Part 3 of the Series: Baroque Fashion
Having learned about the development of Baroque fashion in the second part, we will now turn our attention to women's clothing. Few other eras are as strongly associated with magnificent dresses, precious fabrics, and elaborate embellishments as the Baroque. However, the elegant appearance was not solely created by the outer garment – rather, the typical silhouette was based on a carefully constructed system of underwear, understructures, and multiple layers of clothing.
Depending on the period and region, cuts and details varied considerably. Nevertheless, some fundamental features can be identified that characterized Baroque women's fashion.
The Ideal of Beauty
The female ideal of beauty in the Baroque era was based on an upright posture and a distinctly emphasized waist. The upper body appeared long and slender, while the skirts gained volume through several petticoats or side hip pads.
Especially at European princely courts, clothing was meant to visibly display elegance, wealth, and social rank. Elaborate fabrics and finely crafted embellishments underscored the high status of the wearer.
Clothing Was Built Layer by Layer
Clothing was constructed from the inside out. A complete courtly wardrobe often consisted of several layers.
Typical construction:
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Linen chemise as the innermost layer
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Stays to shape the upper body
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Petticoats
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Hip pads or farthingales, depending on the time and region
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Outer skirt
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Bodice or closed upper garment
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Train or coat for festive occasions
Not every woman wore all components. The extent and quality of clothing depended on wealth, social status, and occasion.
The Linen Chemise – The Most Important Layer of Clothing
The innermost layer of clothing for a woman in the Baroque era was the linen chemise, also called a shift. It was worn directly against the skin and formed the foundation of the entire wardrobe. While precious outer garments made of silk, velvet, or brocade could rarely be cleaned, the linen chemise could be washed regularly, thus protecting the valuable fabrics from sweat, skin oils, and dirt.
Linen was particularly suitable for this. The natural fiber quickly absorbs moisture and releases it just as quickly into the surroundings. This made the fabric feel comparatively cool even on warm days. At the same time, linen is extremely durable and even became softer with frequent washing without losing its strength – ideal properties for a garment worn daily.
Most linen chemises were simply made and consisted of rectangular fabric panels that, with inserted gussets and square armhole inserts, allowed for great freedom of movement. Elaborate cuts were not necessary, as high-quality linen was precious and as little fabric as possible was to be wasted.
Depending on social status, material quality and workmanship differed. Simple women usually wore plain linen chemises without embellishment. Wealthy burghers and nobles, on the other hand, often owned particularly fine linen, whose neck and sleeve cuffs could be decorated with narrow bobbin lace or fine white embroidery. However, even these decorated variations remained functional underwear and were usually hidden beneath the outer clothing.
The linen chemise was thus much more than just an undergarment: it provided hygiene, wearing comfort, and freedom of movement, forming the indispensable foundation of Baroque ladies' clothing.
The Stays
The stays were one of the most important components of women's clothing. Contrary to a widespread misconception, they were not originally intended to create an extremely narrow waist. Rather, they shaped the upper body into a smooth, upright silhouette and at the same time provided support for the clothing worn over them.
They were usually made of several layers of linen and were stabilized by narrow reinforcements – for example, made of whalebone or later also reeds. Their shape changed during the 17th and early 18th centuries.
Petticoat
Why was the petticoat worn over the stays?
At first glance, one might assume that the petticoat was worn under the stays. In fact, the opposite was true: after the linen chemise was put on and the stays were tightly laced, the petticoat was tied securely at the waist over the stays.
An important detail here are the characteristic hip tabs, also called tabs, at the bottom edge of the stays. These cut-in tabs made the otherwise stiff garment more flexible and ensured that it adapted better to the hips when sitting or walking.
At the same time, the hip tabs provided a stable resting surface for the petticoats attached at the waist. The weight of the often several skirts worn one over the other was thus distributed more evenly over the hips and was not borne solely by a narrow waistband. The stays thus not only supported posture but also bore part of the weight of the overlying clothing.
This well-thought-out layering system shows that Baroque women's clothing was much more than just fashion. Each layer fulfilled a practical function and contributed to creating comfort, stability, and the characteristic silhouette of the era.
After the basic undergarments, the final silhouette was created by further layers of clothing:
Hip pads or farthingale (depending on the time and region)
Increased the width of the skirt and shaped the characteristic silhouette.
Visible outer skirt (Petticoat)
The decorative outer skirt was often made of precious fabrics such as silk or brocade and could be embroidered or patterned.
Bodice or closed upper garment (Robe)
The upper part was worn over the stays and combined with the skirt to form the representative Baroque dress.
Train or coat (for courtly and festive occasions)
Depending on the occasion, a train, coat, or other representative garments complemented the wardrobe.
Skirts and Silhouette
The skirt formed the most striking part of the clothing. Its volume was created primarily by several petticoats. During the Baroque period, various understructures were additionally used to support the fabric laterally or all around.
While conical silhouettes predominated in the early Baroque, clothing in the High and Late Baroque increasingly developed into wider and more elegantly draped forms.
Fabrics and Colors
Noble ladies preferred luxurious materials such as silk, damask, brocade, and velvet. Gold and silver threads, elaborate embroideries, and fine lace were among the most precious embellishments of the time.
Popular colors included:
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deep red
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royal blue
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emerald green
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gold
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silver
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ivory
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delicate pastel shades, especially in the later Baroque
The choice depended not only on personal taste but also on the availability of high-quality dyes and financial means.
Embellishments
Baroque women's clothing was characterized by its rich decoration. Particularly popular were:
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silk bows
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trimmings
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metal lace
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embroidery
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braids
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lace cuffs
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decorative buttons
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pearls and gemstones
Nevertheless, the ornamentation was not arbitrary. Its design followed the prevailing fashion trends of the time and differed between European regions.
Clothing as an Expression of Social Status
In the Baroque era, clothing immediately showed a person's social rank. High-quality fabrics, elaborate handwork, and precious embellishments were expensive and remained largely reserved for the nobility and wealthy citizens.
In various European countries, so-called sumptuary laws sometimes even regulated which materials or forms of jewelry could be worn by certain population groups. These regulations were intended to make social differences visible but were not enforced with the same strictness everywhere.
Baroque women's fashion was the result of a carefully constructed clothing system. Stays, petticoats, and precious outer fabrics together formed the characteristic silhouette of this era. At the same time, clothing reflected social values, economic possibilities, and the cultural influence of European princely courts.
In the next part of this series, we will turn our attention to Baroque men's fashion and examine the development of the justaucorps, waistcoat, breeches, wig, and courtly attire.
Historical Garment Studies & Creative Templates
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