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Dress reformers exhorted readers to reform the corset, or risk destroying the "civilized" races. [ 15 ] : 135 On the other hand, those who argued for the importance of corsets cited Darwinism as well, specifically the notion that women were less evolved and thus frailer, in need of the support of a corset.
Italian fashion uniquely featured a broad U-shape rather than a V. [14] Spanish women also wore boned, heavy corsets known as "Spanish bodies" that compressed the torso into a smaller but equally geometric cone. [23] Bodices could be high-necked or have a broad, low, square neckline, often with a slight arch at the front early in the 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 great farthingale appears to have been worn at an angle ("low before and high behind") which visually elongated the wearer's torso while shortening her legs. The angle was likely created by the use of bodies (corsets) or boned bodices with long centre fronts that pushed down on the farthingale, tilting it.
Her blue dress is "kirtled" or shortened by poufing it over a belt, c. 1460. Woman wears a simple headdress of draped linen and a red houppelande trimmed with white fur. Note that the sleeve is only attached to the dress at the top, 1467–1471. Maria Portinari wears a truncated cone hennin with a veil draped over the back. The black loop on ...
English court dress from the 1660s, made of silver tissue and decorated with applied parchment lace. [4] From the Fashion Museum, Bath. Peter Lely portrays Two Ladies of the Lake Family wearing satin dresses over shifts or chemises with voluminous sleeves. Their hair is worn in masses of ringlets to the shoulders on either side, and both wear ...
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