Spanish clothing fashion

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El Greco : a caballero with a hand on his chest , around 1580

The Spanish fashion or Spanish clothes fashion is the fashion of the late Renaissance and the Spanish Baroque , the period between about 1550 and the Thirty Years' War . It shaped the time of the Counter Reformation , the movement with which the Catholic Church and the Catholic-led states, in the forefront of Spain, fought the Reformation . Formally, the Spanish court costume was characterized by an elegant, but very rigid, solemn pomp, as a reflection of the strict Spanish court ceremonies that were also widespread at this time, especially at the Viennese court.

The Spanish court costume was not only worn in the Habsburg ruled countries (Spain, Portugal , Spanish Netherlands , Holy Roman Empire (Germany + Austria), parts of Italy such as Milan , Naples and Sicily ) until around 1620 , but in all of Europe, sometimes with certain Deviations. In Spain and Portugal - which was under Spanish rule between 1580 and 1640 - they continued to do so under the rule of Philip IV until the 1660s, with special fashion developments occurring at the time, especially in northern Europe already stood out as old-fashioned.

development

In the middle of the 16th century , the fashionable taste changed to a tall, slim line and a ceremonial elegance of appearance. Due to Spain's great political and economic influence during the 16th century, fashion spread across Europe.

The corset was introduced for both sexes , which in the case of female fashion would last for a long time. The whole fashion was characterized by a high-necked rigidity, which was achieved with the help of upholstery. The jackets were shorter, partially covered only the back: the wide falling Schaube of men and women turned into a halfway up the thigh reaching cloak with a flat collar, which was slightly down around her shoulders. The beret became significantly smaller, combined with a longer and more pointed beard. The typical ruff developed , which was initially still small, but took on enormous proportions around 1600, especially in women's fashion, and is known in this form as the millstone ruff . Men and women were severely handicapped in their natural mobility. In the beginning, Spanish fashion was still colored, but black soon became the dominant color.

Spanish fashion had its peak around 1600 before it was gradually loosened up. During the Thirty Years' War, fashion outside of Spain became more comfortable and casual with soft flowing fabrics, the whole silhouette wider. After the war (from 1648), the French fashion that had been worn in England under Charles I.

Menswear

François Clouet : Karl IX. of France, 1566

The doublet of men, according to its form " goose belly called" ran from the hips obliquely downward along in a bit and was closed in the middle of the chest with a row of buttons. It was padded, as were the sleeves; there were high ridges on the shoulders. Around the neck and wrists there was a narrow ruff that became wider and stiffer over time, up to the millstone ruff , and made any head movement difficult.

The trousers were the most striking thing about the Spanish men's costume. One wore short trousers, which covered half the thigh, called an army drum , which were broadly padded; As in the Renaissance fashion, this also included the so-called braguette . In addition, jersey stockings that tightly encircle the leg from foot to thigh. In Spain, stuffing was achieved by two pillows attached to the doublet.

The footwear now consisted of close-fitting shoes reaching to the ankle, which were closed or provided with transverse slits at the instep and longitudinal slits at the tip. When riding, the alternative to light footwear was high boots made of soft leather. The hair was worn short and a stiff velvet beret or, since 1570, a hard-pressed silk hat with a brim was worn.

Womenswear

Alonso Sánchez Coello : Infanta Isabella Clara Eugenia with her favorite dwarf Magdalena Ruiz , approx. 1585–1588

Women's clothing was just as rigid as men's. The women's dress was tighter, closed up to the neck, and the bosom was flattened and hidden by padding. They wore a tight, flat laced, front leaking into a top camisole and provided with narrow and puffed sleeves dress. The hoop skirt was introduced, which initially had a conical shape that widened towards the bottom . In order for the lady to look even slimmer and taller (and her legs longer), the skirt was often cut much longer than necessary, with high socked shoes underneath ( Chopine or Kothurne ) that were not visible to the viewer. The overcoat had no folds and was lined; sometimes it split from the front downwards from the Schnebbe and revealed an undergarment. The cuffs and ruff resembled those of the men's clothing.

Hans von Aachen : Anna von Tirol , 1604. Everything contributes to a fairytale appearance: the millstone frill made of starched lace, a splendid gold necklace with diamonds and pearls ; on the coiffed hair a diadem with a 'bouquet' of gold, pearls and rubies.

Between around 1590 and 1620, the millstone frill reached enormous and fantastic proportions, especially in women's fashion, and was partly made of starched lace. The hair had to be pinned up because of the ruff; In addition, the lady put on a hat with a brim, sometimes a small, delicate lace cap. The women's clothing was completed with a short coat, gloves, a fan and a lace handkerchief.

The short and strict Spanish cut and the black fabrics of the robes required rich decoration such as the tips of the ruff and cuffs , or even golden buttons that were enamelled or set with precious stones . Pearl jewelry on every imaginable item of clothing was common in the highest and richest circles, as were rings, tiaras , breast chains and precious pendants.

Modifications

In other countries, deviations from the specifications of the Spanish tailors were not uncommon.

In Germany, the men's doublet and shoes were cut similarly to those of the Spanish costume, as was the little coat, which often had a small stand-up collar . However, they also wore the harem pants , which emerged from the farmhand fashion of the Renaissance: for this purpose, the upper pants were cut into narrow strips from the belt to the knee. The lower ones, the lining pants, were pulled through the slits of the upper pants in large tufts so that they often shook over the knee and sometimes down to the feet. Tight stockings were worn with these harem pants, and the last two pieces were held together above the knee with a garter, which was tied in a bow at the side.

Around 1600 the short army drums or harem pants were replaced by knee-length bloomers , which were tied above or below the knee and were initially stuffed (the padding was later given up).

Outside of Spain, especially in France and Italy, and partly in Germany, the strict character of Spanish fashion was slightly modified. Lighter colors, patterned and more flowing fabrics were also used, especially for women.

Peter Paul Rubens : Self-portrait with his first wife Isabella Brant , (1609/10). The Flemish couple is already wearing a fashion that is very relaxed, casual, colorful and early baroque, only the millstone frills and cuffs are left; Rubens himself already wears the typical flat lace collar of the early baroque, Isabella a softly flowing skirt and a huge hat.

Skirts were also left to fall loosely in folds and less rigidly to the floor, and outside of Spain women occasionally wore a cleavage , which, however, often got a stand-up collar instead of a ruff , which was later called the Stuart or Medici collar.

In France, a barrel-shaped or barrel-shaped skirt appeared, which stood horizontally at the hips and was held smooth by a basket or wire frame, underneath the skirt fell vertically to the ground. Such skirts were called ( Vertugadin ) or Vertugalle , they were not only worn at the French court of Henry IV . B. by Queen Maria de Medici (see below: gallery) - but also in England by Elizabeth I or Anne of Denmark .

After around 1625, when people in France and England in particular began to dress much more casually, and fashion there took on a new early baroque elegance, Spain itself clung to the rigid shapes and gloomy colors of the court dress, which, however, also changed at the same time were. As a replacement for the ruff, a simple, plate-shaped, starched collar (" golilla ") appeared in men's clothing under Philip IV , and the hair was also worn a little longer. The same applies to women, whose hairstyles are now getting side curls, but fashion remains very rigid, especially for women. The hoop skirts, which are still conical in Spain, are getting wider and wider, and around 1650 they reach a very wide and at the same time flat shape, which is already reminiscent of the later Rococo fashion, but has nothing playful, but looks completely rigid. In addition, the lady wears a kind of wide helmet hairstyle that is teased on the sides and widened with artificial hair pieces. This type of fashion is particularly known from the art of Velásquez , especially portraits of Queen Maria Anna and the Spanish Infanta Maria Teresa and Margarita Teresa .

The clothes of the citizens were much simpler than those of the aristocrats, but also often black or dark colors. The petticoat consisted of a single-colored fabric with colorful silk or velvet trimmings, tight sleeves and ruffles on the neck and wrists. The outer garment for the exit, similar to the Schaube, had a stand-up collar, was open and fell to the ground without folds. Both sexes wore a narrow-rimmed, stiff beret as headgear, which was laid in small folds and decorated with a cord and a feather over the forehead.

Spanish fashion is preserved in the official clerical clothing of the Hamburg and Lübeck regalia to this day. Also the official costume z. B. the mayor of Hamburg leaned on Spanish fashion in the late 19th to early 20th centuries.

gallery

literature

  • Bert Bilzer: Masters paint fashion. Georg Westermann Verlag, Braunschweig 1961, DNB 450468380 , p. 27.
  • Max von Boehn: The fashion: people and fashions in the sixteenth century. Bruckmann, Munich 1923, DNB 365331228 .
  • Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion - from antiquity to the present , translated by Joachim Wachtel, Bertelsmann, 1967/1977.

Individual evidence

  1. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion - from antiquity to the present , translated by Joachim Wachtel, Bertelsmann, 1967/1977: p. 163–175, here p. 163.
  2. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion - from antiquity to the present , translated by Joachim Wachtel, Bertelsmann, 1967/1977: p. 163.
  3. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion , translated by Joachim Wachtel, Bertelsmann, 1967/1977: p. 164, p. 172 (Fig. 239), p. 574.
  4. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The large image lexicon of fashion , ..., Bertelsmann, 1967/1977 : p. 527.
  5. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The large image lexicon of fashion , ..., Bertelsmann, 1967/1977 : p. 527.
  6. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion , translated by Joachim Wachtel, Bertelsmann, 1967/1977: pp. 164–166, pp. 173–174
  7. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion , translated by Joachim Wachtel, Bertelsmann, 1967/1977: pp. 164–166, pp. 173–174
  8. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion , translated by Joachim Wachtel, Bertelsmann, 1967/1977: pp. 162 + 171 (Elizabeth I of England), 172 (Fig. 239), pp. 173–174, pp. 400–401 (Fig. 671).
  9. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion - from antiquity to the present , translated by Joachim Wachtel, Bertelsmann, 1967/1977: p. 166, p. 162 + 171 (photos: Elizabeth II of England).
  10. ↑ Ludmila Kybalová, Olga Herbenová, Milena Lamarová: The great image lexicon of fashion , translated by Joachim Wachtel, Bertelsmann, 1967/1977: pp. 162 + 171 (photos: Elisabeth II of England).