All posts tagged: 1600s

Magdalene of Bavaria in an amazing ruff

It’s often tempting to apply modern thoughts and standards to historical paintings. This glorious 1613 Candid* portrait of the 26 year old Magdalene of Bavaria (1587-1628) rather begs to be interpreted: she either looks incredibly haughty, incredibly bored, or as if she’s just discovered that her lowest and least-favourite lady in waiting is wearing the exact same outfit she is, and looks better in it. ⁠ It’s interesting to match these musings to what is known of Magdalene, who was described as ‘wise’, and was by the accounts available in English (she’s not the most important historical figure, so there isn’t a lot!) politically savvy and ambitious. Magdalene was a Bavarian princess who was a pawn (although possibly an entirely aware and participatory one) in the great West-Central European political machinations of the early 17th century. The child of William V, Duke of Bavaria and Renata of Lorraine, and the granddaughter of Christina of Denmark (she who, as a 16 year old widow, famously refused Henry VII proposal with the sassy retort “If I had …

The Sewing Workshop, 1760 Musee Reattu - Arles, France.

Terminology: What is sewing carbage? (or cabbage, or garbage)

Published by The Dreamstress

Carbage or cabbage, and more rarely garbage, is the name given to the bits of fabric left over from cutting out an item. You can see the box of ‘carbage’ under the tailors table in Amman’s woodcut. The term dates back to at least the 17th century, where it was also used for ‘shreds and patches used as padding’. In 1648 Robert Herrick wittily commented on tailors credit: Eupez for the outside of his suit has paid But for his heart, he cannot have it made The reason is, his credit cannot get The inward garbage for his cloathes as yet In another poem he complained of women’s fashions: Upon some women, Pieces, patches, ropes of haire, In-laid garbage ev’rywhere Some versions Herrick’s poems use carbage instead of garbage, and I would dearly like to know which were used in the original. Butler’s 1660s Hudibras makes clear how important cabbage was to tailors: For as tailors preserve their cabbage, So squires take care of bag and baggage In the mid-17th century play Hey for Honesty …

Rate the Dress: Caspar Nescher’s Lady in Gold

Published by The Dreamstress

Last week I showed you a ca. 1908 gown in shimmering beaded black, with just a touch of blue around the neck. Quite a few of you had problems with the touch of blue (clunky fringe), and the oh-so-fashionable for 1908 asymmetrical sash. Despite the universally agreed utter fabulousity of the skirt, those two elements dragged the otherwise sterling sparkle of the dress down slightly to an 8.6 out of 10. To finish off the year, here is a lady from one of my favourite time-periods in a lavish golden gown: The dress features the fitted, boned bodice of mid-17th century fashions, which would later become the 18th c. robe de cour bodice. The sleeves look back to the 16th fashion, with strips that form a slashed effect, allowing the fine linen of her shift sleeves to peek through, and fall in ruffles below the short sleeve. A fine ruffle of lace or shift frames the low neckline, which is framed with a twisted scarf of fabric, pinned with a jeweled ornament. Caspar’s lady pairs …