Ancient Egyptian, Greek, and Roman clothing is summarized. Linen was the most common textile in ancient Egypt due to the hot climate. Egyptian clothing was colorful and adorned with jewels. Men wore wrap around skirts and women wore simple sheath dresses. In ancient Greece, the most common types of clothing were the chiton, peplos, himation, and chlamys, which were typically made of linen or wool. Roman clothing included tunics and togas for both men and women made from wool, linen, silk or leather. Dyes were used to color the fabrics and jewelry was commonly worn.

1. Ancient Egyptian clothes refers to clothing worn in ancient Egypt from the end of the Neolithic
period (prior to 3100 BC) to the collapse of the Ptolemaic dynasty with the death of Cleopatra
VII in 30 BC. Egyptian clothing was filled with a variety of colors. Adorned with precious gems
and jewels, the fashions of the Ancient Egyptians were made for not only beauty but also
comfort. Egyptian fashion was created to keep cool while in the hot desert.
Elementsof Egyptian clothing
In ancient Egypt, linen was by far the most common textile. It helped people to be comfortable in
the subtropical heat. Linen is made from the flax plant by spinning the fibers from the stem of
the plant. Spinning, weaving and sewing were very important techniques for all Egyptian
societies. Plant dyes could be applied to clothing but the clothing was usually left in its natural
color. Wool was known, but considered impure. Only the wealthy wore animal fibers that were
the object of taboos. They were used on occasion for overcoats, but were forbidden in temples
and sanctuaries.
Peasants, workers and other people of modest condition often wore nothing, but the shenti (made
of flax) was worn by all people. Slaves often worked naked.
The most common headdress was the khat or nemes, a striped cloth worn by men.
Pharaohs
Royal clothing is particularly well documented, as well as the clothing and crowns of the
Pharaohs. The pharaohs would wear leopard skins over their shoulders and added a lion’s tail
that would hang from their belt.
Men
From about 2130 BC during the Old Kingdom, garments were simple. The men wore wrap
around skirts known as the Shendyt, which were belted at the waist, sometimes pleated or
gathered in the front. During this time, men's skirts were short. As the Middle Kingdom of
Egypt, 1600 B.C., came, the skirt was worn longer. Then, around 1420 BC, there was a light
tunic or blouse with sleeves, as well as a pleated petticoat.
Women
During the Old, Middle and New Kingdom, Ancient Egyptian women often wore simple sheath
dresses called kalasiris. Women's clothing in ancient Egypt was more conservative than men's
clothing. The dresses were held up by one or two straps and were worn down to the ankle, while
the upper edge could be worn above or below the breasts. The length of the dress denoted the
social class of the wearer. Beading or feathers were also used as an embellishment on the dress.

2. Over the dress, women had a choice of wearing shawls, capes, or robes. The shawl was a piece
of cloth around 4 feet wide by 13 or 14 feet long. This was mostly worn pleated as well. Female
clothes only changed slightly through the millennia. Draped clothing (with many varieties of
drapery) sometimes gave the impression of completely different clothing. It was made of haïk, a
very fine muslin.
Egyptian woman in a kalasiris
Children
Children wore no clothing until 6 years old. Once they turned six years old they were allowed to
wear clothing to protect them from the dry heat.A popular hairstyle among the children was the
side-lock on the right side of the head. Even though children usually wore no clothing, they wore
jewelry such as anklets, bracelets, collars, and hair accessories. When they grew up, they wore
the same styles as their parents.
Wigs
Wigs, common to both genders, were worn by wealthy people of society. Made from real human
and horse hair, they had ornaments incorporated into them. They were often woven into certain
hairstyles and were quite inexpensive. In the royal court, women sometimes wore cuplets filled
with perfume. They were worn to also keep out head lice and protected the head when doing
dangerous things.
Jewelry

3. Jewelry was very popular in Ancient Egypt, no matter the social class. It was heavy and rather
voluminous. The Egyptians became very skilled when making jewelry from turquoise, metals
like gold and silver, and small beads. Both men and women adorned themselves with earrings,
bracelets, rings, necklaces and neck collars that were brightly colored. Those who could not
afford jewelry made from gold or other stones would make their jewelry from colored pottery
beads.
One creation that was specific to ancient Egypt was the gorgerine, an assembly of metal discs
worn on the chest, either over bare skin or over a shirt, and attached in the back.
Cosmetics
Embalming allowed the development of cosmetics and perfumes. The perfumes of Egypt were
the most numerous, but also the most sought and the costliest of antiquity, which used them
extensively. The Egyptians used makeup most of all the ancient people. Nails and hands were
painted with henna.
Black kohl, which was used to mark eyes, was obtained from galena. Eye shadow was made
from crushed malachite. Red, which was applied to lips, came from ochre. These products were
mixed with animal fat to make them compact and to preserve them. They wore galena or crushed
malachite not just to enhance beauty, but because they believed it kept dust and dirt from getting
into their eyes. For this reason, both men and women wore it.
Findings were published by American Chemical Society in the journal Analytic Chemistry
suggest that the use of lead in makeup was intentional. Findings suggest that the lead in
combination with salts produced naturally by the body produce nitric oxide which boosts the
immune system. It is believed that the production and result were intentional. The increase in
immune productivity would help to prevent infections like conjunctivitis.[10]
Footwear
Footwear was the same for both genders. It consisted of sandals of leatherwork, or for the
priestly class, papyrus. Since Egyptians were usually barefoot, sandals were worn on special
occasions or at times when their feet might get hurt.[6]

4. The clothing of men and women of several social levels of ancient Egypt are depicted in this
tomb mural from the fifteenth century BC.
Roman
Clothingin ancientRome generallycomprisedthe toga,the tunic,the stola,brooches forthese,and
breeches.
Fabrics
Wool
Wool, the most commonly used fibre, was most likely the first material to be spun. The sheep of
Tarentum were renowned for the quality of their wool, although the Romans never ceased trying
to optimise the quality of wool through cross-breeding. The production of linen and hemp was
very similar to that of wool and was described by Pliny the Elder. After the harvest, the material
would be immersed (most probably in water), it would be skinned and then aired. Once dry, the
fibers would be pressed mechanically (with a mallet) and then smoothed. Following this, the
materials were woven. Linen and hemp both are tough and durable materials.

5. Silkandcotton
Silk and cotton were imported, from China and India respectively. Silk was rare and expensive; a
luxury afforded only to the rich. Due to the cost of imported clothing, quality garments were also
woven from nettle.[1]
Wild silk, that is, cocoons collected from the wild after the insect had eaten its way out, also was
known.[2] Wild silk, being of smaller lengths, had to be spun. A rare luxury cloth with a beautiful
golden sheen, known as sea silk, was made from the long silky filaments or byssus produced by
Pinna nobilis, a large Mediterranean seashell.[3][4][5][6]
These different fibres had to be prepared in different ways. According to Forbes,[7] their wool
contained around 50% fatty impurities, flax and hemp were about 25% impure, silk was between
19 and 25% impure, while cotton (the most pure of all the source fibers) contained only 6%
impurities.
Dyeing
The Romans had to turn their material with a manual spinner. Iron alum was used as the base
fixing agent and it is known that the marine gastropod, Haustellum brandaris, was used as a red
dye, due to its purple-red colorant (6,6'-dibromoindigotin); the color of the emperor. The dye was
imported from Tyre, Lebanon and was used primarily by wealthy women.[1] Cheaper versions
were also produced by counterfeiters.[1] A more widely used tint was indigo, allowing blue or
yellow shades, while madder, a dicotyledon angiosperm, produced a shade of red and was one of
the cheapest dyes available. According to Pliny the Elder, a blackish colour was preferred to red.
Yellow, obtained from saffron, was expensive and reserved for the clothing of married women or
the Vestal Virgins. There were far fewer colours than in the modern era.
Archaeological discoveries of Greek vases[clarification needed] depict the art of weaving, while writers
in the field of antiques mention the art of weaving and fibre production. Some clothes have
survived for several centuries and, as clothing is necessary, examples are numerous and diverse.
These materials often provide some of the most detailed and precious information on the
production means used, on the dyes used, on the nature of the soil where the materials were
grown and, therefore, on trade routes and climate, among many other things.
Historical research in the area of ancient clothing is very active and allows researchers to
understand a great deal about the lifestyle of the Romans. The materials used were similar to
those used by the ancient Greeks, except the tilling process had been ameliorated and the tilled
linen and wool were of a far superior quality.
Hides,leather, andskins
The Romans had two main ways of tanning, one of which was mineral tanning, or "tawing" –
making hide into leather without the use of tanning, especially by soaking it in a solution of alum
and salt. The Romans used tools that resembled those that would be used in the Middle Ages.

6. The tanned leather was then used to fashion heavy coats to keep Roman soldiers warm during
travel.[8] In the more frigid parts of the Empire it was used during cold seasons.
The leather was not given to the soldiers by the military commanders or overseers, but rather
from the soldier's wives and family[citation needed] before the soldiers left for a campaign.
Although leather sometimes was used for protection against poor weather, its primary use was in
footwear and belts.[citation needed]
Animal skins were worn over the helmet with bearskins being popular among legionaries and
feline among with Praetorians.[9] Ancient Roman taxidermists would retain the entire body and
the head, with the front legs tied to fasten over the armor. The animal's head would fit over the
soldier's helmet, and mostly was worn by the Roman aquilifer, who carried the symbol of Rome
into battle.
The Romans rarely used goatskin for their leather,[citation needed] preferring pig or sheepskin,
although the ideal would be the preferred leather was that most readily available – cattle skin.
The thickest and most durable leather was used for shoe soles – they had to be durable to endure
war.
Types of clothing
The act of putting on outer garments such as the toga or pallium, was described as amicire,
which led to any individual outer garment sometimes being identified as an amictus without it
being thought necessary to specify which outer garment was referred to.[10] The equivalent term
for the donning of undergarments, such as the tunica, was induere (indutus).[10]
Loomsand theireffect onclothing
In general, individual clothes were woven on vertical looms during antiquity. This contrasts with
the medieval period when cloth was produced on foot-powered horizontal looms that later was
made into clothes by tailors. Evidence for the transition between these two distinct systems, from
Egypt, suggests that it had begun by 298 AD but it is likely that it was very gradual.[11] The
weaver sat at the horizontal loom producing rectangular lengths of cloth which never were wider
than the weaver's two arms could reach with the shuttle.
Women'sclothing
After the 2nd century BC, besides tunics, women wore a simple garment known as a stola and
usually followed the fashions of their Greek contemporaries. Stolae typically comprised two
rectangular segments of cloth joined at the side by fibulae and buttons in a manner allowing the
garment to drape freely over the front of the wearer. Over the stola, women often wore the palla,
a sort of shawl made of an oblong piece of material that could be worn as a coat, with or without
hood, or draped over the left shoulder, under the right arm, and then over the left arm.[12]

7. Girls'clothing
Roman girls often wore nothing more than a tunic hanging below the knees or lower, belted at
the waist and very simply decorated, most often white. When a girl went out she sometimes wore
another tunic, longer than the first, sometimes to the ankles or even the feet.
Undergarments(indutus)
The basic garment for both sexes, often worn beneath one or more additional layers, was the
tunica or tunic. This was a simple rectangle sewn into a tubular shape and pinned around the
shoulders like a Greek chiton. Women might also wear a strophium or breast cloth. Garments to
cover the loins, known as subligacula or subligaria, might also be worn, especially by soldiers.
The Vindolanda tablets found in Great Britain confirm this fashion at the time of the Roman
Empire, when a subligaculum might be made of leather. Farm workers wore loincloths.[1]
Official clothing
The dress code of the day was complex and had to reflect one's position accurately in the social
order, one's gender, and one's language. Two examples were the angusticlavia and the laticlavus.
The former was the official tunic of the equestrian order and the latter was what senators wore.
"The importance of official dress, even more than other distinctions, signaled the social status
and rank of freeborn Romans and the public roles of magistrates and priests."[13]
Togas
Main article:Toga
The variations of clothing worn in Rome were similar to the clothing worn in Greece at the same
time, with the exception of the traditionally Roman toga. Until the 2nd century BC, the toga was
worn by both genders and bore no distinction of rank – after that, a woman wearing a toga was
marked out as a prostitute. The differentiation between rich and poor was made through the
quality of the material; the upper-classes wore thin, naturally colored, wool togas while the
lower-classes wore coarse material or thin felt. They also differentiated by colors used:
 the toga praetextata,withapurple border,wornbymale childrenand magistratesduring
official ceremonies
 the toga picta or toga palmata,withagoldborder,usedbygeneralsintheir triumphs
 trabea – togaentirelyinpurple,wornbystatuesof deitiesandemperors
 saffron toga– worn by augurs andpriestesses,white withapurple band,alsowornbyconsuls
on publicfestivalsand equites duringatransvectio.
Religious ceremonies
 laena – wornby the kingand the flamensatsacrifices
 crocota – saffronrobe wornby womenduringceremoniesto Cybele
Roman clothing of Late Antiquity (after 284 AD)

8. Roman fashions underwent very gradual change from the late Republic to the end of the Western
empire, 600 years later.[14] In the later empire after Diocletian's reforms, clothing worn by
soldiers and non-military government bureaucrats became highly decorated, with woven or
embellished strips, clavi, and circular roundels, orbiculi, added to tunics and cloaks. These
decorative elements usually comprised geometrical patterns and stylised plant motifs, but could
include human or animal figures.[15] The use of silk also increased steadily and most courtiers in
late antiquity wore elaborate silk robes. Heavy military-style belts were worn by bureaucrats as
well as soldiers, revealing the general militarization of late Roman government. Trousers —
considered barbarous garments worn by Germans and Persians — achieved only limited
popularity in the latter days of the empire, and were regarded by conservatives as a sign of
cultural decay.[16] In early medieval Europe, kings and aristocrats dressed like late Roman
generals, not like the older toga-clad senatorial tradition.[17]
Workers hanging up clothing to dry, wall painting from a dye shop (fullonica) at Pompeii

9. Roman marble torso from the 1st century AD, showing a woman's clothing
Greek
Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys.
While no clothes have survived from this period, descriptions exist in contemporary accounts
and artistic depictions. Clothes were mainly homemade, and often served many purposes (such
as bedding). Despite popular imagination and media depictions of all-white clothing, elaborate
design and bright colors were favored.[1]
History and types
Ancient Greek clothing consisted of lengths of linen or wool fabric, which generally was
rectangular. Clothes were secured with ornamental clasps or pins (περόνη, perónē; cf. fibula),
and a belt, sash, or girdle (zone) might secure the waist.
Men's robes went down to their knees, whereas women's went down to their ankles.
Peplos, Chitons
The inner tunic was a peplos or chiton. The peplos was a dress worn by women. It was usually a
lighter woollen garment, more distinctively Greek, with its shoulder clasps. The upper part of the
peplos was folded down to the waist to form an apoptygma. The chiton was a simple tunic
garment of lighter linen, worn by both genders and all ages. Men's chitons hung to the knees,
whereas women's chitons fell to their ankles. Often the chiton is shown as pleated. Either
garment could be pulled up under the belt to blouse the fabric: kolpos.

10. Strophion, Epiblema, Veil
A strophion was an undergarment sometimes worn by women around the mid-portion of the
body, and a shawl (epiblema) could be draped over the tunic. Women dressed similarly in most
areas of ancient Greece although in some regions, they also wore a loose veil as well at public
events and market.
Chlamys
The chlamys was made from a seamless rectangle of woolen material worn by men as a cloak. It
was about the size of a blanket, usually bordered. The chlamys was typical Greek military attire
from the 5th to the 3rd century BC. It was worn also to symbol that is is a soldier.
Himation
The basic outer garment during winter was the himation, a larger cloak worn over the peplos or
chlamys. The himation has been most influential perhaps on later fashion.
Nudity and athletics
During Classical times in Greece, male nudity received a religious sanction following profound
changes in the culture. After that time, male athletes participated in ritualized athletic
competitions such as the classical version of the ancient Olympic Games, in the nude as women
became barred from the competition except as the owners of racing chariots. Their ancient events
were discontinued, one of which (a footrace for women) had been the sole original competition.
Myths relate that after this prohibition, a woman was discovered to have won the competition
while wearing the clothing of a man—instituting the policy of nudity among the competitors that
prevented such embarrassment again.

11. Caryatid wearing chiton from the Erechtheion. The blousing, or Kolpos, is atop the Zone.
Body-length Banyan, Brunswick, Chiton, Frock, Peplos,
Stola, Toga, Tunic
Tops Basque, Bedgown, Bodice, Doublet, Poet shirt
Trousers Braccae, Breeches, Culottes, Jodhpurs,
Knickerbockers, Pedal pushers
Skirts Ballerina skirt, Hobble skirt, Poodle skirt,
Train

12. Dresses Close-bodied gown, Débutante dress, Kirtle,
Polonaise, Sack-back gown, Tea gown
Outerwear Anorak, Caraco, Chlamys, Cloak, Dolman,
Doublet, Duster, Exomis, Frock coat,
Greatcoat, Himation, Houppelande, Inverness
cape, Jerkin, Justacorps, Kandys, Llawt'u,
Palla, Redingote, Smock-frock, Ulster coat
Underwear Basque, Bustle, Chausses, Chemise, Codpiece,
Corselet, Corset (Waist cincher), Dickey,
Garter, Hoop skirt (Crinoline, Farthingale,
Pannier), Hose, Liberty bodice, Loincloth,
Open drawers, Pantalettes, Peignoir, Petticoat,
Pettipants, Union suit, Yếm
Headwear Albanian, Apex, Arakhchin, Attifet, Aviator,
Bergère, Blessed hat, Capotain, Cavalier, Coif,
Coonskin, Cornette, Crown, Dunce, Fillet,
Fontange, Hennin, Jeongjagwan, Jewish,
Kausia, Kokoshnik, Matron's badge, Miner's,
Ming, Mob, Modius, Monmouth, Mooskappe,
Motoring hood, Mounteere, Nemes, Nightcap,
Nón quai thao, Ochipok, Pahlavi, Persian,
Petasos, Phrygian, Pileus, Printer's, Pudding,
Qing, Snood, Tainia, Taranga, Wimple
Footwear Buskins, Caligae, Chopines, Crakow,
Episcopal sandals, Hessians, Pampooties,
Sabatons
Accessories Ascot tie, Belt hook, Cointoise, Cravat,
Hairpin, Hatpin, Muff, Ruff, Shoe buckle

13. Mesopotamian
Mesopotamia produced so much wool that it became one of the region's chief exports.
Accordingly, wool was the preferred fabric for clothing. Wool cloth was produced for domestic
use and traded to other regions, as ancient records indicate. Linen has been discovered in
archaeological excavations, and flax is occasionally mentioned on clay tablets, but linen was
clearly less important than wool. Evidence of details of Mesopotamian dress comes largely from
visual materials such as seals, statues, tombs, and wall paintings.
Sumerian civilization existed from 3500 to 2500 BCE In that era both men and women wore
sheepskin skirts with the fleece still attached. Length varied according to the physical tasks
performed by the wearer and the status of the wearer. Servants and soldiers wore shorter skirts,
while royalty dressed in long skirts. The skirts apparently wrapped around the body. If it was
long enough, the fabric was passed up under a wide, padded belt and over one shoulder. Cloaks
made of animal skins, leather, or felt were worn over the upper part of the body. Children
typically dressed as adults did or, if they were very young, went naked. Men, women, and
children typically went barefoot.
Skirts for Both Genders
Knee-length skirts were a typical piece of clothing for men and women alike in ancient Sumer.
They used sheep hide to manufacture these skirts. The exterior portions of these skirts displayed
clusters of wool, while the interiors were the skins. The Sumerians secured these skirts with big
pins. While hide and unprocessed wool were big early components of Sumerian clothing, fabric
produced out of wool started to gain traction around roughly 2,500 B.C.
Flax and Ancient Sumerian Clothing
When ancient Sumerians produced clothing, they generally relied on materials that were the most
easily accessible. Flax, like wool from sheep, was a particularly common material in Sumerian
apparel. Flax is a plant with rough stalks. These stalks have fibers that can be used to make cloth.
The fibers of flax plants were rather diverse. Some were extremely smooth and soft in texture,
while others were just the opposite.
Common Male Attire
Sumerian men at one point wore very little, generally just wool kilts to cover their lower bodies.
In time, their everyday clothing evolved into something a bit more elaborate, specifically lengthy
coverings that ranged from their lower legs all the way up to their shoulders. In hot weather,

14. these coverings were usually made out of soft flax. When the weather was colder, they wore
clothing made out of wool. The borders of these coverings often had ornamental trimming, as
well.
Common Female Attire
Sumerian women dressed in lengthy coverings that generally left single arms and single sides of
their shoulders visible. Their left arms were usually hidden. This clothing typically covered their
bodies all the way down to their ankles. The dresses were often made to closely outline their
physiques.
Introduction to Weaving
Some of the most primitive Sumerian clothing was produced by sewing animal hides together.
They didn't remove the fleece when they did this, so the fleece would dangle conspicuously. This
was eliminated when weaving became a common practice in Sumer. Priestesses, however, were
required to emulate the older looks. Priestesses wore specially produced wool apparel that
replicated the appearance of the older styles.
Ancient Sumerian Accessories
Accessories were a big element of male and female Sumerian dress. Bracelets, pendants,
headdresses and necklaces were common forms of jewelry in ancient Sumer. Their jewelry was
often made of silver or gold. They often used these types of accessories to complete outfits for
religious celebrations. Other gemstones were also frequently used in jewelry, specifically
carnelian, a reddish-orange gemstone.
Ancient Mesopotamia had a thriving fashion culture that can be seen
engraven in pottery and sculpture. Some of these groups included the Sumerians
(3000–2000 B.C.E. ), the Akkadians (2350–2218 B.C.E. ), the Babylonians (1894–
1595 B.C.E. ), the Assyrians (1380–612 B.C.E. ), and the Persians (550–330 B.C.E. ).
Textiles were traded as well as given as gifts to kings and queens.

15. Early Sumerian women wore only a shawl wrapped around their bodies with simple
border patterns or basic all over patterns carried out in embroidery or by printing. These
patterns were chiefly geometric. . This fabric was mostly wool, but later linen was
introduced in bright or strong colors. As time passed, tiers of fringe were added. By the
end of Sumerian rule around 2000 B.C.E. both men and women wore skirts and shawls,
decorated with fringe that went nearly to their ankles. Most shawls and skirts were held
in place by decorative belts. Footwear for both men and women was made from fabric
or soft leather into sandals or boots.
The Sumerian civilization was established before 4000 bce and reached a high level of culture
between 2700 and 2350 bce. In early times both sexes wore sheepskin skirts with the skin turned
inside and the wool combed into decorative tufts. These wraparound skirts were pinned in place
and extended from the waist to the knees or, for more important persons, to the ankles. The upper
part of the torso was bare or clothed by another sheepskin cloaking the shoulders. From about
2500 bce a woven woolen fabric replaced the sheepskin, but the tufted effect was retained, either
by sewing tufts onto the garment or by weaving loops into the fabric. Named kaunakes by the
Greeks, this tufted fabric is shown in all the sculptures and mosaics of the period, as, for
example, in the art from the excavations at Ur exhibited in the British Museum in London. At
this time, also, long cloaks were worn, and materials for garments and head coverings included
felted wool and leather.
Both sexes seem to have often worn large wigs, as in ancient Egypt. Metalworking was of a high
standard, as may be seen in the elaborate golden jewelry, which was encrusted with semiprecious
stones and worn by both sexes. Brooches, earrings, hair ornaments, and neck chains have all
been found.

16. A different style of dress is evident in Mesopotamian sculptures dating after about 2370 bce.
Both men and women were clothed in a large piece of material—most commonly of wool,
though later also of linen—draped around the body over a skirt. This garment, similar to a shawl,
was characteristically edged with tassels or fringe. The draping varied, but, for men at least, the
fabric was arranged so that the fullness was at the rear, leaving the right, or sword, arm free. This
newer form of dress had originated from farther north and east and was adopted by the Semitic
people of Akkad under Sargon (the dynasty founded by Sargon lasted from c. 2334 to c. 2193
bce) and by the revitalized Sumerian culture in the years 2110–2010 bce.
The dress worn in Mesopotamia by the Babylonians (2105–1240 bce) and the Assyrians (1200–
540 bce) evolved into a more sophisticated version of Sumerian and Akkadian styles. Ample
evidence of this more elaborate draped costume can be seen in the large relief sculptures of the
age. There were two basic garments for both sexes: the tunic and the shawl, each cut from one
piece of material. The knee- or ankle-length tunic had short sleeves and a round neckline. Over it
were draped one or more shawls of differing proportions and sizes but all generally fringed or
tasseled. Broad belts held the shawls in position. Wool was the most frequently used material, in
bright or strong colours. Decoration was rich, in allover patterns or in borders, carried out in
embroidery or by printing. Motifs were chiefly geometric. Women wore a short skirt as
underwear, men a loincloth. Footwear for both sexes was made from fabric or soft leather in the
form of sandals or boots.
Care of the coiffure was very important for men and women among both the Assyrians and the
Babylonians. The hair was grown long and carefully curled and ringleted, with false hair added if
needed. Perfumes, oils, and black dye were used on the hair. Men grew long, carefully tended
curled beards. A band of metal or fabric encircled the brow, or a woolen, felt, or leather cap
shaped like a fez was worn. The royal headdress resembled a pleated crown or a mitre and had
dependent lappets at the rear. Jeweled ornamentation to the costume was rich and heavy and of
high quality.
Today,we canseethese styles reintroduced in theformofdraping,in several recentrunway shows such as
Michael Kors, VictoriaBeckham,and DianeVon Furstenburg.
17th
century
Fashionin the period1660–1700 in WesternEuropean clothingischaracterisedbyrapidchange.
Followingthe endof the ThirtyYears'War and the Restoration of England's CharlesII,militaryinfluences
inmen'sclothingwere replacedbyabrief periodof decorative exuberance whichthensoberedintothe
coat, waistcoatandbreeches costume thatwouldreignforthe nextcenturyanda half.In the normal

17. cycle of fashion,the broad,high-waistedsilhouetteof the previousperiod wasreplacedbyalong,lean
line withalowwaistfor bothmenand women.Thisperiodalsomarkedthe rise of the periwigasan
essential itemof men'sfashion.
Women's fashion
SusannaHuygenswore a long,tightwhite satinbodice withpanedsleeveslinedinpinkandamatching
petticoat.Herhair iswornin a mass of tightcurls,and she wearspearl eardropsand a pearl necklace.
1667–69.
Portraitof Barbara Viliers,mistressof KingCharlesII,paintedbyJohnMichael Wrightc.1670 in the
romanticstyle.

18. Overview
The wide, high-waisted look of the previous period was gradually superseded by a long vertical
line, with horizontal emphasis at the shoulder. Full, loose sleeves ended just below the elbow at
mid century and became longer and tighter in keeping with the new trend. The body was tightly
corseted, with a low, broad neckline and dropped shoulder. In later decades, the overskirt was
drawn back and pinned up to display the petticoat, which was heavily decorated.
Spanish court fashion remained out of step with the fashions that arose in France and England,
and prosperous Holland also retained its own modest fashions, especially in headdress and
hairstyles, as it had retained the ruff in the previous period.
Romanticnegligence
A daring new fashion arose for having one's portrait painted in undress, wearing a loosely
fastened gown called a nightgown over a voluminous chemise, with tousled curls. The style is
epitomized by the portraits of Peter Lely, which derive from the romanticized style originated by
Anthony van Dyck in the 1630s. The clothing in these portraits is not representative of what was
worn on the street or at court.[1][2]
Mantua
The mantua or manteau was a new fashion that arose in the 1680s. Instead of a bodice and skirt
cut separately, the mantua hung from the shoulders to the floor (in the manner of dresses of
earlier periods) started off as the female version of the men's Banyan, worn for 'undress' wear.
Gradually it developed into a draped and pleated dress and eventually evolved into a dress worn
looped and draped up over a contrasting petticoat and a stomacher. The mantua-and-stomacher
resulted in a high, square neckline in contrast to the broad, off-the-shoulder neckline previously
in fashion. The new look was both more modest and covered-up than previous fashions and
decidedly fussy, with bows, frills, ribbons, and other trim, but the short string of pearls and pearl
earrings or eardrops worn since the 1630s remained popular.
The mantua, made from a single length of fabric pleated to fit with a long train, was ideal for
showing the designs of the new elaborately patterned silks that replaced the solid-colored satins
popular in mid-century.[3]
Huntingand ridingdress
In a June 1666 diary entry, Samuel Pepys describes the Maids of Honour in their riding habits of
mannish coats, doublets, hats, and periwigs, "so that, only for a long petticoat dragging under
their men's coats, nobody could take them for women in any point whatever". For riding side-
saddle, the costume had a long, trailing petticoat or skirt. This would be looped up or replaced by
an ankle-length skirt for shooting or walking.

19. Hairstylesandheadgear
Early in the period, hair was worn in a bun at the back of the head with a cluster of curls framing
the face. The curls grew more elaborate through the 1650s, then longer, until curls were hanging
gracefully on the shoulder. In the 1680s hair was parted in the center with height over the
temples, and by the 1690s hair was unparted, with rows of curls stacked high over the forehead.
This hairstyle was often topped with a fontange, a frilly cap of lace wired to stand in vertical tiers
with streamers to either side, named for a mistress of the French King. This was popular from the
1690s to the first few years of the 18th century.
Stylegallery1650s

1 – 1650

2 – 1652

3 – 1652

20. 
4 – 1653

5 – 1655

6 – 1658

7 – 1658

8 – 1659

21. 1. Germanfashion of 1650 showsa smooth,tight,conical satinbodice withadroppedshoulder.
Slashedsleevesare caughtwithjeweledclaspsovervoluminouschemise sleeves.
2. Margareta Maria de Roodere wearsa salmon-coloredgown.A sheerscarf isknottedintoacollar
aroundher shoulders,andherwhite sleeveliningsare fastenedbackwithacoveredbutton,
1652.
3. Mary, Princessof Orange wearsa satingown witha longpointedbodice andasatinpetticoat.
The many tinypleatsthatgatherin herskirtcan be seen,1652.
4. Maria Theresaof Spain wearsthe cartwheel farthingale,which,inSpain,wasadaptedlate and
retaineditlongafterithad disappearedelsewhere.The Infanta'shairstyleisalsotypical of the
Spanishcourt,1653.
5. Rear view of a Dutch jacket-bodice of 1655 showsthe tabbedskirtsandthe curvedside-back
seams.
6. Young Dutchgirl wearsa rose jacket-bodice andaplainpinkpetticoat.Herhairiswornin a
woundbraidwithsmall curlsoverherears.1658–60.
7. Detailsof Dutchfashionof 1658 include astringof pearlstiedwithablackribbon,a jack-bodice
withmatchingskirt,pleatedsleeves,anddropped shoulder.
8. The InfantaMargarita isshownhere,at the age of eightyearsold,wearingthe cartwheel
farthingale,1659.
Stylegallery1660–1680

1 - 1660s

2 – c.1660

3 – 1662

22. 
4 – 1663

5 - 1665

6 – 1666

7 – 1670

8 – 1670

23. 
9 – 1671–74

10 – 1670s–80s
1. Englishcourtdress from the 1660s, made of silvertissue anddecoratedwithappliedparchment
lace.[4]
Fromthe FashionMuseum, Bath.
2. PeterLely portraysTwo Ladies of the Lake Family wearingsatindressesovershiftsorchemises
withvoluminoussleeves.Theirhairiswornin massesof ringletstothe shouldersoneitherside,
and bothwearlarge pearl eardrops.
3. Dutch lacemaker'sjacket-bodicehasa droppedshoulderline andfull,three-quarterlength
sleevescartridge-pleatedatshoulderandcuff.Herindoorcap has a circular backanhoodis
embroidered.Hershoeshave thickheelsandsquare toes,now somewhatold-fashioned.
4. The verylong pointedbodice of c.1663 is shownclearlyinthisportraitof a womanplayinga
violade gamba.The sleeve ispleatedintothe droppedshouldandintothe cuff.
5. Inésde Zúñiga,Countessof Monterrey isa beautiful example of typical courtfashioninSpain.
6. The InfantaMargarita isshownhere wearingamourningdressof unrelievedblackwithlong
sleeves,cloakandhood.She wearsherhairparted toone side andseverelyboundinbraids,
1666.
7. Two Englishladies weardresseswithshortsleevesoverchemise sleevesgatheredintothree
puffs.The longbodice frontwithcurvingbandsof vertical trimischaracteristicof 1670.
8. Maria Theresaof Spain wearsenormoussleves,bare shoulders,large pearls,alarge feather,and
has a mass of loose waves.
9. LingeringPuritaninfluence appearsinthisportraitof a Bostonmatron:she wearsa lace-
trimmedlinencollarthatcoversherfromthe neckdownwiththe fashionable shortstringof
pearls,andshe coversher hairwithhood-likecap, 1671–74.
10. EmpressEleonore of Pfalz-Neuburgwearsabrocade dresswitha verylow waistandelbow-
lengthsleevesgatheredinpuffs,1670s or '80s.

24. Stylegallery1680s–1690s

1 – 1680

2 – 1680s–90s

3 – 1688

4 – c.1690


25. 5 – c.1690

6 – 1685–90

7 – 1690s

8 – 1698
1. Mary of Modena,secondwife of JamesIIof England,wearsa dressfastenedwithjeweledclasps
overa simple chemise,1680. Her haircurls overeithertemple,andlongcurlshangon her
shoulders.
2. DorothyMason, Lady Brownlow infashionable undress.Herdressiscasuallyunfastenedatthe
breast,and herchemise sleevesare caughtup inpuffs,probablywithdrawstrings.
3. Mary II wears1688 fashion:a mantuawithelbow-lengthcuffedsleevesoverachemise withlace
flouncesatthe elbow, awiredlace fontange,opera-lengthgloves,andpearls.
4. Spanishcourtfashion of c. 1690 showsa long,rigidlycorsetedlinewithabroadneckline and
longsleeves.
5. Mary II of England.By1690, hair wasdressedhighoverherforeheadwithcurlsdanglingbehind.
6. ContemporaryFrenchfashionplate of amanteau ormantua,1685–90.
7. The ElectressPalatine (AnnaMariaLuisade'Medici) inhuntingdress,probablymid-to-late
1690s. She wearsa long,mannishcoatwithwide cuffsanda matchingpetticoatovera high-
neckedbodice (Pepyscallsita doublet) withlongtightsleeves.She wearsalace-trimmedcravat
and a tricorne hat withostrichplumes.

26. 8. Comtesse de Mailly,1698, wearscourt fashion:Hermantuahas elbow-lengthcuffedsleeves
overthe lace-ruffledsleevesof herchemise.The trainedskirtisloopedbacktoreveal a
petticoat.She wearselbow-lengthglovesanda cap witha highlace fontange.She hasa furmuff
on herright wrist,trimmedwitharibbonbow,andcarriesa fan. She wearsthe shortstringof
pearlsthatremainedfashionable throughoutthisperiod.
Men's Fashion
Overview
Carl X Gustav (1626–1660), Kingof Sweden1654–1660, wearsruffledsleeves,armour,smallcravatand
flat-lace collar.

27. Puritaninfluence lingeredinNewEngland.Thismerchant of Bostonwearshisownlonghair,nota wig.
The flat lace collarwithcurvedcornersthat came intofashioninthe 1660s isworn overa simple dark
coat and waistcoat,1674.
Thisman wearswhite boothose overredstockingswithlow shoes,1663–65.
ArtistFrançoisDesportes inhuntingcostume.Hisblue waistcoathaswide buttonholes,andhe wearshis
ownhair foroutdooractivity.Self-portrait,1699.
With the end of the Thirty Years' War, the fashions of the 1650s and early 1660s imitated the
new peaceful and more relaxed feeling in Europe. The military boots gave way to shoes, and a
mania for baggy breeches, short coats, and hundreds of yards of ribbon set the style. The
breeches (see Petticoat breeches) became so baggy that Samuel Pepys wrote in his diary: "And

28. among other things, met with Mr. Townsend, who told of his mistake the other day to put both
his legs through one of his Knees of his breeches, and so went all day." (April 1661) The wide
breeches that made such an error possible were soon being gathered at the knee: Pepys noted, 19
April 1663 "this day put on my close-kneed coloured suit, which, with new stockings of the
colour, with belt, and new gilt-handled sword, is very handsome." This era was also one of great
variation and transition.
In 1666, Charles II of England, following the earlier example of Louis XIV of France, decreed
that at court, men were to wear a long coat, a vest or waistcoat (originally called a petticoat, a
term which later became applied solely to women's dress), a cravat, a periwig or wig, and
breeches gathered at the knee, as well as a hat for outdoor wear. By 1680, this more sober
uniform-like outfit of coat, waistcoat, and breeches became the norm for formal dress.
Coatand Waistcoat
The unfitted looser fit of the 1640s continued into the 1650s. In the 1650s, sleeves ranged from
above to below the elbow. The sleeves could be slashed, unslashed, or dividing into two parts
and buttoned together. The length of the coat reached the waist but by the late 1650s and early
1660s, the coat became very short, only reaching the bottom of the rib cage, much like a bolero
jacket. During the 1660s, the sleeves varied a lot from elbow length to no sleeves at all. The coat
could be worn opened or buttoned in the front. One common factor were many yards of ribbon
loops arranged on the shoulders and the lower parts of the sleeves.
A longer and rather baggy coat (still with sleeves rarely going below the elbow) made an
appearance in the early 1660s and as the decade progressed became the most popular coat. By
the late 1660s, an upturned cuff became popular although the sleeves had still remained above
the elbows. By the 1670s, a vest or waistcoat was worn under the coat. It was usually made of
contrasting, often luxurious, fabric, and might have a plain back since that was not seen under
the coat. It was a long garment which by the 1680s reached just above the knees. With the end of
the 1670s the sleeves became longer and the coat more fitted. The 1680s saw larger upturned
cuffs and the waist of the coat became much wider. The coat could have lapels or none. This coat
is known as the justacorps. The pockets on both sides of the coats were arranged horizontally or
vertically (especially the mid to late 1680s) until the 1690s when the pockets were usually
always arranged horizontally. The waistcoat could be sleeveless or have long sleeves. Typically,
a long-sleeved waistcoat was worn in winter for added warmth. By the mid-1680s, ribbons were
reduced to one side of the shoulder until by the 1690s, they were gone.
Shirt, collarandcravat
The ruffled long-sleeved white shirt remained the only constant throughout the period, although
less of it was seen with the advent of the waistcoat.
During the early to mid-1650s, a rather small falling collar was in fashion. This increased in size
and encompassed much of the shoulders by 1660. Cravats and jabots around the neck started to
be worn during the early 1660s (initially with the falling collar). By the mid-1660s, the collar had
disappeared with just the cravat remaining, sometimes tied with a small bow of ribbon. Red was

29. the most common color for the bow, although pink, blue, and other colors were also used. By the
1670s, the bow of ribbons had increased in size and in the 1680s, the bow of ribbons became
very large and intricate with many loops of ribbon. By the mid-1690s, the very large bow of
ribbons was discarded. Also, a new style of cravat made its appearance in the 1690s, the
Steinkerk (named after the Battle of Steenkerque in 1692). Before, the cravat was always worn
flowing down the chest; the Steinkerk cravat looped through a buttonhole of the coat.
Breechesandstockings
The previous decade saw Spanish breeches as the most popular. These were stiff breeches which
fell above or just below the knee and were rather moderately fitted. By the mid-1650s, in
Western Europe, much looser, uncollected breeches, called petticoat breeches became the most
popular. As the 1650s progressed, they became larger and looser, very much giving the
impression of a lady's petticoat. They were usually decorated with many yards of ribbon around
the waist and around the ungathered knee on the outside of the leg. Alongside the petticoat
breeches, a collected but still loose fitted breeches called rhinegraves, were also worn. By the
early 1660s, their popularity surpassed petticoat breeches. They were usually worn with an
overskirt over them. The overskirt was heavily decorated with ribbon on the waist and the
bottom of the skirt. Its length was usually just above the knee, but could also extend past the
knee so that the rhinegraves underneath could not be seen and only the bottom of the stocking-
tops was visible.
With the rising popularity of the longer coat and waistcoat, the large collected rhingraves and
overskirt were abandoned in favor of more close fitting breeches. By the late 1670s, close fitted
breeches were worn with the stockings worn over them and on or above the knee, often being
gartered with a garter below the knee. With the long waistcoat and stockings worn over the knee,
very little of the breeches could be seen. A possible reason that the stockings were worn over the
knee, was to give the impression of longer legs since the waist coat fell very low, just above the
knee. The breeches tended to be of the same material as the coat. The stockings varied in color.
Footwearandaccessories
Shoes again became the most popular footwear during the 1650s, although boots remained in use
for riding and outdoor pursuits. Boothose, originally of linen with lace cuffs and worn over the
fine silk stockings to protect them from wear, remained in fashion even when boots lost their
popularity. Boothose lasted well in the mid-1660s, attached right under where the rhinegraves
were gathered below the knee, or fashionably slouched and unfastened. Shoes from the 1650s
through the 1670s tended to be square toed and bit long in appearance. Usually the shoes were
tied with ribbon and decorated with bows. By the 1680s, the shoe became a bit more fitted; the
heel increased in height (with red heels being very popular, especially for attendance at Court),
and only a small ribbon if any remained.
The baldric (a sword hanger worn across one shoulder) was worn until the mid-1680s, when it
was replaced by the sword belt (a sword hanger worn across the hips).

30. Hairstyles
The elaborate wigof the 1690s
Throughout the period, men wore their hair long with curls well past the shoulders. The bangs
(fringe) were usually combed forward and allowed to flow over the forehead a bit. Although men
had worn wigs for years to cover up thinning hair or baldness, the popularity of the wig or
periwig as standard wardrobe is usually credited to King Louis XIV of France. Louis started to
go bald at a relatively young age and had to cover up his baldness with wigs. His early wigs very
much imitated what were the hairstyles of the day, but they gave a thicker and fuller appearance
than natural hair. Due to the success of the wigs, other men started to wear wigs as well. By
1680, a part in the middle of the wig became the norm. The hair on either side of the part
continued to grow in the 1680s until by the 1690s two very high pronounced points developed on
the forehead. As well, during the 1680s, the wig was divided into three parts: the front including
the center part and the long curls which fell well past the shoulders, the back of the head which
was combed rather close to the head, and a mass of curls which flowed down the shoulders and
back. The curls of the wig throughout the 1660s until 1700 were rather loose. Tighter curls
would not make their appearance until after 1700. Every natural color of wig was possible. Louis
XIV tended to favor a brown wig. His son, Monseigneur was well known for wearing blond
wigs.
Hats andheadgear
Hats vary greatly during this period. Hats with very tall crowns, derived from the earlier capotain
but with flat crowns, were popular until the end of the 1650s. The brims varied as well. Hats
were decorated with feathers. By the 1660s, a very small hat with a very low crown, little brim,
and large amount of feathers was popular amongst the French courtiers. Later in the 1660s, very
large brims and moderate crowns became popular. Sometimes one side of the brim would be

31. turned up. These continued fashionable well into the 1680s. From the 1680s until 1700, various
styles and combinations of upturned brims were in fashion, from one brim upturned to three
brims upturned (the tricorne). Even the angle at which the brims were situated on the head
varied. Sometimes with a tricorne, the point would meet over the forehead or it would be set at a
45 degree angle from the forehead.
Stylegallery1650s–1660s

1 – 1654

2 – 1658

3 – 1661

4 – 1661

32. 1. Coat of 1654 has many tinybuttons onthe front andsleeves,whichare leftunfastenedbelow
the chestand upperarm. A collaredcloaktrimmedwithbraidisworncasuallyoverone
shoulder.
2. Dutch fashions,1658. White boothose,petticoatbreeches
3. 1661. The short coat isworn overa voluminousshirtwithwiderufflesatthe cuffsandflat,
curve-corneredcollar, petticoatbreeches.
4. Young LouisXIV wearsa lace-borderedlinencollar,andmilitarysash,anda voluminouswigover
hisarmor, 1661.
Stylegallery1670s–1690s

1 – 1671

2 - 1673

3 - 1684


33. 4 - c. 1690

5 - c. 1690
1. Dutch fashions,1671
2. Weddingsuitof JamesIIof England,1673, VictoriaandAlbertMuseum No.2-1995 T.711:1
3. Don Luisde la Cerda,laterIX Duke of Medinacelli wearsthe longjustacorpsof c.1684
4. ArtistThomasSmith,c. 1690
5. A studentof Leipziginanelaborate wig,c.1690
Children's fashion
Young boys wore skirts with doublets or back-fastening bodices until they were breeched at six
to eight. They wore smaller versions of men's hats over coifs or caps. Small children's clothing
featured leading strings at the shoulder.

Child with leading strings, 1658

Two English sisters and their brother (right), c. 1656

34. 
Swiss boy, 1657

English boy, 1661

Young boy's dress, 1660s-70s

English boys, 1670

Swiss girl, 1682

35. Working class clothing

Dutch fish seller and housewife, 1661

Dutch schoolmaster and children, 1662

Checking for lice, 1662

Dutch villagers, 1673
External links
WikimediaCommonshasmediarelatedto 17th-centuryfashion.

36.  Baroque Fashion1600s
 Costume History:Cavalier/Puritan
Notes
1. Gordenker, Van Dyckand theRepresentation of Dressin Seventeenth-Century Portraiture
2. de Marly, "Undressin the Œuvre of Lely"
3. Ribeiro,Aileen,onthe originsof the mantuainthe late 17th century,in Dress in Eighteenth
Century Europe1715–1789; Ashelford,Jane, TheArtof Dress
4. Clews,text:RosemaryHarden ;photographyforthe FashionMuseumbyJamesDavies ...[et
al.] ; editorStephen(2009). Fashion Museumtreasures.London:ScalaPublishers.p. 9.ISBN 978-
1-857-59553-6.
References
 Arnold,Janet:Patternsof Fashion 1(cutand construction of women'sclothing,1660–1860),
Wace 1964, Macmillan1972. Revisedmetricedition,DramaBooks1977. ISBN 978-0-89676-026-
4
 Ashelford,Jane: TheArtof Dress:Clothing and Society 1500–1914, Abrams,1996. ISBN 978-0-
8109-6317-7
 Black,J. AndersonandMadge Garland: A History of Fashion,Morrow,1975. ISBN 978-0-688-
02893-0
 Brooke,Iris:Western European CostumeII,Theatre ArtsBooks,1966.
 de Marly, Diana:"Undressin the Œuvre of Lely",The Burlington Magazine,November1978.
 Gordenker,Emilie E.S.: Van Dyckand theRepresentation of Dressin Seventeenth-Century
Portraiture,Brepols,2001, ISBN 978-2-503-50880-1
 Payne,Blanche: History of CostumefromtheAncientEgyptiansto the Twentieth Century,Harper
& Row, 1965. No ISBN for thisedition;ASIN B0006BMNFS
 Ribeiro,Aileen:Fashion and Fiction:Dressin Art and Lierature in StuartEngland,Yale,2005,
ISBN 978-0-300-10999-3
 Ribeiro,Aileen: Dressin Eighteenth-Century Europe1715–1789, Yale UniversityPress,2002,
ISBN 0-300-09151-6
[hide]
 v
 t
 e
Historical clothing
Periods Ancient  Egyptian
 Biblical

37.  Greek
 Roman
 Han Chinese
Middle
Ages
 Anglo-Saxon
 Byzantine
 English
 Europe
o 400s–1000s
o 1100s
o 1200s
o 1300s
o 1400s
1500s–
1820s
 1500–1550
 1550–1600
 1600–1650
 1650–1700
 1700–1750
 1750–1775
 1775–1795
 1795–1820
 1820s
1830s–
1910s
 Victorian
o 1830s
o 1840s
o 1850s
o 1860s
o 1870s
o 1880s
o 1890s
 1900s
 1910s
1920s–
present
 1920s
 1930–1945
 1945–1959
 1960s
 1970s
 1980s
 1990s
 2000s
 2010s

38. Body-
length
 Banyan
 Brunswick
 Chiton
 Frock
 Peplos
 Stola
 Toga
 Tunic
Tops
 Basque
 Bedgown
 Bodice
 Doublet
 Poetshirt
Trousers
 Braccae
 Breeches
 Culottes
 Jodhpurs
 Knickerbockers
 Pedal pushers
Skirts
 Ballerinaskirt
 Hobble skirt
 Poodle skirt
 Train
Dresses
 Close-bodiedgown
 Débutante dress
 Kirtle
 Polonaise
 Sack-backgown
 Tea gown
Outerwear
 Anorak
 Caraco
 Chlamys
 Cloak
 Dolman
 Doublet
 Duster
 Exomis
 Frock coat
 Greatcoat
 Himation
 Houppelande

39.  Invernesscape
 Jerkin
 Justacorps
 Kandys
 Llawt'u
 Palla
 Redingote
 Smock-frock
 Ulstercoat
Underwear
 Basque
 Bustle
 Chausses
 Chemise
 Codpiece
 Corselet
 Corset
o Waistcincher
 Dickey
 Garter
 Hoop skirt
o Crinoline
o Farthingale
o Pannier
 Hose
 Libertybodice
 Loincloth
 Opendrawers
 Pantalettes
 Peignoir
 Petticoat
 Pettipants
 Unionsuit
 Yếm
Headwear
 Albanian
 Apex
 Arakhchin
 Attifet
 Aviator
 Bergère
 Blessedhat
 Capotain
 Cavalier
 Coif
 Coonskin
 Cornette

40.  Crown
 Dunce
 Fillet
 Fontange
 Hennin
 Jeongjagwan
 Jewish
 Kausia
 Kokoshnik
 Matron's badge
 Miner's
 Ming
 Mob
 Modius
 Monmouth
 Mooskappe
 Motoringhood
 Mounteere
 Nemes
 Nightcap
 Nónquai thao
 Ochipok
 Pahlavi
 Persian
 Petasos
 Phrygian
 Pileus
 Printer's
 Pudding
 Qing
 Snood
 Tainia
 Taranga
 Wimple
Footwear
 Buskins
 Caligae
 Chopines
 Crakow
 Episcopal sandals
 Hessians
 Pampooties
 Sabatons
Accessories
 Ascottie
 Belthook
 Cointoise

41.  Cravat
 Hairpin
 Hatpin
 Muff
 Ruff
 Shoe buckle
See also
 Timeline of clothing
 Clothingterminology
 Costume
 Dresscode
 Fashion
 Formal wear
 Sumptuarylaw
The elegantgentlemanwearsacoat, waistcoat,andbreeches.The lady's bodice islong-waistedandher
narrow skirtisdrapedand pinnedupinback. Dutch, 1678

42. Susanna Huygens wore a long, tight white satin bodice with paned sleeves lined in pink and a
matching petticoat. Her hair is worn in a mass of tight curls, and she wears pearl eardrops and a
pearl necklace. 1667–69.
Portrait of Barbara Viliers, mistress of King Charles II, painted by John Michael Wright c. 1670
in the romantic style.

43. The elaborate wig of the 1690s
Carl X Gustav (1626–1660), Kingof Sweden1654–1660, wearsruffledsleeves,armour,smallcravatand
flat-lace collar.

44. Puritaninfluence lingered inNewEngland.Thismerchantof Bostonwearshisownlonghair,nota wig.
The flat lace collarwithcurvedcornersthat came intofashioninthe 1660s isworn overa simple dark
coat and waistcoat,1674.
Thisman wearswhite boothose overredstockingswithlow shoes,1663–65.

45. ArtistFrançoisDesportes inhuntingcostume.Hisblue waistcoathaswide buttonholes,andhe wearshis
ownhair foroutdooractivity.Self-portrait,1699.
Renaissance
Renaissance Costume History
Around the 1490's is when costume historians can agree that the new dress for Renaissance began. This
was the period of clothing that could be said that excessiveness in all areas of costume began.
Different countries took the news styles differently. For instance, the northern European countries
were distorting the natural figure by padding sleeves, doublets and stockings. Italy did not go as far as
the North, and England and France followed Italy's lead while they stuck to more medieval influenced
styles. Germans went to the greatest extremes making “improvements” on the natural silhouette. They
put large puffs at the head, shoulders, thighs; small puffs, like boils, over chest, back, arms, legs and
feet. They put feathers on many on everything from wide-brimmed hats to the knees. Clothing at this
time followed suit with all other types of creative expression at this time—it went over the top into
new discoveries.
Permanent characteristics in all countries are summarized as thus: rich heavy materials, in voluminous
amount, large sleeves, close body garments, large hip-clothing, wide-toed, heelless shoes and covered
heads masculine and feminine.
Most men's hair was bobbed but the length of your hair was chosen by individual taste. The could be
straight or curled according to the nature of the wearer. As the sixteenth century advanced men wore
their hair shorter almost like modern hair. The men wore variations of the low-crowned, brimmed cap
and was often turned up all around or with just one side turned up.
Women wore the low-crowned hat in the same fashion as the men. Women either wore their hair with
elaborate structures in their hair like the Germans or with just a kerchief. They had the hair covered

46. with some kind of headdress. Some names of headdresses are: crescent, kennel, gable, transparent
half-dome bonnet, or the gorget and wimple. Peasant women wore the cote of the earlier period and
handkerchiefs or collars around their neck. They looked like what we associate dress of the Puritans.
Colors of this period are strong, often dark colors. Black velvet was a staple fabric of the period,
especially in headdresses. White linen was another accent against colors of gold and burgundy for
collars and wrist ruffles.
Notable Renaissance Costume Elements
Flat Cap—A hat that is flat with soft
crown and moderately broad brim
often associated with Henry VIII.
Jerkin—A short velvet or leather
jacket, usually sleeveless, similar to a
vest/waistcoat.
Upper Hose—Upper hose or full trunks
that extended from upper thighs to
waist.

47. Nether Hose—The stockings that
covered the lower edges of the leg.
They were usually rolled above the
knee and secured by garters.
Kennel/Gable Headdress—Resembles
in outline the pediment of a Greek
temple. Its essentials were the piece
that goes over the front part of the
head and covers the ears and the veil
or bag cap covering the rest of the
head. With the formal styles of this
headdress, no hair was visible, that at
the forehead being covered with rolls
or folds of cloth. There were however,
linen coifs shaped in the same outline
which left the parted hair visible on
the forehead. The front roll was of
diagonally striped material or velvet.
The kennel consisted of a stiff plane
covered with rich material, pieces of
which extended down the sides and
might be pinned back on themselves.
The cap at the back, joining the
kennel, was like a bag with a square
bottom. One side was turned back and
pinned to the other at the back of the
head. The bag was generally of black
velvet.
French/Crescent Stuart Cap—A heart
shaped cap worn by Mary Stuart. .
Bridged Sleeves—Sleeves created by
tying segments together at a bridge
often bridged at the shoulder.

48. Cod Piece—A pouch like appendage
made from the same fabric as the
jerkin or upper stocks and fastened by
ties or buckles; a decorated covering
for the opening in the front of the
breeches; forerunner of the fly.
Simar(re)—A robe for men, derived
from chimer or chimere, and
ecclesiastical garment very much like
it in shape. The neck part was
somewhat on a double breasted line,
with no collar in back, but with wide
revers turned back from the front edge
of the robe. The robe was worn either
ungirded or confined at the waist by a
narrow silk scarf, knotted with one
loop and two ends.
Slashing and Puffing—Vertical,
horizontal or diagonal slits in the fabric
of the garment, through which
appeared a different fabric. Often the
shirt was the garment which puffed
through.
Panes—Loose, vertical bands on
sleeves, doublets and trunk hose.

49. Funnel Sleeves—Sleeves that start big
and tighten toward the cuff.
Order of the Garter—An honor
bestowed by the King and the person
was given a special garter to wear.
Duckbill Shoes—Very wide square-
toed, slipper-like shoes, often
decorated with jewels, puffs or
slashes.
Stomacher—False front or ornamental
covering on the front of bodice.

50. Clocking—Embroidery on the socks at
the ankle and sometimes on boots.
Chain of Office—A heavy chain worn by
a man across the chest and neckline as
decoration; often denoted an
organization to which he belonged.
Renaissance women's clothing

51. Oil portrait of a woman in her 29th year, north-west Germany, 1582. Museum no. 4833-1857
Velvet, wood and leather pianelle with gilded silver braid and bobbin lace, Venice, Italy, about
1600. Museum no. 929&A-1901
During the Renaissance period women wore long dresses, often with detachable sleeves. These
sleeves were sometimes gifts from the groom to his new wife, but could also be passed down
from mother to daughter or aunt to niece, or even be rented. To keep their dresses clean, women
wore washable aprons or overdresses, with linen chemises and shifts as underwear.
This painting shows a woman wearing a jacket made of expensive Italian velvet, showing not
only the fashion in Germany but also the international trade in textiles. Along with the great
quantity of jewellery, the velvet indicates her wealthy position in German society. The huge
medallion on a chain round her neck is probably meant to be a português, a Portugese gold coin
worth ten ducats. The painting is inscribed in Latin 'In the Year of Our Lord 1582. Aged 29.'
When young and unmarried, women wore their hair loose, but once married they tied it up in
complicated braids and twists. Matrons often covered their hair with veils, and the hooded veil
was a sign of the widow. Nuns wore habits and wimples, indicating their order by the colour of
their habit: brown for the Franciscans and black and white for the Dominicans.
Imported fabrics and rich textiles demonstrated wealth, but not always nobility. More than one
complaint was raised against Venetian courtesans for dressing like 'ladies', and visitors remarked
that they could not tell the courtesans from respectable women. This was because both categories
of women wore similar low-cut dresses and high shoes (pianelle).
Pianelle were much like today's open-toed mules or platform sandals, but grew to staggering
heights during the Renaissance, especially in Venice. This was ostensibly so a woman could

52. keep her dress well above the muck and damp of the streets. But in reality it allowed her to show
off her wealth and her attractive swaying gait, since in order to wear the shoes without falling
over she had to have a servant in attendance on either side. The origin of the fashion is unclear. It
might have come from Turkey, but was also popular in Moorish Spain. The style could have
travelled to Venice via either route, or reflect the fashion for 'eastern' dress in Venice at the time.
Men's Clothing
The picture on the
leftistypical men's
attire of the
Renaissance Period.
The picture on the
rightis a typical
man's shoe of the
Renaissance Period.
Women's Clothing
The picture at
the leftisthe
typical woman's
dressof the
Renaissance
Period.The
picture onthe
rightis a typical
woman'sshoe
of the
Renaissance
Period.