1625 - 1789
BAROQUE AND ROCOCO
Opulence, grandeur, heavy ornamentation, and rich colors were the defining characteristics of fashion throughout Europe in the 17th century.
No one demonstrated this baroque style to greater effect than King Carl Gustav of Sweden, who wore such a richly decorated doublet at his coronation in 1654 that the fabric beneath the embroidery was completely invisible.
The baroque style was set at the royal court in France, where the stiff-bodiced, heavy-skirted court dress known as the grand habit was established in the splendor of Louis XIV's Versailles.
The fabrics for these stately clothes were produced across Europe, but the French silk industry, centered in Lyon, dominated.
Farther afield, the influx of goods from Asia via trading organizations such as the Dutch East India Company, founded in 1602, meant that printed cottons and painted silks from India and China flooded the European fashion market.
ROCOCO LIGHTNESS
By the 18th century there was a move in the decorative arts toward a lighter, more flowing aesthetic known as the rococo, which was reflected in fashion.
This could be seen in the curving lines of the silk designs produced by such craftspeople as Anna Maria Garthwaite and the Spitalfields silk weavers in London, many of them protestant Huguenots who had fled religious persecution in France.
Gone was the boned bodice and skirt, to be replaced first by a loose, full-skirted gown known as a mantua, and then by an open robe and petticoat.
Men's doublet and hose had disappeared too, giving way to coat and breeches.
REVOLUTIONARY SPIRIT
By about the 1770s England was setting the principal style in men's dress with the coat called the frock, worn by men for countryside pursuits.
This more informal look was taken up in revolutionary America and even in France, the center of fashion, where the revolutionary leaders opted for styles that set them apart from the aristocratic and increasingly isolated Ancien Regime.
It was around this time, too, that cottons and muslins traded from the East became the new wonder fabrics, and women's dress took on a softer silhouette.
公元1625 - 1789年
巴洛克與洛可可
富饒雁竞，宏偉胆描，著重裝飾及色彩是十七世紀歐洲的時尚特征样傍。
沒有人會不承認這種巴洛克式的風(fēng)格比瑞典的卡爾古斯塔夫國王更有影響力盼产，國王在1654年加冕時，穿著一件精美裝飾的雙扣上衣饿幅，面料在刺繡下完全看不見了凉敲。
巴洛克風(fēng)格基于法國皇室宮廷拧簸，在輝煌的路易十四凡爾賽宮中，建立了一套穿著僵硬上身燕少，厚重裙擺的宮廷禮服禮儀卡者。
這些富麗堂皇的服飾面料在歐洲生產(chǎn)，但以法國絲綢制造業(yè)的中心里昂客们，為主導(dǎo)地位崇决。
更遠的，來自亞洲的商品則通過貿(mào)易組織底挫，例如1602年成立的荷蘭東印度公司嗽桩，這意味著來自印度和中國的印花棉與絲綢充斥了歐洲時裝市場。
明亮洛可可
到了十八世紀凄敢，裝飾藝術(shù)走向一種更輕碌冶，更流暢的審美，同時反映在時尚中涝缝，它被稱之為洛可可扑庞。
你可以從倫敦的Anna Maria Gathwaite以及Spitalfields絲綢編織商的工匠們那里看到絲綢設(shè)計的曲線，他們中有很多人是在法國宗教迫害時逃離的新教徒拒逮。
一種寬松罐氨，拖地裙長的袍子就像mantua（女外套）這樣有長袍開口，能看見襯裙的服裝滩援，代替了之前的去骨胸衣與半身裙栅隐。
男性雙排扣短上衣與軟包腿連褲襪也消失了，取而代之的是大衣與馬褲。
革命精神
大約十七世紀七十年代租悄，是設(shè)定男裝主要風(fēng)格的時代谨究，外套叫做frock（女上衣），由追求鄉(xiāng)村風(fēng)格的男士穿著泣棋。
這種不拘禮節(jié)的穿著方式被革新的美國甚至?xí)r尚中心法國所接受胶哲，領(lǐng)袖們選擇將他們的風(fēng)格與貴族和越來越被孤立的安蒂斯政權(quán)區(qū)分開來。
也是在這個時候潭辈，來自東方的棉花與棉布成為新奇的面料鸯屿，女裝輪廓也更加柔軟起來。
