1380 - 1450

NOVELTY AND LUXURY

Many hallmarks of fashion were in place by the late 1400s: novelty, innovation, an element of impracticality, luxury, and -- commentators insisted -- excessive vanity and social presumption.

Sumptuary laws still tried ineffectually to regulate who wore what.

English and French head wear was fantastical, large, and varied.

Italians were more natural; the Flemish preferred modest linen veils.

The bride in van Eyck's 1434 portrait wears Italian clothing for her wedding in Flanders. The bulk of the fur lining in her wool gown gives a fashionably prominent belly when lifted up.

Like men, women adopted the houppelande and other long, full pleated gowns cut from large, circular shapes, belted over a tight underdress that was buttoned or, incresingly, laced down the front.

Their long, separate sleeves emerged from under the huge, open outer sleeves.

Straight, scooped, or square necklines were low and shaped fashionably high round bosoms, sharply contrasting with the new high collars of outer clothing.

Feather Edge houppelande with fantastical headwear

公元1380 - 1450年

新奇與奢華

十四世紀(jì)有許多時(shí)尚特點(diǎn)：新奇，創(chuàng)新，不切實(shí)際，奢華，以及 -- 評(píng)論家堅(jiān)信的 -- 過(guò)度虛榮與社交放肆。

禁奢令仍舊無(wú)法規(guī)范人們穿什么。

英式與法式頭飾式樣荒誕不經(jīng)，巨大而多樣。

意大利人穿著則更自然；佛蘭德人喜歡溫和的亞麻面紗。

Van der Weyden 在1430年精湛的畫(huà)作，捕捉到羊毛長(zhǎng)裙里的每個(gè)細(xì)節(jié)，里面都是松鼠毛皮，從提起的下擺中我們可以看到金絲錦緞。

和男性一樣，女性穿著胡普蘭衫houppelande，和其他長(zhǎng)款寬大打褶的袍子，圓形輪廓，用腰帶將它與緊身打底衫一起系緊，打底衫是紐扣式或者從下向上交叉系帶式的，系帶會(huì)垂在前面。

他們那長(zhǎng)而獨(dú)立的袖子從巨大，開(kāi)口的外袖下出現(xiàn)。

一字形，勺形，或方形領(lǐng)口線都是低而有型的開(kāi)到胸前，與外衣的新式高領(lǐng)口形成鮮明對(duì)比。

收腰寬袖胡普蘭衫，搭配寬形對(duì)稱帽