English Costume

by Dion Clayton Calthrop

THE MEN AND WOMEN

England, apparently with a sigh of relief, lays aside her hair shirt, and proves that she has been wearing a silk vest under it. Ribbon-makers and wig-makers, lace-makers, tailors, and shoemakers, pour out thankful offerings at the altar of Fashion. One kind of folly has replaced another; it is only the same goddess in different clothes. The lamp that winked and flickered before the stern black figure in Geneva bands and prim curls is put to shame by the flare of a thousand candles shining on the painted face, the exposed bosom, the flaunting love-locks of this Carolean deity.

We have burst out into periwigs, monstrous, bushy; we have donned petticoat breeches ruffled like a pigeon; we have cut our coats till they are mere apologies, serving to show off our fine shirts; and we have done the like with our coat-sleeves, leaving a little cuff glittering with buttons, and above that we have cut a great slit, all to show the marvel of our linen.

Those of us who still wear the long wide breeches adorn them with heavy frills of deep lace, and sew bunches of ribbons along the seams. We tie our cravats in long, stiff bows or knot them tight, and allow the wide lace ends to float gracefully.

A MAN OF THE TIME OF CHARLES II. (1660-1685)

This shows the dress during the first half of the reign. The feature of groups of ribboning is shown, with the short sleeve, the full shirt, and the petticoat.

Our hats, broad-brimmed and stiff, are loaded with feathers; our little cloaks are barred with silk and lace and gold cord; our shoes are square-toed and high-heeled, and are tied with a long-ended bow of ribbon.

Ribbon reigns triumphant: it ties our periwigs into bunches at the ends; it hangs in loops round our waists; it ties our shirt-sleeves up in several places; it twists itself round our knees. It is on our hats and heads, and necks and arms, and legs and shoes, and it peers out of the tops of our boots. Divines rave, moralists rush into print, to no purpose. The names seem to convey a sense of luxury: dove-coloured silk brocade, Rhingrave breeches, white lutestring seamed all over with scarlet and silver lace, sleeves whipt with a point lace, coat trimmed and figured with silver twist or satin ribbon; canvas, camblet, galloon and shamey, vellam buttons and taffety ribbons. The cannons, those bunches of ribbons round our knees, and the confidents, those bunches of curls by our ladies’ cheeks, do not shake at the thunderings of Mr. Baxter or other moral gentlemen who regard a Maypole as a stinking idol. Mr. Hall writes on ‘The Loathsomeness of Long Hair,’ Mr. Prynne on ‘The Unloveliness of Lovelocks,’ and we do not care a pinch of rappe.

Little moustaches and tiny lip beards grow under careful treatment, and the ladies wear a solar system in patches on their cheeks.

The ladies soon escaped the bondage of the broad Puritan collars, and all these had hid was exposed. The sleeves left the arms bare to the elbow, and, being slit above and joined loosely by ribbons, showed the arm nearly to the shoulder. The sleeves of these dresses also followed the masculine fashion of little cuffs and tied-up linen under-sleeves. The bodices came to a peak in front and were round behind. The skirts were full, satin being favoured, and when held up showed a satin petticoat with a long train. The ladies, for a time, indulged in a peculiar loop of hair on their foreheads, called a ‘fore-top,’ which gave rise to another fashion, less common, called a ‘taure,’ or bull’s head, being an arrangement of hair on the forehead resembling the close curls of a bull. The loose curls on the forehead were called ‘favorites’; the long locks arranged to hang away from the face over the ears were called ‘heart-breakers’; and the curls close to the cheek were called ‘confidents.’ Ladies wore cloaks with baggy hoods for travelling, and for the Mall the same hats as men, loaded with feathers.

A MAN OF THE TIME OF CHARLES II. (1660-1685)

This is the change which came over men’s dress on or about October, 1666. It is the new-fashioned vest or body-coat introduced to the notice of Charles by John Evelyn.

I am going to leave the change in dress during this reign to the next chapter, in which you will read how it struck Mr. Pepys. This change separates the old world of dress from the new; it is the advent of frocked coats, the ancestor of our frock-coat. It finishes completely the series of evolutions beginning with the old tunic, running through the gown stages to the doublet of Elizabethan times, lives in the half coat, half doublet of Charles I., and ends in the absurd little jackets of Charles II., who, sartorially, steps from the end of the Middle Ages into the New Ages, closes the door on a wardrobe of brilliant eccentricity, and opens a cupboard containing our first frock-coat.