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1104:, 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 slightly 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.
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259:, 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
321:
1562:
1020:
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
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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, commonly referred to as
1670:
1365:
1646:
1838:
1826:
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606:
1086:, were also worn. By the early 1660s, their popularity surpassed petticoat breeches. They could be worn with an overskirt over them, in this case the rhinegraves would be white. 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.
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1026:. 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.
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1143:(1638–1715). 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. Wigs were introduced into the English-speaking world with other French styles when
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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.
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With the rising popularity of the longer coat and waistcoat, the large collected rhinegraves 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
1019:
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. The coat would eventually replace the doublet. By the late 1660s, an upturned cuff became popular although the sleeves had
295:
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
1173:
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 among the French courtiers. Later in the 1660s, very large brims and
1151:
in 1660, following a lengthy exile in France. 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
1053:
around the neck started to be worn during the early 1660s. By the mid-1660s, the collar had disappeared with just the cravat remaining, sometimes tied with a small bow of ribbon. Red was the most common color for the bow, although pink, blue, and other colors were also used. By the 1670s, the bow of
450:
wears a white silk gown with a long tight bodice, flat skirt, wide double puffed sleeves, bare shoulders and a deep cleavage. The dress is decorated with blue ribbons and a blue shawl draped around the breasts. She has pearls, and her hair is braided in a knot in the back, but is worn in loose curls
1015:
of the doublet 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 doublet reached the waist but by the late 1650s and early 1660s, the doublet became very short, only reaching the bottom of the rib cage,
963:
wrote in his diary: "And 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
634:
wearing satin dresses over shifts or chemises with voluminous sleeves. Their hair is worn in masses of ringlets to the shoulders on either side, and both wear large pearl eardrops. The lack of a modesty piece at the chest is characteristic of the romantic style. It was at this period that women
1016:
much like a bolero jacket. During the 1660s, the sleeves varied a lot from elbow length to no sleeves at all. The doublet 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.
1174:
moderate crowns became popular. Sometimes one side of the brim would be 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
678:
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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
641:'s jacket-bodice has a dropped shoulder line and full, three-quarter length sleeves cartridge-pleated at shoulder and cuff. Her indoor cap has a circular back and hood is embroidered. Her shoes have thick heels and square toes, now somewhat old-fashioned.
1265:
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654:
821:, wears a dress fastened with jeweled clasps over a simple chemise, 1680. Her hair curls over either temple, and long curls hang on her shoulders. This style of undress was common in portraits, but likely not so common in everyday wear.
883:, 1698, wears court fashion: Her mantua has elbow-length cuffed sleeves over the lace-ruffled sleeves of her chemise. The trained skirt is looped back to reveal a petticoat. She wears elbow-length gloves and a cap with a high lace
254:
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
922:
Puritan influence lingered in New
England. This merchant of Boston wears his own long hair, not a wig. The flat lace collar with curved corners that came into fashion in the 1660s is worn over a simple dark coat and waistcoat,
964:
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.
266:
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.
1082:. 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
404:
368:
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appears in this portrait of a Boston matron: she wears a lace-trimmed linen collar that covers her from the neck down with the fashionable short string of pearls, and she covers her hair with hood-like cap,
147:
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,
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1074:
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
660:
814:
1549:
1127:
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
1585:
1178:). 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.
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1703:
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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
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of
Leipzig in an elaborate wig, c. 1690 (note: the colorization of the bunched fabric above the stockings should be white as those are the stockings above the knee and not the breeches)
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of 1654 has many tiny buttons on the front and sleeves, which are left unfastened below the chest and upper arm. A collared cloak trimmed with braid is worn casually over one shoulder.
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1754:
1225:
1213:
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1657:
887:. She has a fur muff on her right wrist, trimmed with a ribbon bow, and carries a fan. She wears the short string of pearls that remained fashionable throughout this period.
862:
533:
1442:
669:
is shown here wearing a mourning dress of unrelieved black with long sleeves, cloak and hood. She wears her hair parted to one side and severely bound in braids, 1666.
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425:
wears a salmon-colored gown. A sheer scarf is knotted into a collar around her shoulders, and her white sleeve linings are fastened back with a covered button, 1652.
1525:
869:) in hunting dress, probably mid-to-late 1690s. She wears a long, mannish coat with wide cuffs and a matching petticoat over a high-necked bodice (Pepys calls it a
675:
wear dresses with short sleeves over chemise sleeves gathered into three puffs. The long bodice front with curving bands of vertical trim is characteristic of 1670.
152:
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2556:
2102:
1782:
441:, which, in Spain, was adapted late and retained it long after it had disappeared elsewhere. The Infanta's hairstyle is also typical of the Spanish court, 1653.
86:
The elegant gentleman wears a coat, waistcoat, and breeches. The lady's bodice is long-waisted and her over skirt is draped and pinned up behind, Dutch, 1678
2118:
1158:, was well known for wearing blond wigs. Facial hair declined in popularity during this period although thin moustaches remained popular up until the 1680s.
416:
545:
419:
of 1650 shows a smooth, tight, conical satin bodice with a dropped shoulder. Slashed sleeves are caught with jeweled clasps over voluminous chemise sleeves.
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907:
344:
1960:
1308:
1132:
1139:(1601–1643) started to pioneer wig-wearing, the popularity of the wig or periwig as the standard wardrobe is usually credited to his son and successor
2571:
2095:
1249:
1111:(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).
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466:
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in fashionable undress. Her dress is casually unfastened at the breast, and her chemise sleeves are caught up in puffs, probably with drawstrings.
706:
1201:
1730:
1597:
2068:
2044:
2012:
1998:
1984:
1936:
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287:, 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.
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1806:
45:
694:
wears a brocade dress with a very low waist and elbow-length sleeves gathered in puffs as was typical of court fashions during the 1670s.
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wears 1688 fashion: a mantua with elbow-length cuffed sleeves over a chemise with lace flounces at the elbow, a wired lace fontange,
431:
wears a satin gown with a long pointed bodice and a satin petticoat. The many tiny pleats that gather in her skirt can be seen, 1652.
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2082:
955:
gave way to shoes, and a mania for baggy breeches, short doublets, and hundreds of yards of ribbon set the style. The breeches (see
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127:
costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the
67:
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2363:
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in 1692). Before, the cravat was always worn flowing down the chest; the
Steinkerk cravat looped through a buttonhole of the coat.
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999:
for outdoor wear. By 1680, this more sober uniform-like outfit of coat, waistcoat, and breeches became the norm for formal dress.
143:
2160:
2131:
943:
in hunting costume. His blue waistcoat has wide buttonholes, and he wears his own hair for outdoor activity. Self-portrait, 1699.
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672:
457:
wears a rose jacket-bodice and a plain pink petticoat. Her hair is worn in a wound braid with small curls over her ears. 1658–60.
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Shoes again became the most popular footwear during the 1650s, although boots remained in use for riding and outdoor pursuits.
940:
557:
434:
463:
include a string of pearls tied with a black ribbon, a jack-bodice with matching skirt, pleated sleeves, and dropped shoulder.
1078:
became the most popular. As the 1650s progressed, they became larger and looser, very much giving the impression of a lady's
115:, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the
866:
181:
ended just below the elbow at mid century and became longer and tighter in keeping with the new trend. The body was tightly
1561:
2635:
2270:
2147:
320:
1501:
638:
1119:
951:, the fashions of the 1650s and early 1660s imitated the new peaceful and more relaxed feeling in Europe. The military
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1609:
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38:
32:
1335:. The short doublet is worn over a voluminous shirt with wide ruffles at the cuffs and flat, curve-cornered collar,
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was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the
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remained the only constant throughout the period, although less of it was seen with the advent of the waistcoat.
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1364:
1008:
914:(1622–1660), King of Sweden from 1654 to 1660, wears ruffled sleeves, armour, small cravat and flat-lace collar.
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in the 1630s. The clothing in these portraits is not representative of what was worn on the street or at court.
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Spanish court fashion remained out of step with the fashions that arose in France and
England, and prosperous
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was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder. Full, loose
112:
1742:
1537:
200:
also retained its own modest fashions, especially in headdress and hairstyles, as it had retained the
100:
is characterized by rapid change. The style of this era is known as
Baroque. Following the end of the
1761:
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wears enormous sleeves, bare shoulders, large pearls, a large feather, and has a mass of loose waves.
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305:, a frilly cap of lace wired to stand in vertical tiers with streamers to either side, named for
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from the 1660s, made of silver tissue and decorated with applied parchment lace. From the
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1931:. photography for the Fashion Museum by James Davies. London: Scala Publishers. p. 9.
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1694:
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116:
94:
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of
England. By 1690, hair was dressed high over her forehead with curls dangling behind.
2182:
2056:
1237:
1046:
874:
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648:
1169:
vary greatly during this period. Hats with very tall crowns, derived from the earlier
1045:
was in fashion. This increased in size and encompassed much of the shoulders by 1660.
843:
of c. 1690 shows a long, rigidly corseted line with a broad neckline and long sleeves.
2629:
2433:
911:
2087:
1972:
960:
873:) with long tight sleeves. She wears a lace-trimmed cravat and a tricorne hat with
834:
296:
by the 1690s hair was unparted, with rows of curls stacked high over the forehead.
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82:
109:
1083:
1059:
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Young boys wore skirts with doublets or back-fastening bodices until they were
918:
2025:
1022:
988:
309:. This was popular from the 1690s to the first few years of the 18th century.
284:
229:
132:
1955:
1977:
Patterns of
Fashion 1 (cut and construction of women's clothing, 1660–1860),
1079:
976:
893:
is of fine striped woolen fabric with silver-gilt embroidery, ca. 1690–1700.
190:
186:
120:
2037:
Van Dyck and the
Representation of Dress in Seventeenth-Century Portraiture
1910:
Ribeiro, Aileen, on the origins of the mantua in the late 17th century, in
1891:
Van Dyck and the Representation of Dress in Seventeenth-Century Portraiture
1170:
1100:
992:
931:
This man wears white boothose over red stockings with low shoes, 1663–65.
301:
185:, with a low, broad neckline and dropped shoulder. In later decades, the
124:
97:
1283:
1108:
984:
225:
197:
2051:
History of Costume from the Ancient Egyptians to the Twentieth Century
2297:
1979:
Wace 1964, Macmillan 1972. Revised metric edition, Drama Books 1977.
1287:
1012:
182:
178:
651:. The sleeve is pleated into the dropped shoulder and into the cuff.
2053:, Harper & Row, 1965. No ISBN for this edition; ASIN B0006BMNFS
2165:
2061:
Fashion and Fiction: Dress in Art and Literature in Stuart England
1118:
1035:
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of c. 1663 is shown clearly in this portrait of a woman playing a
228:, with tousled curls. The style is epitomized by the portraits of
151:
142:
81:
1856:
1690:
983:, a term which later became applied solely to women's dress), a
952:
657:. Corkscrew curls frame her head and cascade onto her shoulders.
217:
212:
A daring new fashion arose for having one's portrait painted in
2091:
1689:
at six to eight. They wore smaller versions of men's hats over
1166:
1128:
996:
17:
1278:
in an outfit from 1656 with linen shirt with cuffs and a
975:, decreed that at court, men were to wear a long coat, a
663:
is a beautiful example of typical court fashion in Spain.
232:, which derive from the romanticized style originated by
1736:
Two English sisters and their brother (right), c. 1656
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with slashed sleeves. Over the shoulder can be seen a
1041:
During the early to mid-1650s, a rather small falling
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2516:
2485:
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2220:
2146:
1457:Don Luis de la Cerda, later IX Duke of Medinacelli
1991:The Art of Dress: Clothing and Society 1500–1914
1348:wears a lace-bordered linen collar, sash of the
1927:Clews, Rosemary (2009). Stephen Harden (ed.).
2103:
8:
2075:Dress in Eighteenth-Century Europe 1715–1789
1912:Dress in Eighteenth Century Europe 1715–1789
1693:or caps. Small children's clothing featured
1352:, and a voluminous wig over his armor, 1661.
469:is shown, when eight years old, wearing the
189:was drawn back and pinned up to display the
969:Charles II of England, Scotland and Ireland
2110:
2096:
2088:
2024:de Marly, Diana: "Undress in the Œuvre of
1296:, 1658. White boothose, petticoat breeches
160:, mistress of King Charles II, painted by
655:Young woman with elaborate 1663 hairstyle
635:exposed their breasts for the first time.
68:Learn how and when to remove this message
1901:de Marly, "Undress in the Œuvre of Lely"
1011:continued into the 1650s. In the 1650s,
31:This article includes a list of general
1882:
1821:
1699:
1485:
1360:
1304:
1185:
702:
481:
316:
299:This hairstyle was often topped with a
279:describes the Maids of Honour in their
263:worn since the 1630s remained popular.
135:as an essential item of men's fashion.
2003:Black, J. Anderson and Madge Garland:
1131:to cover up thinning hair or baldness
2646:History of clothing (Western fashion)
1843:Dutch schoolmaster and children, 1662
1831:Dutch fish seller and housewife, 1661
1276:Swedish industrialist Emanuel De Geer
661:Inés de Zúñiga, Countess of Monterrey
7:
2156:Prehistory of nakedness and clothing
1459:wears the long justacorps of c. 1684
995:gathered at the knee, as well as a
971:, following the earlier example of
173:The wide, high-waisted look of the
37:it lacks sufficient corresponding
14:
1961:Costume History: Cavalier/Puritan
853:Contemporary French fashion plate
692:Empress Eleonore of Pfalz-Neuburg
2211:
2132:History of clothing and textiles
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1724:Child with leading strings, 1658
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461:Details of Dutch fashion of 1658
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164:, c. 1670 in the romantic style.
22:
2539:impact of the COVID-19 pandemic
2077:, Yale University Press, 2002,
1034:The ruffled long-sleeved white
1007:The unfitted looser fit of the
193:, which was heavily decorated.
91:Fashion in the period 1650–1700
1123:The elaborate wig of the 1690s
667:The Infanta Margarita of Spain
467:The Infanta Margarita of Spain
448:Beata Elisabet von Königsmarck
1:
891:The mantua from Kimberly Hall
632:Two Ladies of the Lake Family
307:a mistress of the French King
216:, wearing a loosely fastened
1788:Young boy's dress, 1660s-70s
941:Alexandre-François Desportes
825:Dorothy Mason, Lady Brownlow
645:The very long pointed bodice
275:In a June 1666 diary entry,
2455:1920s–1950s Western fashion
2385:1830s–1910s Western fashion
2322:1500s–1820s Western fashion
2021:, Theatre Arts Books, 1966.
2019:Western European Costume II
867:Anna Maria Luisa de' Medici
685:Lingering Puritan influence
2672:
1710:Infante Afonso of Portugal
1451:Victoria and Albert Museum
423:Margareta Maria de Roodere
2651:Medieval European costume
2209:
2137:History of fashion design
2126:
1357:Style gallery 1670s–1690s
699:Style gallery 1680s–1690s
2656:17th century in the arts
2462:Suffrage Movement period
2035:Gordenker, Emilie E.S.:
1929:Fashion Museum treasures
1350:Order of the Holy Spirit
1094:Footwear and accessories
1070:The previous decade saw
1030:Shirt, collar and cravat
429:Mary, Princess of Orange
271:Hunting and riding dress
204:in the previous period.
2121:of clothing and fashion
2030:The Burlington Magazine
1680:
959:) became so baggy that
897:
478:Style gallery 1660–1680
291:Hairstyles and headgear
138:
52:more precise citations.
2641:17th century in Europe
1818:Working class clothing
1465:, cravat and hat, 1684
1149:restored to the throne
1124:
1066:Breeches and stockings
944:
932:
924:
915:
863:The Electress Palatine
679:Maria Theresa of Spain
435:Maria Theresa of Spain
165:
149:
87:
2550:By country and region
1956:Baroque Fashion 1600s
1871:Dutch villagers, 1673
1471:Thomas Smith, c. 1690
1122:
1060:Battle of Steenkerque
979:(originally called a
938:
930:
921:
910:
841:Spanish court fashion
155:
146:
85:
2636:17th-century fashion
2517:2000–present fashion
2005:A History of Fashion
1762:Charles XI of Sweden
1286:, and at his side a
1137:Louis XIII of France
947:With the end of the
622:Fashion Museum, Bath
445:The Swedish countess
2557:Indian subcontinent
2486:1960s-1990s fashion
1914:; Ashelford, Jane,
1447:James II of England
1301:Style gallery 1660s
1270:Charles X of Sweden
1260:Charles X of Sweden
1182:Style gallery 1650s
1141:Louis XIV of France
973:Louis XIV of France
859:or mantua, 1685–90.
835:opera-length gloves
819:James II of England
618:English court dress
313:Style gallery 1650s
208:Romantic negligence
162:John Michael Wright
1800:English boys, 1670
1681:Children's fashion
1453:No. 2-1995 T.711:1
1337:petticoat breeches
1125:
1076:petticoat breeches
1003:Coat and waistcoat
957:Petticoat breeches
945:
933:
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916:
881:Comtesse de Mailly
673:Two English ladies
224:over a voluminous
166:
150:
88:
2623:
2622:
2073:Ribeiro, Aileen:
2069:978-0-300-10999-3
2045:978-2-503-50880-1
2039:, Brepols, 2001,
2013:978-0-688-02893-0
1999:978-0-8109-6317-7
1989:Ashelford, Jane:
1985:978-0-89676-026-4
1938:978-1-857-59553-6
1776:English boy, 1661
1697:at the shoulder.
1162:Hats and headgear
1058:(named after the
977:vest or waistcoat
949:Thirty Years' War
817:, second wife of
102:Thirty Years' War
78:
77:
70:
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2369:Directoire style
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2098:
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2049:Payne, Blanche:
2032:, November 1978.
2007:, Morrow, 1975.
1993:, Abrams, 1996.
1943:
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1916:The Art of Dress
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401:
394:
389:
382:
377:
370:
365:
358:
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341:
334:
329:
322:
317:
312:
310:
308:
304:
303:
297:
290:
288:
286:
282:
281:riding habits
278:
270:
268:
264:
262:
258:
253:
249:
248:
239:
237:
235:
231:
227:
223:
219:
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199:
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176:
168:
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159:
154:
145:
136:
134:
130:
126:
122:
118:
114:
111:
107:
103:
99:
96:
92:
84:
80:
72:
69:
61:
51:
47:
41:
40:
34:
29:
20:
19:
16:
2343:
2074:
2060:
2050:
2036:
2029:
2018:
2004:
1990:
1976:
1928:
1922:
1915:
1911:
1906:
1897:
1890:
1885:
1764:in ca. 1660.
1684:
1443:Wedding suit
1175:
1165:
1153:
1126:
1106:
1099:
1097:
1088:
1069:
1055:
1040:
1033:
1021:
1018:
1006:
980:
966:
961:Samuel Pepys
946:
884:
870:
856:
631:
599:10 – 1671–74
300:
298:
294:
277:Samuel Pepys
274:
265:
260:
251:
245:
243:
221:
213:
211:
195:
172:
156:Portrait of
90:
89:
79:
64:
55:
36:
15:
2593:By clothing
2256:Western Xia
2246:Jurchen Jin
2228:Anglo-Saxon
2221:Middle Ages
2166:Han Chinese
1889:Gordenker,
1675:Spain, 1685
1663:Spain, 1682
1651:Spain, 1679
1639:Spain, 1675
1627:Spain, 1675
1615:Spain, 1672
1603:Spain, 1670
1591:Spain, 1670
1579:Spain, 1666
1567:Spain, 1661
1555:Spain, 1660
1543:Spain, 1658
1531:Spain, 1657
1519:Spain, 1655
1507:Spain, 1655
1495:Spain, 1650
1430:6 - c. 1690
1418:5 - c. 1690
1155:Monseigneur
1084:rhinegraves
772:6 – 1685–90
285:side-saddle
106:Restoration
50:introducing
2630:Categories
2313:Vietnamese
2271:400s–1000s
1967:References
1463:Justacorps
1262:from 1654.
1145:Charles II
1135:when King
1133:since 1624
1115:Hairstyles
1023:justacorps
760:5 – c.1690
748:4 – c.1690
628:Peter Lely
611:11 – 1670s
503:2 – c.1660
437:wears the
230:Peter Lely
113:Charles II
33:references
2477:1945–1960
2472:1930–1945
2434:Edwardian
2392:Victorian
2364:1795–1820
2359:1775–1795
2354:1750–1775
2349:1700–1750
2344:1650–1700
2339:1600–1650
2334:1550–1600
2329:1500–1550
2308:Tocharian
2233:Byzantine
1475:A student
1346:Louis XIV
1272:, 1650s.
1266:Two suits
1231:4 – 1656
1219:3 – 1650s
1080:petticoat
1056:Steinkerk
981:petticoat
967:In 1666,
808:9 - 1690s
784:7 – 1690s
630:portrays
491:1 - 1660s
222:nightgown
220:called a
191:petticoat
187:overskirt
121:waistcoat
110:England's
58:June 2019
2615:Swimwear
2579:Thailand
2237:Chinese
2203:Thracian
2188:Biblical
2178:Egyptian
2119:Timeline
1687:breeched
1449:, 1673,
1406:4 - 1684
1394:3 - 1684
1382:2 - 1673
1370:1 – 1671
1326:2 – 1661
1314:1 – 1661
1243:5 – 1658
1207:2 – 1654
1195:1 – 1654
1176:tricorne
1171:capotain
1101:Boothose
993:breeches
903:Overview
885:fontange
796:8 – 1698
736:3 – 1688
712:1 – 1680
688:1671–74.
587:9 – 1670
575:8 – 1670
563:7 – 1666
551:6 - 1665
539:5 – 1663
527:4 – 1663
515:3 – 1662
410:8 – 1659
398:7 – 1658
386:6 – 1658
374:5 - 1655
362:4 – 1653
350:3 – 1652
338:2 – 1652
326:1 – 1650
302:fontange
261:eardrops
183:corseted
169:Overview
148:1667–69.
125:breeches
104:and the
98:clothing
2303:Ottoman
2267:Europe
2263:English
2148:Ancient
1284:baldric
1280:doublet
1109:baldric
1047:Cravats
1013:sleeves
939:Artist
877:plumes.
875:ostrich
871:doublet
857:manteau
847:Mary II
831:Mary II
473:, 1659.
252:manteau
226:chemise
214:undress
198:Holland
179:sleeves
133:periwig
95:Western
46:improve
2605:Corset
2600:Bikini
2298:Korean
2081:
2067:
2043:
2011:
1997:
1983:
1935:
1859:, 1662
1712:, 1653
1469:Artist
1439:, 1671
1288:rapier
1051:jabots
1043:collar
991:, and
985:cravat
257:Banyan
247:mantua
240:Mantua
35:, but
2572:Meiji
2567:Japan
2562:Italy
2534:2020s
2529:2010s
2524:2000s
2508:1990s
2503:1980s
2498:1970s
2493:1960s
2467:1920s
2444:1910s
2439:1900s
2427:1890s
2422:1880s
2417:1870s
2412:1860s
2407:1850s
2402:1840s
2397:1830s
2376:1820s
2291:1400s
2286:1300s
2281:1200s
2276:1100s
2198:Roman
2193:Greek
2183:Inuit
2161:China
1877:Notes
1691:coifs
1343:Young
1036:shirt
1009:1640s
953:boots
923:1674.
855:of a
2610:Hide
2251:Yuan
2241:Liao
2079:ISBN
2065:ISBN
2041:ISBN
2026:Lely
2009:ISBN
1995:ISBN
1981:ISBN
1933:ISBN
1857:lice
1333:1661
1250:Coat
1167:Hats
1147:was
1129:wigs
1107:The
1049:and
987:, a
244:The
218:gown
202:ruff
123:and
117:coat
2171:Shu
2028:",
1445:of
1258:of
997:hat
250:or
108:of
93:in
2632::
2059::
1975::
119:,
2111:e
2104:t
2097:v
1941:.
1339:.
1290:.
865:(
624:.
71:)
65:(
60:)
56:(
42:.
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