THE ART OF DRESS

Anthony van Dyck:Portrait of cardinal Guido Bentivoglio.The structure of Balenciaga's coat references back to the cardinal's official uniform.

Portrait of Marie-Louise de Tassis, by Anthony Van Dyck, 1630.

French nobelmen. Abraham Bosse, around 1629. All the men have the style of the period "bucket-top" boots of the period. All the illustrations show the development of the falling collar. During the second half of the sixteenth century Spain had set the dominant tone in fashion. This influence had persisted into the 1600s, but with certain modifications, the most notable being the abandonment of the stuffed and busked "peascod" doublets and in the widening of the sleeves. The ruffs had also become smaller in France and England, but continued to grow even larger in the Netherlands. The doublet during the early years of the century, had short skirt consisting of a number of overlapping tabs, but from 1610 these tabs had become longer and curved down in the front to a sharp point. The garment was provided with a high standing collar buttoning in the front, but generally concealed by the ruff. This was carried over from the preceding century but with certain variations, being sometimes in double or treble layers of tubular pleats starched by means of 'setting sticks'. Ruffs were usually white but sometimes they were yellow. The invention of starch, denounced by Puritan moralists as a new vanity, at least allowed the ruff to dispense with the wire frame or 'underpropper' which had previously been necessary. Women's clothes, although elaborate, were more natural, in that the female body was not so much deformed as it had been by tight-lacing and the cumbrous farthingale. Women also benefited from the ruff to the falling collar, this tendency was even more apparent after the assassination of Henry IV and the accession of Louis XIII. Fortunately there is valuable documentation of the costumes of this period in the engravings of Abraham Bosse.

Portrait of Elisabeth von Kessel by I Caesar van Everdingen, 1671. This lingers as inspiration for Coco Chanel. I love how the black bodice and skirt contrasts with the sleeves creating an ever lasting appeal of elegance and classic style. This would have been a good inspiration for her because even though Chanel was a minimalist she was still very much inspired by history and romantic style. Even the jewellery and the way it’s placed as a pin on her collar is very Chanel.

Five Centuries Ago (autumn/winter 1997-8 was shown at the Lido, Paris, in a seedy strip joint and looked further back in history,to Tudor portraiture. The invitation described the various elements that has inspired Westwood: ‘skirts of heavy fabrics laid over cone-shaped wooden frames, a carapace of a bodice, hats of architectural geometry which hid the hair and sleeves so long and full that the lady joined her hands in front so as to carry the weight.’ However, in Westwood’s versions, these heavy fabrics were transported into light weight ones and volume was achieved without underpinning - a farthingale effect, for example, was achieved pleats. With characteristic openness, Westwood explained her process of research and revelation that Christian Dior, who had inspired her for so many collections, was also inspired by the sixteenth-century dress. Westwood said “what I have discovered is here for you to see, in it’s translation to modern times. The difficulty was to avoid Dior. This period is the source for so much of his work. When I began to develop the themes, very beginning led back to him. Colours are restricted to the serious palette of the Tudor era - black, browns, reds,- from Bordeaux to carnation, touching on violet - white, gold and silver. The only modern colour I have added is grey because it suits wool and talks of black.'

Paul Poiret in his workshop.

this is a photograph of actres Isabel Jay shows the opulent top of her dress, an example of the ornamental brocade and embroidery which was part of the craze for anything oriental. silk flowers or rosettes were often placed on the high waistline on evening and day dresses.

Camille Clifford came over from America and ended up marrying the son of Lord Aberdare. she was one of a small flock of glamorous independent-minded American women who came over and injected money or beauty, and sometimes both, into British society. Camille Clifford was nicknamed "the Gibson Girl".