Instead of a bodice and skirt cut separately, the mantua hung from the shoulders to the floor (in the manner of dresses of earlier periods) started off as the female version of the men's Banyan, worn for 'undress' wear. The mantua or manteau was a new fashion that arose in the 1680s. ![]() The clothing in these portraits is not representative of what was worn on the street or at court. The style is epitomized by the portraits of Peter Lely, which derive from the romanticized style originated by Anthony van Dyck in the 1630s. Spanish court fashion remained out of step with the fashions that arose in France and England, and prosperous Holland also retained its own modest fashions, especially in headdress and hairstyles, as it had retained the ruff in the previous period.Ī daring new fashion arose for having one's portrait painted in undress, wearing a loosely fastened gown called a nightgown over a voluminous chemise, with tousled curls. In later decades, the overskirt was drawn back and pinned up to display the petticoat, which was heavily decorated. The body was tightly corseted, with a low, broad neckline and dropped shoulder. ![]() ![]() Full, loose sleeves ended just below the elbow at mid century and became longer and tighter in keeping with the new trend. ![]() The wide, high-waisted look of the previous period was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder. Portrait of Barbara Viliers, mistress of King Charles II, painted by John Michael Wright c.
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