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Comtesse de Mailly, 1698, wears court fashion: Her mantua has elbow-length cuffed sleeves over the lace-ruffled sleeves of her chemise. The trained skirt is looped back to reveal a petticoat. She wears elbow-length gloves and a cap with a high lace fontange. She has a fur muff on her right wrist, trimmed with a ribbon bow, and carries a fan.
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, and occasionally with gold metal threads if the garment was meant to be flashier of ones wealth. [ 6 ]
By the 1770s the sack-back gown was second only to court dress in its formality. This style of gown had fabric at the back arranged in box pleats which fell loose from the shoulder to the floor with a slight train. In front, the gown was open, showing off a decorative stomacher and petticoat.
The final layer was the petticoat, which was the name for any skirt worn under the gown and could be a skirt with a bodice, a skirt attached over the torso by tapes, or a separate skirt. [35] These petticoats were often worn between the underwear and the outer dress and were considered part of the outer clothing, not underwear.
Under it she wears a high-necked bodice and tight undersleeves and a petticoat with an elaborately embroidered forepart, 1562. The Gripsholm Portrait, thought to be Elizabeth I, shows her wearing a red gown with a fur lining. She wears a red flat hat over a small cap or caul that confines her hair. Woman wearing a red silk dress, with slashed ...
The ruff, which was worn by men, women and children, evolved from the small fabric ruffle at the neck of the shirt or chemise. Ruffs served as changeable pieces of cloth that could themselves be laundered separately while keeping the wearer's doublet or gown from becoming soiled at the neckline. The stiffness of the garment forced upright ...
Working-class people in 18th century England and America often wore the same garments as fashionable people—shirts, waistcoats, coats and breeches for men, and shifts, petticoats, and dresses or jackets for women—but they owned fewer clothes and what they did own was made of cheaper and sturdier fabrics.
By the later 1830s, fullness was moving from the upper to the lower sleeves. This morning dress of 1836–40 features shirring on the fitted upper sleeves; Victoria and Albert Museum. This portrait shows the pleated panels of fabric that trim the gown around the bust and shoulders, and the method of gathering fullness in the large sleeves. 1832.