The Infanta Margarita of Spain is shown, when eight years old, wearing the guardainfante, 1659.Details of Dutch fashion of 1658 include a string of pearls tied with a black ribbon, a jack-bodice with matching skirt, pleated sleeves, and dropped shoulder.Her hair is worn in a wound braid with small curls over her ears. Young Dutch girl wears a rose jacket-bodice and a plain pink petticoat.She has pearls, and her hair is braided in a knot in the back, but is worn in loose curls over her ears. The dress is decorated with blue ribbons and a blue shawl draped around the breasts. The Swedish countess Beata Elisabet von Königsmarck wears a white silk gown with a long tight bodice, flat skirt, wide double puffed sleeves, bare shoulders and a deep cleavage.The Infanta's hairstyle is also typical of the Spanish court, 1653. Maria Theresa of Spain wears the guardainfante, which, in Spain, was adapted late and retained it long after it had disappeared elsewhere.The many tiny pleats that gather in her skirt can be seen, 1652. Mary, Princess of Orange wears a satin gown with a long pointed bodice and a satin petticoat.A sheer scarf is knotted into a collar around her shoulders, and her white sleeve linings are fastened back with a covered button, 1652. Margareta Maria de Roodere wears a salmon-colored gown.Slashed sleeves are caught with jeweled clasps over voluminous chemise sleeves. German fashion of 1650 shows a smooth, tight, conical satin bodice with a dropped shoulder.This was popular from the 1690s to the first few years of the 18th century. This hairstyle was often topped with a fontange, a frilly cap of lace wired to stand in vertical tiers with streamers to either side, named for a mistress of the French King. In the 1680s hair was parted in the center with height over the temples, and by the 1690s hair was unparted, with rows of curls stacked The curls grew more elaborate through the 1650s, then longer, until curls were hanging gracefully on the shoulder. This would be looped up or replaced by an ankle-length skirt for shooting or walking.Įarly in the period, hair was worn in a bun at the back of the head with a cluster of curls framing the face. For riding side-saddle, the costume had a long, trailing petticoat or skirt. In a June 1666 diary entry, Samuel Pepys describes the Maids of Honour in their riding habits of mannish coats, doublets, hats, and periwigs, 'so that, only for a long petticoat dragging under their men's coats, nobody could take them for women in any point whatever'. The mantua, made from a single length of fabric pleated to fit with a long train, was ideal for showing the designs of the new elaborately patterned silks that replaced the solid-colored satins popular in mid-century. The new look was both more modest and covered-up than previous fashions and decidedly fussy, with bows, frills, ribbons, and other trim, but the short string of pearls and pearl earrings or eardrops worn since the 1630s remained popular.

The mantua-and-stomacher resulted in a high, square neckline in contrast to the broad, off-the-shoulder neckline previously in fashion. Gradually it developed into a draped and pleated dress and eventually evolved into a dress worn looped and draped up over a contrasting petticoat and a stomacher. Instead of a bodice and skirt cut separately, the mantua hung from the shoulders to the floor (in the manner of dresses of earlier periods) started off as the female version of the men's Banyan, worn for 'undress' wear. The mantua or manteau was a new fashion that arose in the 1680s. The clothing in these portraits is not representative of what was worn on the street or at court. The style is epitomized by the portraits of Peter Lely, which derive from the romanticized style originated by Anthony van Dyck in the 1630s. Spanish court fashion remained out of step with the fashions that arose in France and England, and prosperous Holland also retained its own modest fashions, especially in headdress and hairstyles, as it had retained the ruff in the previous period.Ī daring new fashion arose for having one's portrait painted in undress, wearing a loosely fastened gown called a nightgown over a voluminous chemise, with tousled curls. In later decades, the overskirt was drawn back and pinned up to display the petticoat, which was heavily decorated. The body was tightly corseted, with a low, broad neckline and dropped shoulder. Full, loose sleeves ended just below the elbow at mid century and became longer and tighter in keeping with the new trend. The wide, high-waisted look of the previous period was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder. Portrait of Barbara Viliers, mistress of King Charles II, painted by John Michael Wright c.

Jazzy 1650 parts