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Sixteenth Century Character of Trimmings

BEFORE the 16th century we find the art of decoration in costume had been confined chiefly to applied ornamental bands at the neck, waist, and borders of skirt and cloak. They had up till this time utilised, with great artistry of design (no doubt partly due to the heraldic study), the patterns of the finely decorated damasks and velvets. The counter colour effects and relative proportions, such as a small-patterned, dull-coloured silk setting off a large full-coloured design was ably considered, as well as the introduction of a nicely-balanced black note or setting, which proved these designers were highly skilled in judgment of style. They also discovered the art of giving enrichment and lightness to the effect by means of the various serrated edgings to the materials, which also gave a flutter to the movement. A preference of lacing for fastening added to the charm of the dress, but the long rows of close buttons were also a feature of the clinging robes, the clasps and brooches, neck-chains, girdle, belt, and wallet being further very important items of enrichment to the effect.

On coming to the 16th century we enter what may be termed the slashed and puffed period. The sleeves of Henry VIII's reign are very rich in design and jewel setting, the design of the sleeve as in Fig.40 giving a striking effect, the angle of the top sleeve being held out by the stiffness of the under silk one. The neck-setting and festooning of the jewel chains play an important part in the design on the plain velvet corset bodices. The head-dress is one of the most remarkable, and gave a great chance for individual arrangement in binding the back fall to set at various angles on the shaped cap piece, combining severity with a big loose draping which is extremely picturesque. With Edward VI commences what may be termed the braided period of decoration. This latter came suitably with the stiffer corsage and set up. Mary's reign was not of attractive severity, but the over-robe with the short circular sleeve at the shoulder and high collar was a graceful creation, and was retained by many as late as 1630. There was little to admire in the Elizabethan age as regards design, except the beauty of the materials and the exquisite needlework. The proportions of the dresses were exceedingly ugly, and the pleated farthingale an absurdity. The male dress had much interest and often beauty of setting and decorative effect. The slashed materials gave a broken quality to what would otherwise be a hard effect, and it also cleverly introduced another colour change through the suit. There will be found many examples in these illustrations of the pricked and punctured designs on leather-work which are worth examining for modern treatment. Quilting and pleating were ably combined with the braiding, and we see the clever adaptation of straw patterns sewn on (a feature of the late 16th century), which harmonised with the gold braidings or gold lace, or resembled the same effect.

The trimmings of braid were often enriched with precious or ornamental stones and pearls, the stomacher, waist, front band down the skirt, and borders of most garments. The points of slashes were often held by jewelled settings, and the long slashes were caught here and there with the same. Another important item was the black stitchwork on linen, sometimes mingled with gold, so highly prized now for its beauty of design and effect, but beginning probably in the reign of Henry VII.

Short coats of this type of the Elizabethan age are marvels of skill, and many caps are still in existence. Fine linen ruffs and collars were often edged with this work, as well as with gold lace.

Jackets and caps, both male and female, bearing geometrical and scroll designs in gold, filled in with coloured needlework of flowers, birds, or animals have happily been preserved for our admiration.

Sequins appear on work from Henry VIII's time, and were much appreciated by the Elizabethan workers, who no doubt found the trembling glitter added much to the gold-lace settings and delicate veilings: long pear-shaped sequins were favoured for this. Sleeves were often separate, and could be changed at will.