One Piece or Two?
Construction Quandries of the Noord-Holland Outer Layer
The Regional dress of women in the province of Noord-Holland during the 16th century has a number of commonalities. One of the most prominent is the outermost layer, whose bodice laces over the next layer down in a decorative manner. Because the ubiquitous apron hides the intersection of the bodice and skirt, we're left to speculate about whether this outer layer is one garment or two. In the instance of the Hoectwouder Vrou, for instance, the bodice has short sleeves, which might even be a slightly different color than the bodice itself.
The neckline is a bit of a mystery, although cut low enough to reveal the embroidered hemd underneath.
The first possibility is that there is a single outergarment, bodice and attached skirt, that laces over the undergarment. If this is, in fact, the case, we might expect a few possibilities where the front of the skirt is concerned.
It is possible that the skirt is also open all the way down the front. Under these circumstances, we'd expect that the black velvet guards from the bodice continue down the skirt.
While this lady has her outer skirt tucked up, there is no indication that it is in any way split. This drawing, by Willem Buytewech, is from Haarlem in the early 16th century. But the set, which was later copied by several engravers, clearly shows that the style of gown persisted.
Unfortunately, the pulled-up front of the skirt also obscures the bodice/skirt junction. There is no obvious peplum, but it's difficult to be certain.
Another option is that the skirt has a front seam which is open for the first few inches, then closed normally, resulting in a V-shaped closure. And rather than re-invent the wheel, I point the interested reader to the best discourse I've encountered on this subject by Jen Thompsom, of Festive Attyre.
It is also entirely plausible that this is a bodice with the skirt that attaches most of the way 'round, then has a bit of a faux waistband as it wraps around and fastens to bridge the gap left in the bodice. The Cranach gowns and other German gowns feature this method of closure. This one, for instance, of Susanna of Bavaria, appears to close in this way, even though the bodice and sleeves are entirely different from the Noord-Holland style.
Fashion in the Northern provinces of the Netherlands tends to be a mish-mash of English, Flemish, German, French, and some novel local elements. Therefore, there is a certain degree of plausibility in most construction techniques practiced by neighboring countries. The southern low countries were quite cosmopolitan, with Amsterdam and Antwerp being active trading centers. Noord-Holland and Friesland were rather more rural, tending to take on other fashions more slowly.
Ties between the Northern Low Countries and England were at one of their highest marks at this time. The Spanish conquest of the southern provinces even led the Dutch to offer to become subjects of Queen Elizabeth I - she declined. As Protestantism swept the northern Dutch provinces, and the Spanish swept the south, many Dutch protestants even emigrated to England. The wool trade also kept people, goods, and ideas flowing between the two countries.
Therefore, it's also possible that the outer layer in the Noord-Holland costume follows English fashions. In England, the end of the 16th century saw the emergence of the "Layton Jacket" as a trend. These fitted linen coats flared at the waist. They close all the way down the front in a hidden placket, and are usually embroidered.
This jacket is rather different in detail than the visible parts of the Noord-Holland bodice. It has long sleeves, it
doesn't visibly lace up the front, and it's embroidered. The Noord-Holland bodices are universally dark colored, unembellished, and don't meet at the front. Some are short-sleeved, and some nearer to 3/4 sleeve. None of them are made of white linen.
In point of fact, I've never seen a Flemish coat that appeared to be embroidered or was made of white linen. But there are a number of examples of this silhouette.
This early 17th century painting, for example, has a coat of nearly the same cut. Fitted sleeves, tight bodice, and flare at the hips mimic the shape of the English coat.
In fact, one painting from Amsterdam blends aspects of the coat with the Noord-Holland costume. This lady is wearing a coat with a collar, opened over a kirtle and apron. The coat has the short sleeves, with undersleeves similar to the Noord-Holland costumes. This is paired with the white partlet and linen head kerchief style more common in Flanders and the southern Dutch provinces. Her stance, unfastened coat, pushed out belly, and solicitous pose of the man make me wonder if she might be pregnant?
The evidence weighs about equally on both sides. The Kaasmuseum, which houses the panel paintings of the Noord-Holland costumes, also has a series of "recreations" of the costumes made in 1998 tends to treat them as coats. However, the choice of trim, use of lace instead of metal findings, and errors in general silhouette make me question the reliability of these dresses as research material.
I suspect these outfits were made for a dance or folk group, rather than for use as costume research. The gown at right lacks the black cuffs, and the skirt is much too narrow. The apron lacks the crisp square pleats, and ties in front - which the pleated aprons don't often seem to do.
As time allows, I intend to test the theory by making several complete outfits using both construction methods. Look for dress diaries here in the future!
Special thanks to Katelijne van der Ast, mka Mona Boucher, for the pictures from the Alkmaar Museum. She also provided invaluable insight to the theories presented here.
Images:
"Hoechtwouder Vrou," artist unknown,
Kaasmuseum , Alkmaar,
"Boerin uit Alkmaar," Willem Buytewech, Exhibition catalog for the Etchings by Willem Buytewech, Museum Boymans-Van Beuningen 20 Nov 1974-12 Jan 1975. Scan Courtesy of Mistress Katherine Barich
Recreation of clothing from "Hoechtwouder Vrou," Kaasmuseum, Alkmaar. Image Courtest of Katelijne van der Ast, mka Mona Boucher
Copyright 2009, Holly Stockley
