Introduction
The French have always had a reputation for being leaders in
fashion. The Renaissance was no exception. This webpage is mainly dedicated the the
study of French fashion and its influence on the fashion of other cultures
during the 16th Century. By
the same token, we will also study the influence that other cultures had on
French fashion and the fashion of the rest of Western Europe during that time
period.
During the 16th Century, communications had improved and a lot of
fashion "crossover" was taking place between various
countries. One needs only to look at the portrait of
Isabel of Valois, by Sofonisba Anguissola, to see this cultural mélange.
Basically, the subject is a French princess (Isabel of Valois),
married to the King of Spain (Phillip II), and
painted by an Italian artist (Sofonisba Anguissola). Add in the fact that
she was the daughter of a Florentine woman (Catherine de Médici),
who became Queen of France by marriage to the man who eventually became King of
France (Henri II) and you begin to see how the patchwork of cultural influences
developed.
A quick analysis will tell us that the black gown Isabel is wearing is of the purest Spanish
fashion, down to the puntas or points in the sleeves, which you will only
see in Spanish portraiture. The splash of color, however, in the form
crimson undersleeves and crimson puntas, is pure
French flair, the contribution of the homesick French princess to Spanish fashion.
The style of the painting is Italian mannerism at its best.
And that is only the beginning . . .
So join me in my journey to compare and discover the
peculiarities and significance of
the fashion and costume of the 16th
Century world.
It will be a lot of fun.
About Me
My name is Laura Martinez, and I am a member of the Society
for Creative Anachronism (SCA), a non-profit organization dedicated to the study
of Medieval and Renaissance culture. I am
passionate about fashion and I love music, embroidery and costuming. I am
also a practitioner of period martial arts within the framework of the SCA.
This includes rapier and armored combat, as well as the research, construction
and use of period siege engines. Fashion cannot escape even the martial
aspect of my hobby, as I also think that one should always look one's very best
even on the battlefield.
In the Society, I am known as Baronne Belphoebe de Givet, a
16th Century Frenchwoman, daughter of a judge from Rouen, and wife to an Italian
merchant. Belphoebe has been at one point part of Catherine de Médici's
"Flying Squad," the group of ladies of her entourage who doubled as
intelligence-gatherers. Although now married and not residing at Court anymore,
Belphoebe is still technically in the Queen's employ and carries out the
occasional task, as her Royal Mistress requires.
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During the 16th Century, communications had improved and a lot of
fashion "crossover" was taking place between various
countries. One needs only to look at the portrait of
Isabel of Valois, by Sofonisba Anguissola, to see this cultural mélange.
Basically, the subject is a French princess (Isabel of Valois),
married to the King of Spain (Phillip II), and
painted by an Italian artist (Sofonisba Anguissola). Add in the fact that
she was the daughter of a Florentine woman (Catherine de Médici),
who became Queen of France by marriage to the man who eventually became King of
France (Henri II) and you begin to see how the patchwork of cultural influences
developed.