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THEMATIC ROUTES the Evolution of Fashion in The THEMATIC ROUTES This tour is sponsored by The evolution Fashion is a way of differentiating ourselves. It allows us to exhibit our different attitudes to life; it can show off or hide our bodies; of fashion in it can challenge or innovate; it can be modern or traditional. Fashion reflects the evolution of society over time. It is an integral part of our the Collection culture and therefore has a place in our museums. María Corral Aznar The Thyssen-Bornemisza Museum invites you on a journey through the world of fashion. Through the paintings in the collection we can see the continual change in the language of fashion and its styles. As we walk through the rooms, we will discover the evolution of clothing: «Know first who you are, then adorn yourself accordingly» the fabrics, the textures, the colours, the shapes and the attitudes EPICTETUS (Ist century ad) towards the art of dressing. ROOM 3 this painting by jacques daret, gance and the emergence of guilds. Trade a contemporary of Roger van der Weyden, became more efficient, and with it grew JACQUES DARET was created when the Duke of Burgun- the exchange of fabrics and adornments, Tournai, ca. 1400/1405–ca. 1468 dy was at the height of his power. It was which fired the inspiration of the tailors. The Adoration of Christ, ca. 1434-1435 a time when the artist was a favourite At this time the fashions become more Oil on panel. 59.5 x 53 cm at the Burgundian court. The work depicts sophisticated and exaggerated; clothes inv. 124 (1935.17) the story when Joseph went to look for two had pointed edges with an ornate, floral midwifes to help the Virgin give birth. Gothic air. The thickness of fabrics in When they all arrived back at the stable Flanders lent clothes a sombre and ex- Mary’s son had already been born. As the travagant touch. Dresses followed the form two women entered, the first immediately of the body, outlining its shape. The waist recognised the purity and virginity of was highlighted directly under the bust Mary. However, the second midwife was and a wide belt was worn to create verti- less trusting and wanted to see proof of cal pleats on the skirt below. Skirts fell the miracle. She was punished with pa- right to the ground, and the trains at the ralysis in her hands. The painting shows back of the dresses were of varying lengths the moment in which the second woman depending on the wearer’s social class (the is about to touch the Baby Jesus so that longer the train, the more socially eleva ted he can heal her. the lady). In the 15th century a more resplendent Previously it had been considered im- period began, which gathered momen- moral to uncover one’s head and show tum when the first modern nations were hair, but in the 15th century complex and formed. The agricultural revolution gave imaginative headdresses began to be way to the generation of great extrava- worn, more and more so as the century The evolution of fashion in the Collection THEMATIC ROUTES 2 progressed. There were a number of dif- all sorts of different ways. Men of all social ferent types of headdresses that had be- classes wore it throughout the century. come fashionable: the crespine, which had The chaperone came later. This headdress a hairnet that allowed the hair to be plait- simply could be worn and did not have ed and twisted in two buns over the ears; to be specially arranged. As time went on, à corné (with horns), padded rolls, turbans, the chaperone became smaller in size un- and the hennin, a cone-like headpiece that til men who belonged to guilds only wore had a veil sewn on to the upper part. The it. In the 19th century coachmen wore this conical hennin was particular popular in type of headdress. France, whilst the steeple hennin was very During this period men’s shoes had fashionable in England. The most eye- elongated toes, which were sometimes catching of all designs was the butterfly exaggerated. However, the civil and ec- headdress, which was made up of a wire clesiastical authorities strongly disap- frame attached to a small cap to collect all proved of this fashion. Edward III of the hair. The frame held a transparent veil England even introduced a sumptuary that looked like butterfly wings. law specifically stating that “No gentleman In this same room you will find the may wear shoes with a toe longer than two painting Pieta Triptych by the Master of inches without incurring a fine”. However, the Saint Lucy Legend. The figure to the this measure was ineffective and in his left is wearing a cotehardie, a dress with successor’s reign the toes of men’s shoes a v-shaped décolleté trimmed with fur. reached eighteen inches or more in length. Her sleeves are narrow and tight which They were called crackowes. Apparently, was particularly fashionable at the time. the name came from the time when Rich- ard II married Anne of Bohemia (1382), In Clothing the Naked by the Master of and the Knights of the entourage arrived the View of Saint Gudula we see the dif- at the English court with exaggeratedly ferent types of headwear that men wore long pointed shoes. This style of shoe was during this period. The most common was fashionable for a long time, and to coun- the turban, which initially had been a long ter the instability that such footwear pro- cone on which you could drape fabric in duced, their soles were made of wood. ROOM 5 the new artistic style of the renais- of magnificent silk embroidered with in- sance came about largely due to the in- tricate patterns. This type of fabric is called DOMENICO GHIRLANDAIO creased commercial prosperity in Italy. brocade and was made by weaving motifs Florence, 1448/1449–1494 The new lines in painting were horizontal with gold and silver threads. Portrait of Giovanna Tornabuoni, ones; shoes, necklines, and shapes in gen- The silk sleeves are slashed, according 1489-1490 eral, echoing the new style of architecture. to the 15th century Italian fashion, with Mixed technique on panel. 77 x 49 cm Italian fashion quickly spread to the rest several openings that show the folds of inv. 158 (1935.6) of Europe. her white shirt neatly tied under her dress. Renaissance painters looked to classical The neckline is square and the bust is antiquity. The human figures were of corseted. At this time women began to ideal proportions, just like the one in this wear corsets, a step that would change the exceptional painting that is a splendid aesthetic ideal of the female figure for the example of the 15th century portrait. The following four centuries. The corset was woman in the painting is Giovanna degli a whalebone structure that would squeeze Albizzi who was married to Lorenzo Torna- a woman’s waist like a funnel to enhance buoni. She died two years later carrying her cleavage. From then on the fashion her second child. for women was very constrictive, forcing Her dress shows her elevated social women to stay very straight pushing their station and the prevailing taste for sump- shoulders back. Headdresses disappeared tuous fabrics. In this case her dress is made at around this time and hairstyles became The evolution of fashion in the Collection THEMATIC ROUTES 3 more natural by reducing the volume and ety and authority of the person who wore wearing ringlets to frame the face. it, as seen in the works of Antonello da Messina, Andrea Solario and Joos van Other paintings in the same room allow Cleve. The black dye was produced by mix- us to assess the differences in European ing tree gall and green vitriol, and as a fashion. The figure in Portrait of an In- result obtained a deep black hue. However fanta by Juan de Flandes, wears a Castilian it faded over time and damaged the fab- costume typical of the period, independent rics. Superior methods of dyeing black of foreign influences. The most important fabric reached Europe via the Spanish Spanish contributions to fashion were the conquests of the New World and were use of linen shirts, the farthingale (a distributed to the rest of Europe. For ex- hooped skirt), and chopines, women’s ample, logwood was adopted by the Aus- platform shoes that were originally worn trians and called the “Spanish dress” my Muslims. The manner in which the colour, as was cochineal; the dye that Spanish ladies plaited their hair, by inter- created the bright red colour that cardi- twining their hair with ribbon to form nals wore. one plait, was also unique to Spain. The austerity of the Spanish court is The wide variety of male portraits we clear from the sumptuary laws introduced have looked at also show the evolution by the Catholic Kings to curb spending of men’s hairstyles. At the beginning of on luxuries and to maintain social order: the 15th century men would wore their “Those who are not aristocratic may not hair long and loose with a fringe. How- wear silks, furs or dresses reserved for the ever, by the middle of the century they social elite.” wore more hats of various shapes: mor- There is a dominance of the colour tarboards with jewels and feathers, bon- black, which was a sign of dignity, sobri- nets and chaplets. ROOM 5 this portrait of the famous english most of which were made of velvet with monarch is an excellent example of Hol- gold lining.
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