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.
1830s fashion in Western and Western-influenced fashion is characterized by an emphasis on breadth, initially at the shoulder and later in the hips, in contrast to the narrower silhouettes that had predominated between 1800 and 1820.
1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.
1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.
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 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 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.
Serbian traditional clothing, also called as Serbian national costume or Serbian dress, refers to the traditional clothing worn by Serbs living in Serbia, Croatia, Bosnia and Herzegovina, Montenegro, and the extended Serbian diaspora communities in Austria, Australia, Bulgaria, Canada, France, Germany, Greece, Hungary, North Macedonia, Romania, Russia, Slovenia, United States, etc. Like any traditional dress of a nation or culture, it has been lost to the advent of urbanization, industrialization, and the growing market of international clothing trends. The wide range of regional folk costumes show influence from historical Austrian, Hungarian, German, Italian, and Ottoman Turkish presence. Nonetheless, the costumes are still a pinnacle part of Serbian folk culture. From the 19th century and onwards, Serbs have adopted western-styled clothing. This change has started in larger settlements such as cities and towns, although it was not uncommon to see rural women in traditional working costumes all the way until the end of 1970s. Today, these national costumes are only worn by some elderly in rural areas but are most often worn with connection to special events and celebrations, mostly at ethnic festivals, religious and national holidays, weddings, tourist attractions, and by dancing groups who dance the traditional Serbian kolo, or circle dance.
Fashion in the period 1700–1750 in European and European-influenced countries is characterized by a widening silhouette for both men and women following the tall, narrow look of the 1680s and 90s. This era is defined as late Baroque/Rococo style. The new fashion trends introduced during this era had a greater impact on society, affecting not only royalty and aristocrats, but also middle and even lower classes. Clothing during this time can be characterized by soft pastels, light, airy, and asymmetrical designs, and playful styles. Wigs remained essential for men and women of substance, and were often white; natural hair was powdered to achieve the fashionable look. The costume of the eighteenth century, if lacking in the refinement and grace of earlier times, was distinctly quaint and picturesque.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Fashion in 15th-century Europe was characterized by a surge of experimentation and regional variety, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing giornea of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jeweled, and feathered.
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.
Icelandic national costume, collectively known in Icelandic as Þjóðbúningurinn has enjoyed various levels of popularity since the term was coined in Iceland in the 19th century, during the struggle for independence. Since 2001 the national costume is regulated by Þjóðbúningaráð, which preserves the correct techniques of making them and instructs people.
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.
The Nijmegen Helmet is a Roman cavalry sports helmet from the first or second century AD. It was found around 1915 in a gravel bed on the left bank of the Waal river, near the Dutch city of Nijmegen. The helmet would have been worn by the élite Roman cavalry. The head portion of the helmet is made of iron, while the mask and diadem are of bronze or brass. The helmet provides neck protection via a projecting rim overlaid with a thin bronze covering plated with silver. The diadem features two male and three female figures.
Traditional clothing is one of the factors that has differentiated Kosovo from neighboring countries, dating back as far as the Illyrian era.
The poffer, toer or North Brabantian hat is a traditional female folk headdress of North Brabant, most famous of the Meierij of 's-Hertogenbosch and of northern Limburg, Netherlands. The poffer was worn only by married women. It was fashionable between the 1860s and the 1920s. In contrast to Zeeland and the more northern parts of the Netherlands, in North Brabant and Limburg there was never any distinctive folkloric costume worn by either men or women, making the poffer the only folkloric garment in this part of the Netherlands.
Mughal clothing refers to clothing worn by the Mughals in the 16th, 17th and 18th centuries throughout the extent of their empire. Much of them were already being used in the past centuries before their arrival in Indian subcontinent. It was characterized by luxurious styles and was made with muslin, silk, velvet and brocade. Elaborate patterns including dots, checks, and waves were used with colors from various dyes including cochineal, sulfate of iron, sulfate of copper, and sulfate of antimony were used.
Kulah Khuds were used in ancient western Asia for battle and as decorative head pieces.
![Frisian earizers from the period 1830-1870, Dokkum Museum [nl]. WLANL - Lumperjack - Oorijzers, zilver, goud en verguld, periode 1830-1870.jpg](http://upload.wikimedia.org/wikipedia/commons/thumb/9/90/WLANL_-_Lumperjack_-_Oorijzers%2C_zilver%2C_goud_en_verguld%2C_periode_1830-1870.jpg/220px-WLANL_-_Lumperjack_-_Oorijzers%2C_zilver%2C_goud_en_verguld%2C_periode_1830-1870.jpg)
