The term “Spanish costume” in its original existence belongs to the period from the 15th to the 19th centuries. Rigid frame suits that came into fashion at the court of the Spanish Habsburgs in the 16th-17th centuries. had a great influence on the style of other European royal courts. The contradictory aesthetics intertwined knightly ideals, the etiquette of the royal court and the asceticism of the Catholic Church. On the one hand, this is a typical Renaissance emphasis on the natural shapes and proportions of the figure, on the other hand, there is a requirement to hide the body as much as possible.
Men's Spanish suit
For the first time in Europe, a Spanish costume uses a frame in the form of a quilted lining made of cotton wool, sawdust, horsehair, onto which all parts of the clothing were pulled.
The main elements of a men's suit were a shirt, tunic, short pants, and various types of raincoats.
Shirt had a ruffled collar and high cambric cuffs trimmed with lace.
Collet, or hubon, is a short jacket to the waist or hips, a fitted silhouette with a front clasp, a stand-up collar, narrow sleeves with shoulder pads and a cut-off peplum. Gradually, the height of the collar increased, a ruffle was added along its edge, the size of which reached 15-20 cm by the end of the 16th century. This is how the famous Spanish ruffled collar appeared.
Hip pants, or bragette, had a spherical shape, often trimmed with decorative fabric in the form of vertical stripes, which were fixed only in the upper and lower parts and hung freely. Under the bragette they wore calles - tight trousers and stockings.
Short and long wide ones were worn as outerwear raincoats, with or without a hood, one of the varieties of the cloak was the ropa - a swinging garment that was worn unbuttoned or buttoned high under the neck. It was distinguished by decorative hanging sleeves and shoulder pads.
Women's Spanish costume
The women's suit had a triangular, clear and graphic silhouette. The dresses were cut at the waist, with a closed bodice of a complex cut and a corset. With the help of a corset, the natural convexity of the chest was flattened. The bodice ended in a long pointed cape at the front. A cone-shaped metal swivel was sewn to the bodice; two skirts were pulled over it, the top of which had a triangular slit in the front. Thus, the silhouette of the suit consisted of two triangles, the vertices of which were connected at the waist.
Dresses were often decorated with breast inserts in the form of a mesh of gilded cords and strands of pearls.
The sleeves were narrow, long, double, the upper one was made of a different fabric and had slits along the entire length, widening at the bottom. In both men's and women's outfits, the shoulder line was artificially expanded due to shoulder rolls and an enlarged sleeve head.
The mesenteric collar of a woman's shirt had a specific shape; it opened in front, exposing the neck. However, closed collars of different widths with different drapery were also used.
Unlike aristocrats, city women did not use metal frames for skirts and corsets. They wore shirts, narrow bodices with detachable sleeves, and skirts folded in large pleats or gathered at the waist.
Spanish folk costume
The Spanish folk costume in the form in which it became part of the culture developed in the 18th-19th centuries. It was during this period that elements of folk costume began to be actively used by representatives of the aristocracy.
The men's suit included a short jacket ("figaro"), tight-fitting pants to the knees, a short vest of bright colors, a sash that intercepts the waist (usually red and up to 30 m in length), a cocked hat, stockings, shoes with buckles, and a raincoat.
This is what a bullfighter's costume looks like these days.
The women's costume used similar elements: a fitted jacket with wide lapels (without a corset), a long wide skirt with many frills, a mantilla with a comb, a fan, and a shawl.
This is what a flamenco dancer's outfit looks like these days.
The classic element is the mantilla, which is a lace silk cape that covers the neck, head and chest. The mantilla was worn over a high comb, which was stuck into the hairstyle strictly vertically. Nowadays, almost every woman tries on a mantilla at least once in her life, as it is now known as a veil.
Fabrics and colors
The most common are patterned (embroidered, printed) fabrics, with gold and silver patterns on a rich background. In most cases, colors in a suit are combined according to the principle of contrasts. The ornament can be different, but most often it is floral colors and polka dots.
Jewelry, hairstyles, shoes
Men wore short-cropped hair, beards and mustaches; felt hats, berets, and red caps in the form of Phrygian caps were put on their heads.
Women made various hairstyles from long hair, which mainly collected on the back of the head. Hairstyles were decorated with hairpins and combs.
In both women's and men's attire, many eye-catching accessories were widely used: pearl necklaces, earrings, rings, jewelry belts, chains, buckles, buttons, cameos. The costume itself often became just a background for them.
Men's shoes were soft shoes made of leather or velvet, without heels. Women also wore shoes made of soft leather, satin or velvet, decorated with embroidery, with heels from the end of the 16th century.
Spanish costume today
Today, the Spanish style of clothing is characterized by the following wardrobe elements:
White blouse. This should not be a strict shirt-cut blouse, but a delicate blouse made of soft, airy fabric, always with cuffs, frills, lace or frill. A classic ruffled stand-up collar would also be appropriate. The main condition is femininity.
Long skirt. A Spanish skirt can be neither short nor tight; it is usually flared from the middle of the thigh, soft flowing fabric, and a flowing silhouette. The fabric does not have to be bright; it can be dark and plain, with a printed or convex pattern.
Slacks. Skirt-pants or very wide flared trousers in dark colors, plain, with longitudinal stripes or checks. Floral prints and other designs are not acceptable.
Bright red evening dress. Complete freedom is allowed in the cut, silhouette and shade of the dress; it can be multi-layered, with a bottom consisting of several skirts.
Summer sundress with floral pattern. Flowers should be large and bright, on a light background. This sundress can be complemented with a large-brimmed hat or scarf.
Corset. It can serve a variety of roles: a vest made of black fabric and worn over a blouse, a lace-up top, etc.
Accessories. An iconic accessory of the Spanish style are artificial flowers: hair clips in the shape of a flower, a flower pinned to the collar of a blouse, jacket or to the belt of a dress. But there should only be one flower. Another accessory is a large wide shawl with long fringes and a bright pattern.
Video - Spanish dance
Spanish flamenco dance in national Spanish costumes.
Where can I buy a Spanish costume?
Flamenco costumes are in greatest demand, since flamenco is the hallmark of Spain. Flamenco skirts can be purchased at dance supply stores.
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Spain is a country with a rich history and culture. Perhaps many people have delved into the study of traditions, flamenco and spectacular bullfighting at least once in their lives. Among other things, the national clothing of the Spanish people is of great interest.
Throughout the Middle Ages, traditional costume underwent regular changes, ultimately securing its position as one of the most striking and impressive.
In our article we will talk in detail about the historical aspects of the formation of traditional costume in Spain.
A little history
The development of the traditional costume of Spain took place over the 15th-19th centuries.
In the 16th century At the court of the Spanish Habsburgs, rigid frames for costumes came into use; they were popular throughout the century until the 17th century. They influenced the development of costumes in other European countries.
The formation of the main traditional features of the costume was influenced by the knightly image, etiquette of the royal court and religion. The costume emphasized the naturalness and harmonious proportions that were characteristic of the Renaissance, but, on the other hand, there were special criteria for hiding the body.
Suits have always sought to expand the shoulder line with the help of special rollers or an elongated shoulder line. Already in the 18th and 19th centuries, more modern version outfit, items of which are present in modern models of national costume.
Varieties
Female
Suits for ladies have always been distinguished by clear and regular lines and a triangular silhouette. The dresses had a corset, tightly cinched at the waist, and a closed neckline in the form of a bodice of complex cut.
They tried to make the breasts visually less voluminous with the help of a corset. The front part of the bodice ended with a pointed cape. A metal swivel was sewn to the top, on which two skirts were put on. The upper part had a high triangular slit and revealed the underskirt, which was always a different color.
Of course, dresses were decorated with various kinds of decorative elements, in the form of strings of pearls, gold threads and decorative nets of threads.
The sleeves of the dress were usually long and double. The bottom layer was narrow, and the top layer could vary, for example, it could have a slit on the fold where the hand was inserted. Usually the second sleeve had a looser or flared shape, with the edges of the sleeve hanging gracefully. The women's outfit had a mesenteric collar; it had a cutout in the front and opened the neck.
The costume we described was typical for representatives of the aristocracy.
City residents did not use corsets or frames for skirts. Their costume consisted of a shirt, a narrow bodice, detachable sleeves and skirts with a large number of folds and gathers.
Later, in the late 18th and 19th centuries, women's attire looked a little different. It was a fitted vest with wide lapels, no corset, a floor-length skirt with pleats, a mantilla, a comb, a fan and a shawl.
An integral element is the mantilla - a cape with lace that covers the chest, shoulders and head. The comb was attached high to the hair in a vertical position, and the mantilla was covered on top.
Male
The traditional costume for men in Spain consisted of a shirt, short pants, a jacket and a cloak.
The shirt was decorated with a ruffled collar and high cambric cuffs decorated with lace.
The shortened trousers were spherical in shape, sometimes complemented with decorative fabric in the form of vertical stripes. Such trousers were also called bragette, and tight stockings called calles were worn under them.
A tunic, also known as a hubon, was a short jacket that reached the waist or mid-thighs. It had a fitted cut, front closure, stand collar and tapered sleeves with padded shoulders and a cut peplum.
This collar was the prerequisite for the appearance of the corrugated collar. Its usual shape gradually became larger in size, and ruffles and lace were added to it. So, at the end of the 16th century. it was already up to 20 cm in size.
Raincoats were a variant of outerwear, and had various forms. They could be short or long, with a hood or no collar at all. The most popular were cloaks, they were worn unbuttoned or with one clasp under the neck. The cloak was always decorated with shoulder pads and spectacularly hanging wide sleeves.
It was in Spain, for the first time in Europe, that a frame in the form of a quilted lining made of cotton wool, horsehair and sawdust was used. Clothes were put on such a frame.
Later, men's attire underwent significant changes. Now it included a short jacket - figaro, tight trousers approximately knee-length, a vest, a sash covering the waistline, stockings, a cocked hat, a raincoat and shoes with buckles.
Children's
Basically, children's costumes were similar to adult clothing. Boys wore short pants with leggings and a shirt.
For girls, a flared skirt, a shirt and also collars of a specific shape were selected. Unlike adult costumes, children's costumes were distinguished by more contrasting shades and the presence of patterns.
Peculiarities
Colors and patterns
The color scheme of clothing changed depending on the historical period of time. At the beginning of the Middle Ages these were pale, non-colorful shades: black, brown, gray and white. There were also relatively bright shades: purple and green.
In the 19th century, costumes were characterized by bright colors, such as red. Often, clothes were decorated with gold or silver patterns. Mostly they were flowers or peas.
Fabrics
Usually, smooth, plain fabrics predominated in clothing production. In the 18th and 19th centuries, patterned fabrics, embroidered or printed, became widespread.
Religious motifs and animals were often used in the patterns. The fabrics were also decorated with ribbons, stripes and a lot of lace.
Cut
As we have already noted, the suits had clear lines, which were used to create trapezoidal silhouettes and flared styles.
All wardrobe items had a loose fit, including men's trousers and shirts.
Accessories and decorations
Males wore felt hats or cocked hats, berets, and red caps similar to Phrygian caps.
Ladies decorated their hair in different styles with hairpins and combs.
Both women's and men's costumes always displayed rich decorations. These could be pearl necklaces, belts precious metals, earrings, rings, belts, unusual fastener buttons, chains, cameos, etc.
Shoes
Men wore shoes without heels, mostly made of soft leather or velvet. From the middle of the 16th century. There were changes in the shape of the shoes, the toes of the shoes became sharper. Slits were made on the velvet shoes, through which the colored lining was visible.
Women's shoes were very diverse. They were also made of soft leather, velvet or satin. From the middle of the 16th century. high-heeled shoes have already begun to appear.
Women have always tried to hide their shoes with their skirts. The exception was shoes with thick wooden soles. The thickness of the sole indicated the well-being of the lady.
Modern models for traditional dances
The standard style is flared from the hip, soft, light texture, capable of gracefully flowing when moving.
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The female figure was shackled in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which flat chest smoothly and invisibly transitioned into the skirt. A crinoline was put on the hips - a frame of several conically decreasing circles in diameter, hanging on leather belts, which gave the skirt immobility and a regular conical shape - vertugaden (From the Spanish "vertugado" - branches from which rigid reinforcements were made on skirts (1468)) . The female figure was shackled in a corset with metal or wooden planks. The corset had a long shnip - a protrusion ending in an acute angle, thanks to which the flat chest smoothly and invisibly passed into the skirt. A crinoline was put on the hips - a frame of several conically decreasing circles in diameter, hanging on leather belts, which gave the skirt immobility and a regular conical shape - vertugaden (From the Spanish "vertugado" - branches from which rigid reinforcements were made on skirts (1468)) .
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The patterned or smooth fabric of the costume was appliquéd with gold-embroidered ribbons and “drawn” with geometric precision in rectilinear patterns with “gold” and “silver” threads and pearls. The patterned or smooth fabric of the costume was appliquéd with gold-embroidered ribbons and “drawn” with geometric precision in rectilinear patterns with “gold” and “silver” threads and pearls.
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Men's Spanish costume of the 15th-16th centuries Knights of other European countries took part in the struggle of the Spaniards during the Reconquista period, and thus direct communication contributed to the spread of many forms of men's costume that existed among the French or Italians. These primarily include elements of the Gothic costume: shoes with long socks, some types of hats, a long sleeveless surcoat. Most outerwear was medium length, calm, one might say, noble forms. The cloak was a mandatory part of the Spanish men's costume, and its length varied depending on age and social status. Usually one side of the cloak was draped over the shoulder. The ceremonial clothing, called “kasaka,” was long and wide.
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To give the hubon the shape of armor, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70s and 80s. At the same time, his stand-up collar is made so high that it props up his chin and earlobes. A ruffle is made along the edge of the collar, the size of which gradually increases and by the end of the century reaches 15-20 cm. Thus, the ruffle turns into a “grangolu” or gorguera - the famous corrugated Spanish collar. Throughout the 16th century, the shape of the calces also changed. To give the hubon the shape of armor, pieces of cardboard were inserted in front. The front of the hubon was especially convex in the 70s and 80s. At the same time, his stand-up collar is made so high that it props up his chin and earlobes. A ruffle is made along the edge of the collar, the size of which gradually increases and by the end of the century reaches 15-20 cm. Thus, the ruffle turns into a “grangolu” or gorguera - the famous corrugated Spanish collar. Throughout the 16th century, the shape of the calces also changed.
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As early as 1530, Titian painted a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he depicted Philip II in rich clothes embroidered with jewels, and the king's calces were already made on a small frame. In the 70-80s, double calces came into fashion, consisting of narrow, tight-fitting pants to the knees and round, thickly padded “gregescos” that covered only the hips. As early as 1530, Titian painted a portrait of Charles I (V) in a suit with narrow calces slightly above the knees, and in 1542 he depicted Philip II in rich clothes embroidered with jewels, and the king's calces were already made on a small frame. In the 70-80s, double calces came into fashion, consisting of narrow, tight-fitting pants to the knees and round, thickly padded “gregescos” that covered only the hips.
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Spain as we see it? Passionate, life-affirming, bright, eccentric, sensual and very musical, with soul-caressing melodies and unrestrained dancing. And also associated with the gypsy Carmen, who conquered the world with her beauty and outfits. The Spanish dance costume (see photo in the review) has a rich history and is very diverse, depending not only on the region, but even on the city. And it is always a triumph of colors, richness of decoration and fabrics.
The very concept of “Spanish costume” is associated with a certain historical period - the 15th-19th centuries. In fact, these are rigid frame outfits that were adopted at the court of the Habsburg kings in Spain (they had a significant influence on the fashion of many royal courts in Europe). The clothes, sometimes harmoniously and sometimes not so much, merged the traditional standards of the aristocracy, the asceticism of the Catholic faith and the former glory of knightly times.
Spanish women's costume
In the form in which everyone now knows the Spanish folk costume from films, books, illustrations and medieval paintings (that is, the image formed in art), it was finally formed in the 18-19th century. The Maho culture played one of the main roles in this. This is a special social stratum of the population, Spanish dandies who emerged from the common people and emphasize their origin with elements of clothing.
The beauty of a commoner woman and her image as a whole is especially glorified in the paintings of F. Goya. It is generally accepted that it developed in Andalusia, and only then began to be considered a standard and business card, by which people still recognize Spanish
The photo above shows women from the Sardinia region. There, women's and men's clothing contained almost identical elements. The makha costume consisted of the following parts:
It is impossible to find clothing in this form now, but its modern embodiment can be partly considered the Spanish costume for flamenco dancing.
Men's Spanish suit
Against the background of a black woman’s mantilla, which hides not only the head, but also the shoulders (it is assumed that historically this element came from the East), the men’s attire looks more than just bright. We list its required elements:
- A very short jacket, more like a jacket. It did not fasten, ended at the waist; later the French would call it “figaro”.
- A short vest, always in bright colors.
- Tight, knee-length pants with rich decoration.
- A sash is a wide belt, often colored.
- A cloak that envelops you from head to toe and has a colorful lining.
- Montera or Tricorne Hat and Hairnet.
- Stockings.
- Low cut shoes with metal buckles.
Another atypical accessory that both women's and men's Spanish costumes had (see photo above) is the navaja. Only commoners carried a large folding knife, this is due to the ban on carrying large cold weapons.
In modern Spain, most of the elements of such a costume have passed into the clothes of a bullfighter.
How Makhos fashion migrated to aristocratic houses...
As you know, everything forbidden attracts a person with even greater force than what is accessible - such is our nature. The immorality of life and behavior of the machos, exposed to the public, noisy dances with castanets and tambourines, songs - all this attracted high society. Therefore, by the 1770s, both the lifestyle and clothing of the commoners had become a craze for the aristocracy.
However, among other things, this phenomenon had another very interesting aspect. This period of Spanish history is characterized by the dominance of afrancesados (supporters of the Habbsburg dynasty). Therefore, the Spanish majo costume is in this case also acted as a symbol of national self-determination and identity. Even the highest ranks did not hesitate to wear separate items of clothing. All of Europe was conquered by the Empire style, and in Spain, meanwhile, at this time the Maho reached the royal court.
If we talk about Spanish costume in the context of history, then we should highlight the periods of its development.
Costume of an aristocrat from the Reconquista era
On average, the historical period lasted about 600-700 years. All this time, the Iberian Christians (mainly the Portuguese and Spaniards) tried with all their might to conquer territories on their peninsula, which was occupied by the Moorish emirates. An amazing and unique situation, when in one “cauldron” the traditions of the national costume of the Spaniards-Visigoths, Arab influences, as well as individual elements from all over Europe were mixed (knights from other countries actively participated in the campaigns). From the Gothic period, shoes with long toes, recognizable headdresses (including capirot - a long cap), a long surcoat (cloak-amice) without sleeves, which was attached over the armor, in particular, migrated to the Spanish costume (photo). to protect the metal from precipitation. Exclusively national elements were such elements of the image as sobreropa (a kind of cape), abrigo, hubon (a type of jacket), a cloak with drapery on one shoulder, kasaka and ropilla.
The Spanish women's costume began to acquire its distinctive features in the middle of the 15th century. It has a clearly defined waist, from which folds of fabric radiate down and up, and often uses a cape. In hairstyles, the dominant trend was towards a smooth straight parting and a braided braid. Traditional headdresses are:
- cofia de papos - a complex structure made of a metal frame and thin white fabric;
- vespaio - a thin one that covered the forehead and head, falling from behind to the shoulders, and a thin metal hoop inlaid with precious stones was put on top;
- trensado - a braid was wrapped in fabric covering the top of the head, with a black ribbon intertwined on top.
The last headdress was used until 1520 and was adopted by Italian women. The trensado was sometimes combined with a turban (a trend of oriental Moorish motifs).
Renaissance costume
The period when absolutely all art was experiencing a stormy dawn could not help but be reflected in the costume. In the 16th century, the Gothic costume with soft flowing fabrics began to transform into a kind of armor on a rigid frame. In contrast to the Italian Renaissance, he offers his own ideal figure in the spirit of mannerism.
Other factors also had a strong influence on Spanish - first of all, the Catholic Church with its asceticism, the strictness of the etiquette of the royal court and the same chivalry. Fashion historians say that Spanish fashion, in comparison with the harmonious Italian fashion, where the human body was “respected,” acquired features of rigidity and was influenced by strict geometry, which changed the natural line of the silhouette and deformed the figure.
However, this fashion did not find support among common people. The clothing still resembled a modern Spanish dance costume (first photo) with a little introduction- brightly colored lace-up corset.
Men's suit
During the Renaissance, the men's suit underwent significant changes; it acquired a cone-shaped shape, reaching its maximum width at the hips. In those days, the image of the nobility was unthinkable without the following wardrobe elements.
- Kamisa is a chemise or shirt. She was completely hidden outerwear from under which only a linen or cambric collar and high cuffs with lace trim appeared.
- Calces are pants-stockings, which, depending on fashion trends, changed their width: from a barrel shape using a frame to a looser cut. At the same time, the Spanish costume for a boy or a man was absolutely similar.
- Hubon is a type of tunic jacket. Bodice with stand-up collar fit tightly to the figure. The clasp was hidden. In addition to narrow real sleeves, it also had folding fake ones. The jacket was carefully shaped into armor using a lining.
- Braguette - short pants with a codpiece stuffed with cotton wool for volume.
- The collar acted as individual element. Heavily starched along the edges, it had ruffles. Over time, its height changed - up to 20 cm by the end of the century. The famous corrugated grangola or gorgera, which is known throughout the world.
- Ropon (medium-length or short outerwear with a fur collar or embroidery) and the capita or fieltro that replaced it, capa (cloaks of various styles).
- Headdresses: a soft beret with a hard edge trimmed with fur and a hard hat with a small brim in the shape of a cone (in the first and second half of the century, respectively)
- Shoes: boots in wartime, and narrow velvet or satin shoes with slits in peacetime.
Among the common people, the Spanish national costume of the Renaissance had completely different features and was more colorful. Instead of a narrow, constricting hubon, they wore a loose capingot, for example.
Women's suit
It also underwent significant changes and, just like the men's, lost the smoothness and femininity of the lines, and instead acquired rigor and frame structure. The silhouette seems to consist of two triangles, opposed to each other (bodice and skirt), the tops of which intersect at the waist. The costume consisted of the following elements.
- Vertigado (verdugos) - an underskirt with metal hoops made of dense material sewn into it.
- Basquinha - an overskirt worn over the previous one, made of black taffeta.
- Sayo, vestido - an outer dress with a triangular slit in the front or fastening with bows and loops. An integral part was a vaquero - a bodice with folding or false sleeves. It was made of thin metal plates on hinges, which were bent and covered with velvet or thin suede. The Spanish costume for girls excluded this element. The use of metal to slim the figure and hide natural lines, including the bulge of the chest, quite often caused injury, not to mention inconvenience.
- Busk is a narrow metal or wooden plate attached to a corset with the aim of visually narrowing the waist and making the stomach flat.
- Grangola and shirt - similar to a men's suit.
- The neckline is usually square in shape and covered with embroidery.
- Ropa - an element of the upper wardrobe with long or short sleeves. It was probably adopted from the Moors.
It was clearly impossible to work or lead an active life in such a suit. Therefore, ordinary city women had a different appearance. They did not wear the rigid frame skirts of verdugos. A simple shirt with a narrow but not tight bodice and detachable sleeves was in use. The skirt tapered downward in large folds or gathered in frills at the waist. It is still the main element included in the Spanish dance costume (photos of samples confirm this), including flamenco.
Shoes and jewelry
In contrast to the Italian brightness and richness of colors of decorative elements, the clothes of the Spaniards looked gloomy and more than ascetic. The color range was limited to black, gray, brown, white and in rare cases red and green. Preference was given to monochrome smooth fabrics. Printed and embroidered patterns with floral or religious motifs were also common.
Men wore soft shoes made of velvet or colored leather, without heels, with a wide toe that gradually became sharp. The design of women's shoes was similar, except that embroidery was added, and at the end of the 16th century a heel appeared. It was unacceptable to show the toes of shoes under clothes, an exception was made only for chapines (photo above) - shoes with massive wooden soles, and the more noble the lady was, the thicker it had to be.
While complaining about the asceticism and gloominess of colors, one cannot help but say that the Spanish costume for a girl or woman tended to be complemented by large, flashy and bright decorations. The country - the mistress of the New World, with all its riches, could afford it. And the suit itself partly acts as a faded background. Main elements: fans, belts, chains, necklaces, buckles, agraphs, head decorations, pearl embroidery, etc.
Golden Age Fashion
The concept of the suit-armor was continued, and only in the second half of the 17th century did trends, such as an open neckline, begin to penetrate into Spain. Otherwise, the frame structure is preserved; the skirt is lengthened. Commoners still wear loose linen shirts, bright skirts and colored lace-up corsets. The hairstyles were modest and laconic - the hair was collected in a braid, which was laid in a “basket” at the back of the head. High society and commoners were united by the same mantilla and the presence of a fan.
The Spanish men's suit has undergone more significant changes. Barrel pants are disappearing, they become less fluffy, knee-length, where they are tied with a bow. The hubon has shoulder pads and often folding sleeves, and gradually lengthens. The uniform is significantly simplified, and the most progressive fashionistas begin to wear suits similar to the French “Musketeers”. It is noteworthy that Spanish men did not use wigs, they cut their hair short, and from the mid-17th century the maximum hair length was up to the middle of the cheek.
Fashion of the 18th-19th centuries
On the threshold of the new century in 1700, the last representative to the throne of Spain died. The new monarch was the grandson of Louis the Fourteenth. At this time, the Spanish costume was “Frenchized” and took an absolute course towards the fashion dictated by Versailles. However, historians do not talk about its reincarnation and change, but about merging with the pan-European one, but with the preservation of exceptional national features.
Since the end of the 18th century, dominance in the highest circles of society has been dominated by the Maho culture, which, like a magnet, attracts aristocrats. This can be seen in a number of artists’ works and first photographs. The Empire style reigned in Europe, but the local aristocracy was massively interested in everything “folk”. In addition to open audacity and freedom (whether for adults or children), the Spanish costume openly emphasized national self-identity.
