In eighteenth-century Spain, under the rule of the Bourbon dynasty, fashion became a powerful means of expression that transcended social and geographic boundaries. From the high spheres of the royal court to the farthest corners of the country, clothing reflects not only personal taste but also communicates status, power, and the refinement of the current court.
The arrival of the Bourbons to the Spanish throne under King Philip V marked the beginning of the first dynastic conflict of the eighteenth century in Europe. The interpretation of his reign and figure as the first Bourbon monarch has often been analyzed through the prism of this dynastic crisis, as well as its repercussions. Both those who fervently supported the new dynasty at the time and those adversely affected by the disappearance of the Habsburgs have contributed to shaping our perception of this period in Spanish history (García Cárcel, R., & León Sanz, V., 2002, p. 41).
During the reign of Philip V and his wife Isabel de Farnesio, the relationship between French and Spanish fashion reached its peak, reflecting vividly the close political and cultural ties between both nations.
Court trends in Versailles served as a beacon of elegance and distinction throughout Europe. These coveted styles not only marked refinement and sophistication but also intertwined with the opulent Baroque culture of the Counter-Reformation, blending with the nascent modern world. Creations emerging from Versailles did not merely define fashion of the time but acted as a bridge between past traditions and contemporary fashion trends (Velasco Molpeceres, 2021, p. 112).
To understand the fashion prevailing in the Spanish court of the eighteenth century, it is essential to direct our attention to the portraits of Philip V and Isabel de Farnesio, which are found in the prestigious Galería de las Colecciones Reales.
Through detailed observation of the exquisitely crafted garments, elaborate adornments, and luxurious accessories representing the monarchs, we can learn about the dress codes, fashion trends, and status symbols characterizing high society in the eighteenth century.
In the equestrian portrait of Philip V, painted by artist Louis-Michel van Loo in 1737, we see the monarch depicted outside palace salons on a white horse in the position of «corveta» and outdoors. An important detail to note is that Philip V emerged victorious from Italian wars where he conquered territories in Naples and Sicily; thus, to his right, Fame is imposing a laurel wreath symbolizing victories won in 1736 on the Italian peninsula.
Focusing on the attire worn by the monarch in this portrait, we must mention that the silhouette of men's clothing in the eighteenth century was more slender and fitted to the body (Hart & North, 1998, p. 74). We highlight the complete «armor» inspired by the «wave or cloud armor» worn by monarch Philip II. Regarding his torso, Philip V wears a blue band of the French Order of Saint Spirit, and around his waist he wears a bright red «general's belt. » The painter captures with masterful delicacy the fall of the sash, capturing thus the movement through the wind. Lastly, in harmony with the color of the sash, we must refer to some of the plumes that appear on the «morion» over the monarch's head.
During the second stage of Philip V's reign, the queen played a predominant role, assuming responsibility for governing while always adapting to the king's dispositions. Isabel de Farnesio exerted significant influence in directing the country, working closely with the king to ensure stability and progress for the nation (Lavalle-Cobo, 2002, p. 96).
As a counterpart to Philip V's equestrian portrait, we must mention the portrait of Isabel de Farnesio painted by Louis-Michel van Loo in 1737.
As a prelude, it is interesting to note how the Queen chose to represent herself in palace salons rather than on horseback like her husband, thus accentuating her representation as sovereign.
We can observe that the queen stands in an opulent room of the palace, upright before the throne and alongside the royal crown. This depiction emanates from painter Jean-baptiste van Loo, father of Louis-Michel van Loo, taking as reference the Portrait of Marie Leszczynska.
In this painting, Isabel Farnesio is dressed in a dazzling court outfit, highlighting her elaborate «tontillo» made of silk brocade with gold threads and a vibrant color palette, embellished with large flowers. Textures of fabrics became the canvas upon which unfolded a diverse and vibrant palette of colors during the eighteenth century. The soft pastel tones of pink, blue, green, and yellow typical of the delicate rococo universe merged with other nuances that emerged and faded under the whimsical influence of changing tastes of the era (Plaza Orellana, 2009, p. 36). Over her chest, a «brocamantón» of beading and pearls contrasts with the «piece d'estomac» of ermine fur.
On the other hand, her hair and ears are adorned with beautiful jewels, while on her wrist she wears a «miniature-portrait» of her husband, adding a personal and sentimental touch to her regal attire creating thus an image of power and splendor worthy of the sovereignty she represents.
Through the careful representation of clothing in these portraits, we can observe that the images of Felipe V and Isabel de Farnesio are perpetuated as figures of elegance and power in Spanish history. In conclusion, these portraits not only capture the essence of fashion of the time but also function as symbols of the grandeur and authority of the Bourbon monarchy in Spain.
Bibliography
Galería de las Colecciones Reales. (February 11, 2024). Equestrian Portrait of Philip V. https://www.galeriadelascoleccionesreales.es/obra-de-arte/retrato-de-felipe-v-a-caballo/86cf9118-237a-4a61-92b5-c20cd28b4b72
Galería de las Colecciones Reales. (February 11, 2024). Portrait of Isabel de Farnesio. https://www.galeriadelascoleccionesreales.es/obra-de-arte/retrato-de-isabel-farnesio/7c12f94e-336b-4519-be5d-2d0ac187ac4f
García Cárcel, R., & León Sanz, V. (2002). History of Spain in the Eighteenth Century: The Spain of the Bourbons. Cátedra.
Hart, A., & North, S. (1998). Fashion in the Seventeenth and Eighteenth Centuries in Detail. Gustavo Gili.
Lavalle-Cobo, T. (2002). Isabel de Farnesio: The Collector Queen. Fundación de Apoyo a la Historia del Arte Hispánico.
Plaza Orellana, R. (2009). The History of Fashion in Spain: Women's Dress between 1750 and 1850. Almuzara.
Sivianes Cosme, M. (2024). Fashion in Painting: Royal Attire at the Galería de las Colecciones Reales (Part I). ArqueoTimes, 8, 8-11.
Velasco Molpeceres, A. M. (2021). The History of Fashion in Spain: From the Mantilla to the Bikini. Los Libros de la Catarata.
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