Few but important pieces of the sixteenth and seventeenth centuries are preserved, of which a female jubón of the late sixteenth century stands out. On the other hand, the 18th century collection has excellent examples of the male suit. The nineteenth century has a more limited representation, but that does not prevent the various styles of the period from being represented.

The Museum retains few but significant pieces from the 16th and 17th centuries, of which a female jubón from the late 16th century could be highlighted.

The 18th century collection has excellent examples of the men’s suit, such as the wide and rich collection of jackets and vests, as well as the collection of female jackets and traditional clothing of majismo.

The nineteenth century has a more limited representation in number of objects, but the various styles of the period are represented. The outstanding list of dressmakers deserves special attention, which in the future will allow the systematization of a catalog that shows the important activity developed.

Art and Dress
Athough Clothing is often described in detail in ancient writings, works of the visual arts constitute our primary source of information about the clothing our ancestors wore. Sculptures Pantings supply a more detailed view of garments, their textures and design. Engravings and drawings faithfully trace the outlines and decorative trimmings of clothing.

Here carefully preserve the oldest garments in the collection because of their exceptional value and the fragility of the fabrics.

The Enlightenment and Casticismo
New French fashions were introduced by the Bourbons in the 18th century.

The 18th century began in Spain with the arrival of Fellpe V and the establishment of the Bourbon dynasty, which brought sweeping changes to society and the style of dress.

In the previous century, the typical Spanish costume was black, sober and elegant. Indeed, the traje a la española had been worn throughout Europe during Spain’s heyday, until the French way of dressing – in lighter, more colourful garb – pushed it aside. The French style, however, evolved over time towards greater simplicity and sobriety.

Although the royal court and the nobility faithfully followed the dictates of Paris, then the fashion capital of Europe, the population at large retained a uniquely Spanish way of dressing. The fidelity to “pure” Spanish traditions in the face of foreign influences was known as casticismo. Many foreign writers descibed Spain’s national dress as the black skirt and shawl for women, and the cape and broad – brimmed hat for men.

The French-style and Bourgeoisie
The social and economic change that had been dressing in the final third of the 18th century culminated in the French Revolution which has immediate and swingping recwrcussions throughout Europe. The change is dress was rapid and radical.

At Spain became afrabcesados(French-style) ,the neo-classical style took hood. Ladies acpried to took like the calssical style, using light fabrics for their gammerts and cassing the waisches airouif the bottom.

After the French Revolution, the chemise dress was imposed by the new ideology; it was made of cotton fabrics.

Romanticism
The social and political triumph of the bourgeoisie accorded it a leading role as the arbiter of fashion. The romantic idea of lige was stormy, sentimental, restless. The ture romantics were attracted to ancient ruins, enthusiastic about frightening legends and tales, vehement, and always ready to sacrifice themselves for thier ideals or for love. But their extravagance was tempered by the influence of hardworking businessmen and industrialiste who favoured darker, more no – nosense attire, leaving all the colour and sparkle to the women.

The man’s suit, with frock coat or dress coat, became austere and uniform, so much so that from 1850 omwards it was simply ignored by the fashion magazines.

In contrast, women’s dress became more lavish and ornate. Ladies wore crinoline or hoop skirts, displaying tight waists and a profusion of trimmings and appliques on bright – coloured materials.

Corset and crinolines shaped the characteristic silhouettes of the Romantic period, which started in the 1820’s.

From the crinoline to the Bustle
The final third of the 19th Century was a time of frenetic colonial, political and trading activity. The introduction of public transportation in cities led to the demise of the huge crinoline petticoats and hoop-skirts of the Romantic era.

The first fashion house began to appear at mid-century. The made and sold clothes bearing labels with the name of the designer. In face, if was one of these designers, Charles F. Worth, who is credited with making the shift form the crinoline to the bustle.

Innovations in chemistry such as the new synthetic aniline and pinks, fuchsias, violets and purples become popular.

Men’s formal evening dress was entirely black except for the shirt collars and cuffs.

Belle Epoque
In the Belle Époque fashion changed from the serpentine shape associated with Art Nouveau to the liberating creations of Poiret and Fortuny.

Museo del Traje, Madrid
The Museo del Traje is a museum located in Madrid, Spain, with collections devoted to fashion and costumes. The museum has over 160,000 pieces and documents. The current building was completed in 1973. Collections date from the Middle Ages up to clothes by Spain’s contemporary fashion designers. It was declared Bien de Interés Cultural in 1962.

The Madrid Costume Museum is a Spanish museum, under the Ministry of Education, Culture and Sports, located in the University City of Madrid. Its basic objective is to promote the knowledge of the historical evolution of clothing and testimonies of the ethnological heritage representative of the cultures of the peoples of Spain.

It is a National Museum of Spain attached to the Ministry of Education, Culture and Sports, is exclusively managed by the General Directorate of Fine Arts and Cultural Heritage.

The Museo del Traje is a National Museum which depends on the Ministry of Culture and Sports. Its basic aim is to promote an understanding of the historical development of costume. Its collections draw a path throw four centuries of the history of fashion, from the 17th century to nowadays.