, p. 121).
Mid Seventeenth Century
“Before this century, any fashion set by the nobility was certain to catch on, but gradually
the burghers began to wear the stuffs reserved for nobles, forcing them to change constantly”
(Boucher, 1982, p. 254). It was usually very clear what someone’s social rank was based on their
dress. With faster and more efficient ways of producing fabrics, all classes could spend money
on the recent trends. Some governments tried to pass various sumptuary laws restricting the
wearing of jewels, silk clothes, velvet and other rich materials from farmers and other lower
class societies. These laws never stayed long, or were replaced by abundance of less expensive
attachments like braids, rosettes, embroidery, and bows. There was a shift in styles after 1630, it
was considered the deflating style. Paddings, slashes, ruffs, and farthingales were abandoned by
women. These styles were old-fashioned, only older women would still wear them. The style and
silhouette became more natural and loose, yet still elaborate in some parts. The ruff was replaced
by a long series of richly laced collars sloping down over the shoulders (Gorsline, 1952, p. 66). It
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
6
was a fallen collar. The main garments were the bodice, petticoat, and the gown. The bodice was
low and v-shaped, squared, or horizontal at the bosom. The horizontal neckline was the most
popular in the mid seventeenth century. The waists were generally higher, tied with a ribbon, and
the shoulders were broad. Sleeves were full and usually had a turned back piece of lace or a ruff
below or above the elbow. Virago sleeves were popular, they were full, paned, and tied into puffs
at different sections down the arm (Tortora & Eubank, 2010, p. 253). Rosettes were tied on the
sleeves or the waist. The skirt was full and the gown was usually spilt in the front middle to show
the underskirt, which was usually made of more expensive heavy silk satin (Gorsline, 1952, p.
66).
Late Seventeenth Century
The last half of the seventeenth century saw even more changes in styles. A long-pointed,
wasp-waist bodice became popular. The waists became tighter and the outline of the figure was
stiffer and narrower (Laver, 2012, p. 112). The silhouette was slimmer. Shoulders were shown
more. Sleeves were set low on the shoulder, opening into a full puff that ended below the elbow.
Skirts were either closed or open at the front to show the underskirt like before. The difference
was the open skirts were pulled back to the rear or caught back in intervals by ribbon-ties (Kelly
& Schwabe, 2002, p. 172). This, known as a bustle, looked like the pulled back curtains of a
stage. This allowed the underskirt to be shown usually of a bright color. The century ended with
an increase of decoration. The front bodice usually showed the corset and had the pronounced vshape at the waist. They were heavily decorated with bows or a separate stomacher was tied or
pinned at the front of the corset to vary the appearance of the different dresses a lady might own
(Tortora & Eubank, 2010, p. 255). Skirts had so many layers and were embroidered heavily that
support of whalebone or metal was needed. At the end of the century almost all outer skirts or
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
7
gowns were split in front and looped back in drapes into a long back train. This decade is also
when you first see the manteau or mantua, a dress cut in one length from shoulder to hem, and
worn over the corset and underskirts. This dress always formed a bustle at the back. Previously
the bodice and skirt were cut separately and then sewn together. This dress might have originated
from the middle east (Tortora & Eubank, 2010, p.255).
French influence in england. It is important to note that Charles II of England fled to
France as the English Civil War (1642-1651) was in effect. He reigned from 1600 to 1685
(Gorsline, 1952, p. 67). When he returned to claim his throne, he brought with him all the French
court fashions that he observed and they became a major influence in England. This continues
France’s dominance of a cultural leader.
Conclusion
The seventeenth century ended with an increase of decoration and an increase in
exaggerated styles, like the skirts that were so layered and heavy, support from whalebone was
used underneath them. Precious stones, gold embroidery, braids and fringes were used in
abundance to decorate fabrics (Boucher, 1982, p. 258). This was all a statement of wealth and
flaunting ones idleness. Conspicuous leisure comes to a peak later in the eighteenth century.
Chapter III
1700-1750: The Early Eighteenth Century
Historical Background
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
8
French fashion supremacy continues in the beginning of the eighteenth century which is
evidenced across civilized Europe. The French not only influenced fashion, but also literature,
decorative arts, philosophical theories and an international language (Tortura & Eubank, 2010, p.
266). The Spanish Court circles known for their traditional dress, finally follow the French trends
(Kelly & Schwabe, 2002, p. 199). There is a general change in European civilization. A true
society begins to emerge rather than a ‘class’ of people. “The considerable development of
industry and trade made such great contributions to costume that they might almost seem to have
taken place solely with costume in view” (Boucher, 1982, p. 291). New inventions increased
outputs of cloth, such as, the flying shuttle, spinning Jenny, cotton-spinning loom and more.
Scientific research also made progress in textiles. In 1720, Sir Isaac Newton was the first to
isolate the color spectrum into red, yellow, and blue. Textiles gained a wider array of colors to
include not only the bright colors of the previous century, but also muted shades and strong tints
(Boucher, 1982, p. 293). International trade brought Asian influences to Europe. There were silks
from China, cottons from India along with their cultural designs. Luxury and inventiveness of
costume brought the classes closer because tailors, fabric weavers, shoe makers, wig makers all
worked with aristocratic society.
Women’s Dress
The Baroque style gave way to the more delicate and curvilinear forms of the Rococo
style (Tortora & Eubank, 2010, p. 265). The long slender bodice with a full skirt and even more
fullness in the back continued until about 1720. The v-shaped stomacher was still in use. Corsets
were sometimes shown and they laced up the back, or both the back and the front (Tortora &
Eubank, 2010, p. 279).
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
9
Sacque Gown
There was also a new shapeless type style called the sacque dress. This was an unbelted
gown and had a loose bodice. It had box pleats starting at the back shoulder falling all the way to
the hem. The gown was worn over dome or cone-shaped hoops
called panniers, making the silhouette very wide all round. The
width of the hoops worn underneath varied, depending on taste of
silhouette. The pleated back was known as the Watteau pleat, which
was a deep box pleat and ended in a long train (Peacock, 1991, p.
130). The dress was still worn over a corset or decorative stomacher (Laver, 2012, p. 130). This
back pleat detail revived in the 19th century and lasted into the early 20th century, as a feature on
tea-gowns. Watteau was a name given to many different garment types such as Watteau body,
costume, and robe (Cumming, Cunnington, & Cunnington, 2010, p. 222). It derives from the
French artist Antoine Watteau, who was a very popular Baroque and Rococo style painter.
Paniers. These hoops were formed with usually three or more tiers of whalebones. They
took on different shapes in the eighteenth century. From oval bell
Figure 3.1
Sacque Gown
(Boucher, 1982, p. 295)
shape, funnel-shaped, dome-shaped, and elbow paniers where the wearer could rest her elbows
on them (Boucher, 1982, p. 296). These stayed in fashion for the first thirty years of the century,
even though they were greatly inconvenient and uncomfortable. The paniers after 1750 modified
to become two separate parts. Known as a double panier, they were attached to each side of the
waist by ribbons. They could be lifted under the arms to walk through doorways (Boucher, 1982,
p. 296). The wide skirts were usually for the French Court.
Robe à la Française
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
10
This is the gown that was made for the double paniers.
It had a fitted front with an open bodice. The bodice usually had
an echelle. This was a series of graduated ribbon bows from the
Figure 3.2
Side Loops (Paniers)
Gorsline, 1952, p. 112)
bosom to the waist. The bows became smaller towards the waist
(Kelly & Schwabe, 2002, p. 214). The overgown opened widely over the petticoats. This gown
had a tight sleeve to the elbow, ending in a pagoda style with one or more flounces. At the cuff
of the sleeve was the engageante, which were two or three graded flounces of lace. All women
wore this type of dress and it varied on richness of fabric and decoration (Boucher, 1982, p. 296).
This gown also had the Watteau full box pleats at the back. The width of the hoops could be as
long as fifteen feet.
Figure 3.3
Robe à la Française
(Boucher, 1982, p. 298)
Chapter IV
1750-1800: The Late Eighteenth Century
Women’s Dress
After 1770 the robe à la Française modified a bit for everyday wear but was reserved for
ceremonies (Boucher, 1982, p. 299) The paniers were replaced by hip pads. This slimmed down
the silhouette and showed off the waist. This modification was a decreasing emphasis on the
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
11
popular French Court style (Laver, 2012, p. 139). There was an increasing adoption of English
country clothes that was worn for everyday life. The trend was more practical and simple. “The
English style was characterized by a close fit over the waist and a boned bodice, the fullness of
the skirt was pushed toward the back over a false rump” (Steele, 1998, p. 35). False rumps were
filled with cork or other materials to create a cushion. This major English garment was called the
robe à l’Anglaise. It had various styles of bodice. The stomacher front used an attached piece.
The buttoned front had a false waistcoat sewn into the inner lining of the bodice. There was also
a closed front style (Cumming, Cunnington, & Cunnington, 2010, p. 174). The silhouette of the
bosom being emphasized by tied kerchiefs and the false rump made the wearer look like a pouter
pigeon (Gorsline, 1952, p. 99). The skirt opened wide over the underskirt. Shortly after, the coatdress or the redingote dress appeared. It had a fitted bodice, buttoning in front, with pointed
lapels, and the skirt opened widely over the underskirt (Boucher, 1982, p. 299).
Fashion Plates
Fashions spread from word of mouth and by the world travelers. Dressmakers would
travel every year and make miniature dolls of what the fashions were in that particular country.
This changed with the fashion plates, especially from La Galerie des Modes of 1778-1787. Large
variations of female attire and the ability to spread them throughout Europe changed the pace of
fashion. The plates were published in periodicals with colored pictures. As the nineteenth
century rolled on, almost all households had fashion magazines (Laver, 2012, p. 147).
French Revolution, the end of the Eighteenth Century
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
12
At the end of the century there was a sudden reversal in fashion’s.
The French revolution could be blamed for this change. “The clothes worn
before and after the Revolution are so different that we seem justified in
assuming that the Revolution somehow caused this profound sartorial
change” (Steele, 1998, p. 37). There were no more embroidered coats and
brocaded gowns. Paniers, bustles, and corsets were all abandoned. The Robe
en chemise was now worn, it was pseudo-classical. It looked like an
undergarment, it had a high waistline, was very transparent, and was worn
with tights underneath (Laver, 2012, p. 152). This simple frock was offensive to people who
believed it was meant for privacy only.
Conclusion
Clothing in the 17th and 18th-centuries was a means of showing ones wealth, especially
the nobility. Conspicuous consumption is evidenced in the rich fabrics and details. Conspicuous
leisure is evidenced in the wide panniers and heavy skirts. Changes in fashion occurred much
more rapidly in this time due to increased innovation and the increase of
published fashion plates. The fashions evolved and the silhouettes went
through many changes of inflation and deflation. The 17th century ended
Figure 4.1
Robe en chemise
(Laver, 2012, p. 152)
with an increase in ornamentation and the mantua cut dress. The 18th century started with the
sacque dress. A very loose garment with box pleats hanging from the back. Then in the middle
years, the exaggerated hips were popular seen in the robe à la Française. These styles were the
greatest representation of conspicuous leisure and consumption because they were highly
decorated, rigid, and high maintenance. The panniers were replaced with hip pads at the end of
the century. The skirts were swung back like a stage curtain. Finally the century ended with the
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
13
French Revolution that affected not only the relationship between the aristocracy and the rest of
society but also the costume of France and Europe. The result was a gown that looked like
undergarments and seemed inspired by the classical period.
List of References
Boucher, F. (1982). 20,000 years of fashion the history of costume and personal adornment. (pp.
251-330). Flammarion, Paris: Harry N. Abrams, INC., Publishers.
Cumming, V., Cunnington, C. W., & Cunnington, P. E. (2010). The dictionary of fashion
history. (pp. 79-222). New York, New York: Oxford International Publishers Ltd.
Gorsline, D. (1952). What people wore a visual history of dress from ancient times to twentiethcentury america. (pp. 65-99). New York, New York: The Viking Press.
Kelly, F., & Schwabe, R. (2002). European costume and fashion: 1490-1790. (pp. 121-219).
Mineola, New York: Dover Publications.
Laver, J. (2012). Costume and fashion a concise history. (5 ed., pp. 103-153). New York, New
York: Thames & Hudson Inc.
EVOLUTION OF WOMEN’S COSTUME 17TH-18TH CENTURY
14
Peacock, J. (1991). The chronicle of western fashion. (pp. 129-152). New York, New York:
Harry N. Abrams, Incorporated.
Steele, V. (1998). Paris fashion a cultural history. (2nd ed., pp. 34-40). New York, New York:
Oxford University Press, Inc.
Tortora, P., & Eubank, K. (2010). Survey of historic costume. (pp. 229-289). New York, New
York: Fairchild Books.