Breeched and Unbridled: Bifurcated Equestrian Garments for Women in Early Modern Europe

Author:

Zanetti ValerioORCID

Abstract

This article discusses the wearing of bifurcated equestrian garments for women in early modern Europe. Considering visual representations as well as documentary sources, the first section examines the fashion for red riding breeches between the late sixteenth and seventeenth centuries. Worn for their comfort and functionality in the saddle, these garments were also invested with powerful symbolic and affective meaning. The second section provides new insights about female equestrian outfits in late seventeenth-century France. Through the close reading of two written accounts, the author sheds light on the use of breeches as undergarments in the saddle and discusses the appearance of a hybrid riding uniform that incorporated knee-length culottes. By presenting horsewomen who wore bifurcated garments in the pursuit of leisure rather than transgression, this study revises historical narratives that cast the breeched woman exclusively as a symbol of gender upheaval.

Publisher

Edinburgh University Press

Subject

History,General Business, Management and Accounting

Reference73 articles.

1. La « dispute pour la culotte ». Variations littéraires et iconographiques d'un thème profane (XIIIè-XVIè siècles)

2. A Man’s Breeches as the Object of Women’s Affections: A Unique Painting by the Antwerp Genre Painter Hiëronymus Janssens (1624–1693)

3. On the masculine connotations of holding one's arm akimbo, see Joaneath A. Spicer, 'The Renaissance Elbow', in A Cultural History of Gesture: From Antiquity to the Present Day, ed. by Jan Bremmer and Herman Roodenburg (Cambridge: Polity Press, 1991), pp. 84-128

4. Zirka Zaremba Filipczak, 'Portraits of Women Who "Do Not Keep Strictly to the Masculine and Feminine Genders, as They Call Them"', in Pockerfaced: Flemish and Dutch Baroque Faces Unveiled, ed. by Katlijne Van der Stighelen, Hannelore Magnus and Bert Watteeuw (Turhnout: Brepols, 2010), pp. 229-48, esp. p. 231. I thank Guido Giulio Beduschi for bringing this image to my attention.

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