A top hat is a tall, flat-crowned hat traditionally associated with formal wear in Western dress codes, meaning white tie, morning dress, or frock coat. Traditionally made of black silk or sometimes grey, the top hat emerged in Western fashion by the end of the 18th century. Although it declined by the time of the counterculture of the 1960s, it remains a formal fashion accessory. A collapsible variant of a top hat, developed in the 19th century, is known as an opera hat.
The Welsh hat worn by women as part of Welsh national costume is a tall hat, similar to a top hat, or the capotain. It is still worn by Welsh folk-dance women, and schoolgirls, in Wales on St David's Day, but rarely on other occasions.
A tam o' shanter or "tammie" is a name given to the traditional Scottish bonnet worn by men. The name derives from Tam o' Shanter, the eponymous hero of the 1790 Robert Burns poem.
A pork pie hat is one of several different styles of hat that have been worn since the mid-19th century. The pork pie hat gained further popularity in the 20th century, being worn by famous actors and musicians. This style of hat features a flat crown that resembles a traditional pork pie, thus earning its name.
The tricorne or tricorn is a style of hat that was popular during the 18th century, falling out of style by the early 1800s, though not called a "tricorne" until the mid-19th century. During the 18th century, hats of this general style were referred to as "cocked hats". At the peak of its popularity, the tricorne varied greatly in style and size, and was worn not only by the aristocracy, but also as common civilian dress, and as part of military and naval uniforms. Typically made from animal fiber, the more expensive being of beaver-hair felt and the less expensive of wool felt, the hat's most distinguishing characteristic was that three sides of the brim were turned up (cocked) and either pinned, laced, or buttoned in place to form a triangle around the crown. The style served two purposes: first, it allowed stylish gentlemen to show off the most current fashions of their wigs, and thus their social status; and secondly, the cocked hat, with its folded brim, was much smaller than other hats, and therefore could be more easily tucked under an arm when going inside a building, where social etiquette dictates that a gentleman should remove his hat. Tricornes with laced sides could have the laces loosened and the sides dropped down to provide better protection from the weather, sun, and rain.
1870s fashion in European and European-influenced clothing is characterized by a gradual return to a narrow silhouette after the full-skirted fashions of the 1850s and 1860s.
A doublet is a man's snug-fitting jacket that is shaped and fitted to a man's body. The garment was worn in Spain, and spread to the rest of Western Europe, from the late Middle Ages up to the 17th century. Until the end of the 15th century, the doublet was usually worn under another layer of clothing such as a gown, mantle, or houppelande when in public. In the 16th century it was covered by the jerkin. Women started wearing doublets in the 16th century, and these garments later evolved as the corset and stay. The doublet was thigh length, hip length or waist length and worn over the shirt or drawers.
A court shoe or pump is a shoe with a low-cut front, or vamp, with either a shoe buckle or a black bow as ostensible fastening. Deriving from the 17th- and 18th-century dress shoes with shoe buckles, the vamped pump shape emerged in the late 18th century. By the turn of the 19th century, shoe buckles were increasingly replaced by black bows, which has remained the contemporary style for men's formal wear, leather or patent leather evening pumps ever since. This latter style is sometimes also called an opera pump or opera slipper.
Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.
Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as Marie Antoinette.
Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.
During the 1820s in European and European-influenced countries, fashionable women's clothing styles transitioned away from the classically influenced "Empire"/"Regency" styles of c. 1795–1820 and re-adopted elements that had been characteristic of most of the 18th century, such as full skirts and clearly visible corseting of the natural waist.
Fashion of the 1980s was characterized by a rejection of 1970s fashion. Punk fashion began as a reaction against both the hippie movement of the past decades and the materialist values of the current decade. The first half of the decade was relatively tame in comparison to the second half, which was when apparel became very bright and vivid in appearance.
Fashion in the period 1650–1700 in Western clothing is characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.
A gown, from the Saxon word, gunna, is a usually loose outer garment from knee-to-full-length worn by people of both sexes in Europe from the Early Middle Ages to the 17th century, and continuing today in certain professions; later, the term gown was applied to any full-length woman's garment consisting of a bodice and an attached skirt. A long, loosely fitted gown called a Banyan was worn by men in the 18th century as an informal coat.
Fashion in the period 1900–1909 in the Western world continued the severe, long and elegant lines of the late 1890s. Tall, stiff collars characterize the period, as do women's broad hats and full "Gibson Girl" hairstyles. A new, columnar silhouette introduced by the couturiers of Paris late in the decade signaled the approaching abandonment of the corset as an indispensable garment.
The Medieval period in England is usually classified as the time between the fall of the Roman Empire to the beginning of the Renaissance, roughly the years AD 410–1485. For various peoples living in England, the Anglo-Saxons, Anglo-Danes, Normans and Britons, clothing in the medieval era differed widely for men and women as well as for different classes in the social hierarchy. The general styles of Early medieval European dress were shared in England. In the later part of the period, men's clothing changed much more rapidly than women's styles. Clothes were very expensive, and both men and women were divided into social classes by regulating the colors and styles that various ranks were permitted to wear. In the early Middle Ages, clothing was typically simple and, particularly in the case of lower-class peoples, served only basic utilitarian functions such as modesty and protection from the elements. As time went on the advent of more advanced textile techniques and increased international relations, clothing gradually got more and more intricate and elegant, even with those under the wealthy classes, up into the renaissance.
In the early 17th century, thousands of English Puritans settled in North America, almost all in New England. Puritans were intensely devout members of the Church of England who believed that the Church of England was insufficiently reformed, retaining too much of its Roman Catholic doctrinal roots, and who therefore opposed royal ecclesiastical policy. Most Puritans were "non-separating Puritans" who believed there should be an established church and did not advocate setting up separate congregations distinct from the Church of England; these were later called Nonconformists. A small minority of Puritans were "separating Puritans" who advocated for local, doctrinally similar, church congregations but no state established church. The Pilgrims, unlike most of New England's puritans, were a Separatist group, and they established the Plymouth Colony in 1620. Puritans went chiefly to New England, but small numbers went to other English colonies up and down the Atlantic.
Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.
England, 1592
England, 1600s
Holland, 1615 (Elegant Couples Courting by Willem Pieterszoon Buytewech)
Flanders, 1630s
England, 1640s
A spurious buckled capotain, as carved by Augustus St. Gaudens on The Puritan and The Pilgrim, 1887
