Portrait of the family of Sir Thomas More shows English fashions of the later 1520s 
Fashion in the period 1500-1550 in Western Europe is marked by voluminous clothing worn in an abundance of layers (one reaction to the cooling temperatures of the Little Ice Age, especially in Northern Europe and the British Isles). Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Fashion in the period 1500-1550 in Western Europe is marked by voluminous clothing worn in an abundance of layers (one reaction to the cooling temperatures of the Little Ice Age, especially in Northern Europe and the British Isles). Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
General trends
Regional st
yles :
yles :A gown of black-on-black floral silk is trimmed with bands of black velvet and fur at the cuffs. Kirtle, cap, chemise and belt are all embroidered or jewelled, Germany, c. 1530s.
European fashion in the earlier decades of the sixteenth century was dominated by the great rivalry between Henry VIII of England (ruled 1509-1547) and Francis I of France (ruled 1515-1547) to host the most glittering renaissance court, culminating in the festivities around the Field of Cloth of Gold (1520).[1] But the rising power was Charles V, king of Spain, Naples, and Sicily from 1516, heir to the style as well as the riches of Burgundy, and Holy Roman Emperor from 1530. The inflow of gold and silver from the New World into recently united Spain changed the dynamics of trade throughout Western Europe, ushering in a period of increased opulence in clothing that was tempered by the Spanish taste for sombre richness of dress that would dominate the second half of the century.[2], [3]
Regional variations in fashionable clothing that arose in the fifteenth century became more pronounced in the sixteenth. In particular, the clothing of the Low Countries, German states, and Scandinavia developed in a different direction than that of England, France, and Italy, although all absorbed the sobering and formal influence of Spanish dress after the mid-1520s.
Fabrics, furs, and trims:
European fashion in the earlier decades of the sixteenth century was dominated by the great rivalry between Henry VIII of England (ruled 1509-1547) and Francis I of France (ruled 1515-1547) to host the most glittering renaissance court, culminating in the festivities around the Field of Cloth of Gold (1520).[1] But the rising power was Charles V, king of Spain, Naples, and Sicily from 1516, heir to the style as well as the riches of Burgundy, and Holy Roman Emperor from 1530. The inflow of gold and silver from the New World into recently united Spain changed the dynamics of trade throughout Western Europe, ushering in a period of increased opulence in clothing that was tempered by the Spanish taste for sombre richness of dress that would dominate the second half of the century.[2], [3]
Regional variations in fashionable clothing that arose in the fifteenth century became more pronounced in the sixteenth. In particular, the clothing of the Low Countries, German states, and Scandinavia developed in a different direction than that of England, France, and Italy, although all absorbed the sobering and formal influence of Spanish dress after the mid-1520s.
Fabrics, furs, and trims:
Black and red embroidery on a child's shirt, Ambrosius Holbein, 1516.
Linen shirts and chemises or smocks had full sleeves and often full bodies, pleated or gathered closely at neck and wrist. The resulting small frill gradually became a wide ruffle, presaging the ruff of the latter half of the century. These garments were often decorated with embroidery in black or red silk. Small geometric patterns appeared early in the period and, in England, evolved into the elaborate patterns associated with the flowering of blackwork embroidery. German shirts and chemises were decorated with wide bands of gold trim at the neckline, which was uniformly low early in the period and grew higher by midcentury.
Silk brocades and velvets in bold floral patterns based on pomegranate and thistle or artichoke motifs remained fashionable for those who could afford them, although they were often restricted to kirtles, undersleeves and doublets revealed beneath gowns of solid-coloured fabrics or monochromatic figured silks. Yellow and red were fashionable colors.[5]
Elaborate slashing remained popular, especially in Germany, where a fashion arose for assembling garments in alternating bands of contrasting fabrics. Elsewhere, slashing was more restrained, but bands of contrasting fabric called guards, whether in color or texture, were common as trim on skirts, sleeves, and necklines. These were often decorated with bands of embroidery or applied passementerie. Bobbin lace arose from passementerie in this period, probably in Flanders[6], and was used both as an edging and as applied trim; it is called passamayne in English inventories. The most fashionable furs were the silvery winter coat of the lynx and dark brown (almost black) sable.
Linen shirts and chemises or smocks had full sleeves and often full bodies, pleated or gathered closely at neck and wrist. The resulting small frill gradually became a wide ruffle, presaging the ruff of the latter half of the century. These garments were often decorated with embroidery in black or red silk. Small geometric patterns appeared early in the period and, in England, evolved into the elaborate patterns associated with the flowering of blackwork embroidery. German shirts and chemises were decorated with wide bands of gold trim at the neckline, which was uniformly low early in the period and grew higher by midcentury.
Silk brocades and velvets in bold floral patterns based on pomegranate and thistle or artichoke motifs remained fashionable for those who could afford them, although they were often restricted to kirtles, undersleeves and doublets revealed beneath gowns of solid-coloured fabrics or monochromatic figured silks. Yellow and red were fashionable colors.[5]
Elaborate slashing remained popular, especially in Germany, where a fashion arose for assembling garments in alternating bands of contrasting fabrics. Elsewhere, slashing was more restrained, but bands of contrasting fabric called guards, whether in color or texture, were common as trim on skirts, sleeves, and necklines. These were often decorated with bands of embroidery or applied passementerie. Bobbin lace arose from passementerie in this period, probably in Flanders[6], and was used both as an edging and as applied trim; it is called passamayne in English inventories. The most fashionable furs were the silvery winter coat of the lynx and dark brown (almost black) sable.
Women's fashion
Overview:
Anne of Brittany,Queen of France, and her ladies wear round hoods over linen caps. Anne's gown is open at the front to reveal a figured silk kirtle beneath. The gowns have wide sleeves with turned-back cuffs lined in fur, 1508Women's fashions of the earlier sixteenth century consisted of a long gown, usually with sleeves, worn over a kirtle or undergown, with a linen chemise or smock worn next to the skin.
The high-waisted gown of the late medieval period evolved in several directions in different parts of Europe. In the German states and Bohemia, gowns remained short-waisted, tight-laced but without corsets. The open-fronted gown laced over the kirtle or a stomacher or plackard. Sleeves were puffed and slashed, or elaborately cuffed.
In France, England, and Flanders, the high waistline gradually descended to the natural waist in front (following Spanish fashion) and then to a V-shaped point. Cuffs grew larger and were elaborately trimmed.
Hoop skirts or farthingales had appeared in Spain at the very end of the fifteenth century, and spread to England and France over the next few decades. Corsets (called a pair of bodies) also appeared during this period.
A variety of hats, caps, hoods, hair nets, and other headresses were worn, with strong regional variations.
Shoes were flat, with broad square toes.
Germ
an fashion
Anne Stafford wears a black fur-lined gown with turned-back sleeves over a dark kirtle[9] She wears a soft sash at her waist and a sheer partlet over a square-necked chemise, c. 1535.
The high-waisted gown of the late medieval period evolved in several directions in different parts of Europe. In the German states and Bohemia, gowns remained short-waisted, tight-laced but without corsets. The open-fronted gown laced over the kirtle or a stomacher or plackard. Sleeves were puffed and slashed, or elaborately cuffed.
In France, England, and Flanders, the high waistline gradually descended to the natural waist in front (following Spanish fashion) and then to a V-shaped point. Cuffs grew larger and were elaborately trimmed.
Hoop skirts or farthingales had appeared in Spain at the very end of the fifteenth century, and spread to England and France over the next few decades. Corsets (called a pair of bodies) also appeared during this period.
A variety of hats, caps, hoods, hair nets, and other headresses were worn, with strong regional variations.
Shoes were flat, with broad square toes.
Germ
an fashionAnne Stafford wears a black fur-lined gown with turned-back sleeves over a dark kirtle[9] She wears a soft sash at her waist and a sheer partlet over a square-necked chemise, c. 1535.
In the first quarter of the sixteenth century, German dress varied widely from the costume worn in other parts of Europe. Skirts were cut separately from bodices, though often sewn together, and the open-fronted gown laced over a kirtle with a wide band of rich fabric, often jeweled and embroidered, across the bust. Partlets (called in German gollers or collars) were worn with the low-cut bodice to cover the neck and shoulders, and were made in a variety of styles. The most popular goller was a round shoulder-capelet, frequently of black velvet lined in silk or fur, with a standing neckband; this goller would remain in use in some parts of Germany into the seventeenth century and became part of national dress in some a
reas.
Narrow sleeves were worn in the earliest years of the century, and were later decorated with bands of contrasting fabric and rows of small panes or strips over puffed linings. Skirts were trimmed with bands of contrasting fabric, but were closed all around. They would be worn draped up to display an underskirt.
From 1530, elements of Spanish dress were rapidly adopted in fashionable Germany under the influence of the imperial court of Charles V.
reas.Narrow sleeves were worn in the earliest years of the century, and were later decorated with bands of contrasting fabric and rows of small panes or strips over puffed linings. Skirts were trimmed with bands of contrasting fabric, but were closed all around. They would be worn draped up to display an underskirt.
From 1530, elements of Spanish dress were rapidly adopted in fashionable Germany under the influence of the imperial court of Charles V.
English or French fashion of 1545: the trumpet-sleeved "French" or "Tudor gown", worn over a farthingale and false undersleeves with a matching forepart. The turned-back cuffs are lined with fur.
Gowns
Dress in Holland, Belgium, and Flanders, now part of the Empire, retained a high, belted waistline longest. Italian gowns were fitted to the waist, with full skirts below.
The French gown of the first part of the century was loosely fitted to the body and flared from the hips, with a train. The neckline was square and might reveal the kirtle and chemise beneath. Cuffed sleeves were wide at the wrist and grew wider, displaying a decorated undersleeve attached to the kirtle. The gown fastened in front early, sometimes lacing over the kirtle or a stomacher, and the skirt might be slit in front or the train tucked up in back to display the skirt of the kirtle.
As a fitted style emerged under Spanish influence, the gown was made as a separate bodice and skirt; this bodice usually fastened
at the side or the side-back with hooks and eyes or lacing.
From the 1530s, French and English fashions featured an open, square-necked gown with long sleeves fitted smoothly over a tight corset or pair of bodies and a farthingale. With the smooth, conical line of the skirt, the front of the kirtle or petticoat was displayed, and a decorated panel called a forepart, heavily embroidered and sometimes jeweled, was pinned to the petticoat or directly to the farthingale.
The earlier cuffed sleeves evolved into trumpet sleeves, tight on the upper arm and flared below, with wide, turned back cuffs (often lined with fur) worn over full undersleeves that might match the decorated forepart. At the very end of the period, full round sleeves (perhaps derived from Italian fashions) began to replace the flaring trumpet sleeves, which disappeared by the later 1550s.
Fabric or chain girdles were worn at the waist and hung down to roughly knee length; a tassel or small prayer book or purse might be suspended from the girdle.
The low neckline of the gown could be filled with a partlet. Black velvet partlets lined in white with a high, flared neckline were worn pinned over the gown. Partlets of the same rich fabric as the bodice of the gown give the appearance of a high-necked gown. Sheer or opaque linen partlets were worn over the chemise or smock, and high-necked smocks began to appear; toward 1550 these might have a small standing collar with a ruffle, which would become the pleated ruff of the next period.
Dress in Holland, Belgium, and Flanders, now part of the Empire, retained a high, belted waistline longest. Italian gowns were fitted to the waist, with full skirts below.
The French gown of the first part of the century was loosely fitted to the body and flared from the hips, with a train. The neckline was square and might reveal the kirtle and chemise beneath. Cuffed sleeves were wide at the wrist and grew wider, displaying a decorated undersleeve attached to the kirtle. The gown fastened in front early, sometimes lacing over the kirtle or a stomacher, and the skirt might be slit in front or the train tucked up in back to display the skirt of the kirtle.
As a fitted style emerged under Spanish influence, the gown was made as a separate bodice and skirt; this bodice usually fastened
at the side or the side-back with hooks and eyes or lacing.
From the 1530s, French and English fashions featured an open, square-necked gown with long sleeves fitted smoothly over a tight corset or pair of bodies and a farthingale. With the smooth, conical line of the skirt, the front of the kirtle or petticoat was displayed, and a decorated panel called a forepart, heavily embroidered and sometimes jeweled, was pinned to the petticoat or directly to the farthingale.
The earlier cuffed sleeves evolved into trumpet sleeves, tight on the upper arm and flared below, with wide, turned back cuffs (often lined with fur) worn over full undersleeves that might match the decorated forepart. At the very end of the period, full round sleeves (perhaps derived from Italian fashions) began to replace the flaring trumpet sleeves, which disappeared by the later 1550s.
Fabric or chain girdles were worn at the waist and hung down to roughly knee length; a tassel or small prayer book or purse might be suspended from the girdle.
The low neckline of the gown could be filled with a partlet. Black velvet partlets lined in white with a high, flared neckline were worn pinned over the gown. Partlets of the same rich fabric as the bodice of the gown give the appearance of a high-necked gown. Sheer or opaque linen partlets were worn over the chemise or smock, and high-necked smocks began to appear; toward 1550 these might have a small standing collar with a ruffle, which would become the pleated ruff of the next period.
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