Fashion 1625 to 1650 - Part 3 the 1640s: the War Years

This was the decade that saw Charles I fall out with his kingdom in the North and his own Parliament at home.

Charles decided to impose his Anglican Book of Common Prayer on his fervently Calvinist Scottish subjects – who weren’t very happy about it. This led to the creation and signing of a National Covenant, which in turn led to the two Bishops’ Wars – in 1639, and again in 1640. Charles had no choice but to recall Parliament, so they could vote him money to raise troops to fight. These Scottish wars were followed by rebellion in Ireland, and quarrels with his Members of Parliament in Westminster, over the raising of taxes, matters of religion and other long-standing grievances. Neither side would compromise, leading to the outbreak of civil war when the king raised his Royal Standard in Nottingham in August 1642. What followed were years of brutal fighting and unrest which was only finally settled in 1660 with the Restoration of Charles II to his rightful throne - by way of experiments in republicanism, martial law and, in some cases, some very strange new ideas about faith and religion.

But despite all this conflict and uncertainty, fashion continued to develop and change.

The court painter, Anthony van Dyck, died in 1641, and was replaced by native artist William Dobson. With the outbreak of civil war, the king fled from London and set up a rival capital – and an impoverished court - in the university town of Oxford. After the glut of portraits produced by Van Dyck during the 1630s, next to no paintings of women survive from the 1640s, and those that do are usually only bust length.

Thank goodness then for Wenceslaus Hollar, who published his second collection of etchings of female fashion in 1643. He also produced several sets of ‘The Four Seasons’ - one in 1641, another in 1643 and one final set in 1644. These all show the different seasons depicted as elegantly dressed ladies, the first and third are half length, with the second being full length images, all carried out in fine detail.

Spring (left) and Winter (right) from the Four Seasons - Wenceslas Hollar 1643

Summer from the Four Seasons - Wenceslas Hollar 1644

Hollar’s illustrations show a subtly different silhouette emerging as we move into the 1640s. The large sleeves slimmed down, the waistline descended and terminated in a very pronounced point, and gowns were back in evidence again.

The fashionable 1640s gown was more streamlined than previously. Waists started to descend to a natural level, often with a deep point in front. Sleeves were narrower, usually closed all round and with a turn back cuff, although they were still elbow-length. The sleeves underneath were similarly narrow. There was a very distinctive fashion during the mid-1640s, where the undersleeves were paned, bulging out from the tighter gown sleeve. This seems to be a typically English style as I've not seen this in images of this date from any other European country. The long skirts of the gown had all the fullness concentrated towards the sides and back, and were frequently pinned back to display the lining and the petticoat worn underneath. Again, I feel that English women were doing this before other countries, even France, although this became a major trend all over Europe during the later 17^th Century and into the 18^th.

English noblewoman (left) and English gentlewoman (right) both dated 1644 - from Wenceslaus Hollar's Aula Veneris.

Both figures wear the new slimmer fashions of the 1640s - during which time England was fighting a bloody civil war with itself - King against Parliament.

Waistcoats were still worn and followed the same style developments as the bodices of gowns. There was a small skirt of square tabs below the waist following the now elongated front, the separate tabs sometimes being sewn together. Waistcoats were nearly all stomacher fronted, with ladder lacing and the newly fashionable cross lacing being seen in etches and paintings. Cuffs were sometimes improvised by rolling or pinning the smock sleeves up over the sleeves.

By 1650, a new, very distinctive silhouette had emerged, and would stay broadly in fashion, with small variations, for the next thirty years. Gowns went out of fashion completely. For formal occasions separate, very stiff bodies with attached sleeves were worn with matching petticoats. Stomachers and decorative lacing disappeared, bodies being closed with concealed spiral lacing either back or front. Sleeves were increasing in size again - the fullness being gathered with cartridge pleating at shoulder and cuff. The fashionable neckline was wide and round, dropping off the shoulders. Linen and lace collars were still worn, but scarves and drapery around the decolletage became more popular. Separate lace cuffs also disappeared - the smock sleeves being either pulled up over the ends of the sleeve, or left to dangle below.

Scalloped edges were still seen, and rows of gilt lace and braid stayed very popular on petticoats and sleeves. Puffs of fine linen started to be worn, caught with jewelled brooches, down the centre of sleeves and bodies, also around the armholes. Meant to simulate the white linen of the smock, these puffs were probably fake.

Hair remained similar, although the side locks became even longer and looser. Dark hoods became the norm when venturing out of doors, and the middle classes still wore their coifs with wide brimmed hats.

There was no change in jewellery fashions, simple large pearls staying popular, worn as earrings, necklaces and bracelets. Gemstone pendants were worn at the breast and brooches/ouches fastened bodices and sleeves.

From the 1640s, men’s and women’s shoes start to differ. Male footwear retained square toes, whilst women’s shoes started to develop a more pointed appearance. Both still had a fashionable raised heel, which became higher for both sexes. Shoe roses fastened the shoes across the instep but could be replaced with large ribbon bows.

‘Mouches’ (flies in French) or beauty spots were a new innovation from France - worn to hide facial imperfections such as spots or pock marks, or to draw attention to a certain feature. These could be made from silk, velvet or paper and stuck to the face using some sort of gum. Black was the obvious colour but red was also seen, and there was a diverse range of shapes to be had.