Baroque Fashions of the 1600s


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The extravagant fashions of Europe's elite during the 17th century provide a vivid window into the sumptuous tastes and rigid hierarchies of the Baroque era.

In the courts of kings and the salons of nobles, clothing, accessories, and grooming were cultivated as external symbols that projected one's status, wealth, and refinement.

The aristocratic classes indulged in flamboyant silhouettes, impractical embellishments, and lavish fabrics and perfumes, divorcing fashion from function.

These trends were amplified through portraiture and spread throughout the upper echelons of society from Paris to London.

While shaped by unique cultural forces, the sartorial customs of gentlemen and ladies during this age share an emphasis on conspicuous consumption and dramatic artifice.

The following excerpts examine key examples of aristocratic eccentricities in 1600s fashion that shock, amuse, and enlighten present-day observers of the period.


a man wearing a ruff
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The lavish ruffs worn by gentlemen of means in the seventeenth century signify the extravagance and vanity prevalent among the upper echelons of society during this era.

These ostentatious accouterments, crafted of the finest textiles and starched to architectural proportions, served no functional purpose beyond projecting an air of wealth and status for the wearer.

While female fashion demanded tight-fitting bodices and expansive skirts, the necks of men's doublets were embellished with ever more preposterous cartwheel ruffs.

As the century progressed, starch technology improved to allow ruffs to extend a full foot or more around the neck, enveloping the head like the pleated frill of an exotic plant.

Lawmakers attempted to regulate the absurd dimensions, but the upper classes resisted such sumptuary restrictions.

Portraits from the period depict gentlemen posed proudly in ruffs of such absurd scale that they seem to engulf the entire figure.

The sheer impracticality of these accessories only bolstered their prestige as indicators of social rank and leisure.

Perambulating about town or the royal court with one's head protruding from a veritable linen tea cozy signaled a life of such comfort that practicality could be dispensed with entirely in favor of fashion's mutable whims.


a woman in a baroque styled skirt
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The advent of the farthingale in the female wardrobe of the 1600s dramatizes the dialectic between the aesthetic ideal and the reality of lived experience that has ever animated the history of fashion.

Whalebone hoops inserted within cumbersome petticoats created a cylindrical silhouette designed to accentuate the slimness of a lady's waist through contrast.

Yet these structural underpinnings, when taken to extremes of circumference, rendered basic navigation a challenge to those fashionable women squeezed into their grasp.

The most ambitious Spanish verdugadas of the early seventeenth century boasted diameters of up to three feet, conferring upon gentlewomen the majestic presence of ambulatory wedding cakes.

Many a grand entrance was undermined by an inability to pass through an entryway without tilting sideways and compressing the internal hoops.

Staircases became potential hazards, and forget about sitting in a chair or carriage.

The demands of an exaggerated ideal literally distorted the spaces these women could inhabit.

Yet the farthingale’s caging of the female form in pursuit of an ornate optical effect encapsulates the courtly culture of the age, which prized rich fabrics, lavish jewels, and peacocking pageantry above all.

Discomfort was a small price to pay for the radiance of spectacle.

Within the rigid structure of aristocratic society, the minds of gentlewomen expanded through creative fashion choices even as their bodies were confined.


A Baroque styled hat from the 1600s
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The sumptuous headwear adorning gentlemen of rank during the seventeenth century reflects a patriarchal culture of conspicuous consumption and class stratification.

As the merchant class accrued wealth through trade, the old aristocracy asserted its superiority by transforming practical attire into flamboyant costumes devoid of function beyond status display.

The masculine hat evolved into a vertically exaggerated emblem of vanity, sprouting plumes and brooches that rendered doorways into an obstacle course.

These towering hats, plumed with exotic ostrich feathers and glittering with gemstones, projected an aura of worldly importance.

Their dimensions required a proportional contraction of the wearer's posture, as courtiers and cavaliers had to bow and hunch to avoid scraping their headgear.

Doors demanded a deep, courtly bow for passage.

Though dignified deportment was tied to nobility, the impractical hats forced an undignified sequence of bobbing and scuttling from men preoccupied with elegant appearances.

Of course, such cumbersome hats demonstrated exemption from labor.

Carpentry or farming were impossible when one’s brim was bedecked with majestic plumes.

Spangled with gold and waving ostentatious feathers, these caps visibly displayed that the wearer was a gentleman of status unconcerned with humble productiveness.

By decorating men’s heads as glorified haberdashery, the aristocratic elite codified hierarchies through fashion.

Costly adornments, rather than noble bearing, conferred rank.


a 1600s Baroque styled dress of a man
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The adoption of high-heeled footwear in the seventeenth century imparts insight into the performative nature of aristocratic fashion and the complexities of gender codification through clothing.

Heels emerged from riders' boots as a practical aid for staying in the stirrups, but mutated into a marker of elite status once appropriated by court fashion.

This platform shoe enabled ostentatious display of ornate hose and shapely calves for both gentlemen and ladies.

By lifting the foot several inches off the ground, heels showcased expensive silk stockings decorated with embellishments.

Watteau pleats, elaborate lace, and bold stripes and patterns could be fully appreciated when the leg was given a boost.

Heels also aided an erect, balanced posture that displayed an air of dignity and ceremony.

For women, heels visually elongated the leg, highlighting feminine curves in keeping with Baroque aesthetics.

Yet men also indulged stylish heels to exhibit shapely legs clad in striking hose.

Heels modeled noblesse and wealth transcendent of gender, their impracticality signifying a life of ease and refinement.

So while high heels physically constrained natural movement, they enabled aristocrats to strut, dance, and stand with grace.

By adopting this performative footwear, elites inscribed status on their very footsteps. The click of heels on a marble floor instantly denounced the presence of a well-heeled lady or gentleman to all within earshot.


Make-up of a woman in the baroque era
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The embrace of cosmetics by women of the 1600s, despite deleterious effects, unveils a gendered culture of appearances that prized artifice over naturalism and jeopardized health in service of an idealized aesthetic.

Powders infused with lead whitened complexions to a level that implied a life of leisure unexposed to the elements. Ceruse and Venetian ceruse contained up to 50% lead and were applied liberally, often causing hair loss and bodily paralysis.

Yet pale skin was central to courtly beauty, conveying untaxed gentility.

Blush tints for the cheeks and lips countered this pallor with simulations of life and health.

So universal was the use of makeup that laws were passed to prevent commoners from illegitimately donning the visage of the upper ranks. Cosmetic application thus functioned to affirm class hierarchy.

While mirroring the artful canvases of Rubens and Titian, the painted faces of aristocratic ladies also expressed tenacious self-determination.

In a culture that commodified women as dynastic bargaining chips, fashion choice was an arena for self-articulation.

Agency was exercised through radical manipulation of appearance, even at risk of disfigurement or infirmity.

In an era when medicine was primitive, these risks attest to the depths of stigma faced by any woman who failed to transform into a figure of ideal loveliness.


Puffy sleeves worn by a man in the Baroue era
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The slashed and puffed sleeves marking aristocratic attire in the seventeenth century speak to a culture of sartorial extravagance and emerging individualist expression.

By piercing the outer fabric to reveal contrasting linings and underlayers, the fashionable elite found a novel means of flaunting their ability to waste reams of textiles.

These slits allowed for bursts of color and texture without any functional purpose beyond decorative flair.

Exaggerated gigot sleeves ballooned at the shoulder before cinching tightly at the wrist, adding volume and drama to the silhouette.

Crisscrossing ribbons pulled together this excess material, often closing the puffs with bright bows as ornamental as holiday gift wrapping.

These fanciful sleeves allowed wearers to distinguish themselves through personalized style choices.

Colorful satins and printed patterns peeked through the slits, making each garment unique.

While the average peasant was clad in plain durable wool their entire life, the gentry indulged in a carnival of textile variety.

Gender norms also find expression in sleeve distinctions, as lower class women who couldn't afford the yards of fabric could be identified by their planer sleeves.

But within the aristocracy, exaggerated sleeves with their ribbons, dangling bits, and peeks of fabric proclaimed the wearer a gentleperson of means unburdened by functionality.


A Baroque era mask party
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The use of ornamental masks among the privileged classes in the 17th century provides a window into the performative nature of identity and social presentation within the rigid culture of the European aristocracy.

Masks allowed nobility to assume fantastical personae in a manner that affirmed class hierarchies through pageantry and spectacle.

At masquerade balls and Venetian-style carnivals, aristocrats donned elaborate silk dominos, capes, and full-face masks trimmed in gold, feathers, and gems.

Masking permitted the assumption of theatrical identities and anonymous intrigues. Yet even when worn publicly outdoors, decorative masks announced the wearer’s elite status.

Masks crafted from luxe materials like black velvet, generously gilded, and crested with ostrich plumes were signifiers of expense and station.

Working commoners owned at most a simple mask of leather for hazardous tasks. The intricate masquerade masks of nobles required leisure time and disposable income.

By obscuring identities behind a carapace of gem-encrusted velvet and feathers, elites abandoned themselves to performative fantasy.

Yet their anonymity was undergirded by the assurance that their expensive accouterments still signaled to all their membership among the privileged class.


perfume was popular in the 1600s
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The proliferation of fragrance among the elite during the Baroque era provides insight into 17th century class divisions and the prevailing medical beliefs around bodily scents.

Perfuming one’s body, clothing, and home with floral essences was an indulgence exclusive to the aristocracy, signifying a lifestyle unpolluted by coarse odors. The natural stench of the unwashed lower orders was thus denoted as incompatible with refinement.

The medical wisdom of the age postulated that disease was spread by foul air. Pleasant aromatics could serve as protection by cleansing the atmosphere.

Disdaining the miasma of commoners, nobles saturated themselves in sweet fragrances like rose, jasmine, and orange blossom.

Perfume also masked halitosis and body odor in an era before daily bathing was routine.

Beyond defense against pestilence, perfuming practices enfranchised the elite with an aura of beauty, wealth, and cleanliness that distinguished them from social inferiors.

The mingling of perfumes at court signaled rarefied company, with nobility competing to display the most fashionable and intoxicating scents. In a culture enamored by appearances, one’s very odor was manipulated to transmit elite status.


Baroque styled gloves
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The ornate hand wear finishing off the aristocratic ensembles of the 17th century speaks to the era's obsession with idle opulence and the emerging individualism of personal adornment.

For gentlemen and ladies of means, gloves offered a canvas to further embellish already extravagant costumes with lavish needlework, ribbons, and jewels.

Perfumed gloves allowed courtiers to carry personalized scents, demonstrating sophistication and a cultured sense of smell.

While peasants toiled barehanded in the soil, the idle rich encased their hands in decorative silks and velvets.

Deep cuffs of delicate needle lace and scrolling embroidery extended past the wrist as superfluous trim lacking function beyond beautification. Tiny embroidered compartments held sachets of dried flowers or aromatic beads, infusing the gloves with fashionable perfumes.

Colorful variations personalized each pair, making gloves both a showcase of the wearer's wealth and an expression of individual taste.

Fops might choose loud patterns, while ladies' gloves were ornamented with tasteful floral flourishes.

Every elegant ensemble required complementary gloves as the final flourish.

In an era of rank and reputation, the hands were literally the vehicles of social gesture and interaction.

Gloves hence needed visual resonance with one's station.

The indulgent frills and perfumed pouches of aristocratic gloves silently broadcast nobility and etiquette to all who beheld them.