Historical Fashions

 

Contents:

Image 1; King Charles II (1675) Peter Lely:                                                                                

Introduction:                                                                                                               

Body:                                                                                                                          

• Charles II in Life and Death:                                                                          

• A legacy of beauty:                                                                                   

• Hairstyles and Postiche of the mid to late Seventieth Century:                     

• To wig or not to wig? (1620-1650):                                                          

• “Bigwigs, heartbreakers and love locks” (1650-1685):                            

• Facial Hair:                                                                                                

• Make-up styles and materials:                                                             

• “Dangerous Liaisons”                                                                               

• 1660-1685; the rise of male make-up:                                                       

• Fashion, trends and Adornment:                                                                    

• “The Habit of an English Gentleman”:                                                     

• Dictatorship to Monarchy; a New Artistry in Dress (1650-1670):           

• Creation of a middle class and the freedom over clothing:                      

• Internal and external factors influencing the time period and Charles II:          

Conclusion:                                                                                                                 

Appendices:                                                                                                                       

References:                                                                                                                 

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Introduction:

This report will discuss King Charles II utilising a wide, however, selective range of visual and literary sources including: museums, paintings, books, websites, and newspapers articles. It will focus on his life, death, legacy and mid to late 17th century hairstyles, make-up, and fashion trends. This will be done whilst debating the internal and external factors influencing both Charles II and the time period, in support of a practical recreation of the above painting.

 

Charles II in Life and Death:

King Charles II (1630-1685) sat for Sir Peter Lely in 1675 for the above oil painting (National Portrait Gallery 2014, b). Consent external political factors such as the outbreak of conflict in Charles II younger life between the Royalists and Parliamentarians, Bio (2013) and Falkus (1984) present it is in the author’s opinion an influencing factor on his later persona in the public’s eye. By 12 years old, he was appointed commander in chief of Western England (BBC, 2014). However, he was soon forced to France for exile (Bio, 2013). In 1649, King Charles I was executed and after a deal was brokered with Scotland’s Charles II, was appointed king. He then invaded England. However, was defeated by Cromwell (1651) and retreated again into exile returning to claim his throne in 1660 (BBC, 2014).

 

The next years of King Charles II’s rein saw plague in 1665, London’s Great Fire of 1666 and the Ango-Dutch war (1665- 1667) resulting in Dutch victory (Bio, 2013). This saw him sign a secret treaty with Louis XIV to support him against the Dutch in 1672 to 1674, in return receiving subsidiaries and protection from France. This had a direct impact on the ‘modes’ worn, which will be explored. Charles II ruled without parliament until his death in 1685 (Bio, 2013)

 

A legacy of beauty:

Through Charles II rein, the restoration was a “…period of great opulence in English art, architecture and design” (The V&A, A, 2014 pp. 1) His legacy includes introducing Ballet, Court Masque’s, and re-introducing Theatre (previously closed by Cromwell) to the English public. Through research conducted, it is concluded by the author that Charles II was internally influenced by the arts and beauty.

 

Hairstyles and Postiche of the mid to late Seventieth Century:

To wig or not to wig? (1620-1650)

Throughout the seventeenth century the ‘correct’ length of male hair was debated (Corson, 2003 and Ribeiro, 1968). By 1650’s, the wearing of long hair in American churches was prohibited by the cropped haired Puritans arriving from England, Corson (2003) highlights and even universities in England attempted to make men shorten their hair. Charles II even banned English clergy men from wearing wigs in the 1660’s (Sherrow, 2006 & Ribeiro, 1968). However, popular fashions showed persons of power in Europe (especially French nobility) wearing longer curled styles resulting in large sums of money being spent on postiche, known as ‘Peruke’ or ‘Periwig’ (Corson, 2003, pp. 151). Men would send instructions on how they would like their wig set…

 

“Let it be well curled in great rings and not frizzled, and see that he makes it handsomely and fashionably, and with two locks and let them be tyed with black ribbon…let not the wig part behind, charge him to curl it on both sides towards the face”.

 

Made on skull caps theses ‘frise’ or ‘frissed’ styles, curls and ringlets were wet set into the wigs using ointments, powders, perfumes and even starch. Postiche styles where held in place with clay pins or curling rods then they were boiled, baked or dried. (Sherrow, 2006).  Furthermore, use of ‘twirling irons' has also been recorded (Corson, 2012).

 

“Bigwigs, heartbreakers and love locks” (1650-1685)

In 1649, certain combs one needed to dress the wigs were very difficult to obtain in England. Suggesting extravagant peruke styles could be contained to Europe (mainly France) for the general population at that time (Corson, 2003). However by 1653, many men, if they required it, were beginning to wear postiche to achieve the long length, thickness and dark colour popular in this period (Ribeiro, 1968). With connotations of romance, long styles hanging away from the face and over the ears were named “heart-breakers”. Curls by the cheeks “confidents” and curls on the forehead “favourites” (Calthrop, 1963). ‘Love locks’ in straight or curled styles were also popular (Corson, 2012) (appendix A)

 

By 1663, wigs began to be very full bottomed, large, heavy and artificial looking. Charles II wore a black un-powdered wig. These styles required men, even Charles II, to shave their natural hair to achieve a good fit (Peterson schools and FE College’s, 2014). The 1660’s saw gumming, powdering and curling of the hair, “beyond the seas” proving the elaborate styles originated from France (Corson, 2003). Further investigation explored the potential relationship between the increase in postiche wear and the outbreak of syphilis (Reilly, 2013). These wigs were powdered and perfumed, to hide the smells and sores, the wigs were not so much stylish, but a necessity.

 

When first, Louis XIV then Charles II succame to premature hair loss and greying, they re-invented the fashion of postiche, making them desirable. King Louis XIV employing 40 wig makers at Versailles (Corson, 2012). Postiche popularity resulted in an increase of cost with an everyday wig costing 25 shillings (the equivalent to a week’s wages) and “bigwig” postiches costing up to 800 shillings typically made of horse, goat and human hair (Reilly, 2012). A common male past time was lounging and combing their hair (Corson, 2012). This saw an increase in luxury combs made of horn, ivory, bone, tortoise and even lead being produced (Sherrow, 2006). ‘Perruque à fenêtres’, a wig made out of light cane pin (a fine leather) with holes for inserting through real hair has also been recorded (Pistolese, 1970). From the 1660-70’s, the silhouette of a periwig was square and flat on the crown, as seen on Charles II. Styles then started rising to a triangle by the late 1700’s (Arnold, 1970).

Facial Hair:

Facial hair at this period was curled and waxed. Beards became tidy and short as worn by the Cavaliers and Charles II (Peterson schools, 2014). Men would dye their beards and moustaches had names such as ‘the Roman T’ or ‘the hammer cut’ (Bryer, 2000 and Corson, 2012) (appendix A).

 

Make-up styles and materials:

“Dangerous Liaisons”

In the mid- seventeenth century, there are various examples of literary sources portraying male makeup use as an outrage, suggesting this practice was not as widespread than with females (Corson, 2003). White lead paints and anti-aging tonics for example ‘Aqua Toffana’ usually contained poisons such as arsenic causing rapid aging and widespread poisoning even causing deaths. However even the Queen wore such concoctions. Cerise powder and red ochre was mixed with white lead and red colouring or “Spanish paper” was used on cheeks. “Lips were reddened with cochineal” (Pearson Schools 2014, pp6).

 

1660-1685; the rise of male make-up:

Corson (2003) discusses that through 1660 and by the end of Charles II’s reign in 1685, the open use of male makeup had increased, suggesting that perhaps Charles II had an impact on these fashions. Both male and female makeup was popular stating an increase in availability of new powders and ointments (Pearson Schools, 2014, pp6). Pale skin was sought after and “pallor, a white base made from white lead mixed with white of egg and vinegar” was used on the face. This resulted in smooth and shiny skin, however, caused cracking so the wearer would stay as expressionless as possible. By 1670, full, fleshy faces were in fashion. Prominent red lips, eyes, dark hair and eyebrows with double chins where popular (Corson, 2003). This is visually confirmed by the National Portrait Gallery (2014, a) as Charles II was depicted in this fashion suggesting his use of makeup.

 

Fashion, trends and Adornment:

“The Habit of an English Gentleman”

Ribeiro (1986) depicts a satire of a late 1640’s male dress (appendix B). This ‘mode’ consisting of wavy long hair, a be-ribboned suit with breaches, an un-tidy unbuttoned doublet with draped sleeves was typical of this period. Truman (1966) however, argues that from 1649, Puritanism was widespread in England under the Dictator Cromwell and …

 

“The dress of the time showed a conforming of a standard pattern... dress became very harsh and plain and lacked colour shape and design.” pp. 64.

 

This was typically worn with a tall felt hat with a high crown and narrow brim. A similar hat even depicted by the National Portrait Gallery (2014 C) mid-century on Charles II himself. (Mood board) These “fanatical types known as Roundheads” (Truman, 1966, pp. 64) were widespread. After further research in Edward Bower’s 1648 painting of Charles I, execution of these fashions were apparent in the crowds (appendix C).

 

By 1650, male dress saw the open-ended breeches grow vastly in size and it could be debated whether the new style of dress, the loose fitting knee- length vests appearing in the later 1660’s, should be credited to the French or English (Ribeiro, 1986).

 

In 1658 as the transition to the Monarchy began, Truman (1966) and Calthrop (1963) state more armour would be seen worn even on Charles II. Visual research confirms this (mood board).

 

Dictatorship to Monarchy; a New Artistry in Dress (1650-1670):

In 1660-89, the Restoration period saw a new artistry in dress, an expansion of design and colour and luxury. In the first half of the seventeenth century leading into the second half, styles “modes” were brought from France to England by Charles the II (Cunnington, 1981). “The restoration period the age of extravagance was centred around Louis XIV court” (Pointer, 2005, pp. 104). During Charles II’s rein, he brought back the luxurious French costume in order to cause controversy amongst the Puritans, Gorsline, (1978) debates. Examples such as “the doublet”, a popular three piece suit featuring a coat, waistcoat and breeches also named ‘Rhinegraves’ or ‘pantaloons’ tidied off with ribbon or trimmed with “fancies” (Cunnington, 1981. pp 63) (Appendix D). A reflection of the “cavalier” three musketeers style (Gorsline, 1978). In 1660 Charles II dress was recorded.

 

“… his coat with long skirts, fur cap, and buckles on his shoes. The coat was, doubtless, an old- fashioned Cromwellian coat with no waist.” (Calthrop, 1963, Pp. 371)

 

Soon after, Charles II reformed the fashion with influence from a pamphlet entitled ‘Tyrannus of the Mode’ shown to him by a friend. These depicted flamboyant Eastern fashions and a new style of vest, Charles II consequently introducing them into England. As these styles were not popular with Englishmen until 1660, it could be argued this was a reflection of public opinion on Charles II himself (Cunnington, 1981 and Laver, 1988). However, visual evidence also suggests there was a rise of extravagant male focused clothing boutiques in England (appendix E). By 1670, the amount of material used in male dress seemed too excessive and the fashions retreated again to using less (Ribeiro, 1986).

 

The creation of a middle class and the freedom over clothing:

 More women were being employed in private households by 1666, receiving a wage, however they were not required to wear a uniform. This saw more freedom to choose ones clothing (Williams-Mitchell, 1982). Appendix B notes some factors that remain the same between these styles and the styles seen worn on the upper classes, namely the looser fitting gowns, breeches, collars and better shoes. A basic peruke was now also seen on lower classes (Sherrow, 2006). This is attributed to the freedom over uniforms and influx of new wages (Brayfield, 2005). Where before you could clearly tell who the servant and master was, clothing now worn by all classes were seen as becoming equally as fashionable (Williams-Mitchell, 1982). Furthermore, paper patterns for clothing originated in the 17th century providing the ability to dress well for the general public, discussing the opening of traveling tailors and wig makers providing these services to the general population at low cost (Erwing, 1984 and Sherrow, 2006).

 

Internal and external factors influencing the time period and Charles II:

From research conducted, it is the authors opinion that France, the partnership of Louis XIV and Charles II and the time he spent exiled in Europe through his youth (namely Paris) were all clear external factors on Charles II chosen styles in postiche, make-up and dress. As previously explored, the fashions seen introduced were directly from France.

 

In most depictions of Charles II especially the earlier, he is always in a suit of armour or elements of armour still attached. Believing from research, this is due to the era and the civil conflicts constantly erupting around him. However, Charles II was still popular. Corson (2003) would agree with this observation in respect to the increase in male makeup and postiche use in the second half of the seventeenth century, suggesting he was influential to the upper classes, especially those who could afford to follow suit.

 

Analysing portraits of Charles II in particular, Adriaen Hanneman’s oil on canvas circa 1648 and Sir Peter Lely portrait of Charles II (circa 1675), one can definitely see the difference in the make-up use. The younger Charles II did not have much make-up applied. Perhaps a light orange lip tint and some slight powdering (probably lead based) to whiten the skin, a wig may have already also been used. In Sir Peter Lely portrait’s done around 1675, apparently more makeup is utilised. The use of a red/orange lip tint, a pale smooth shine to the skin which could be achieved from the previously mentioned concoction of egg whites and lead. Finally, powder and rouge applied on the apples of the cheeks and the darkening of features such as eyebrows. Arnold, (1970, p 13) discusses the portrait and from research concludes that Charles II “probably shows, a full wig with the natural hair pulled through at the front.”

 

Conclusion:

Throughout Charles II’s rein, the restoration period saw a boom in beauty industries relating to personal hygiene (perfumery), postiche and make-up for both sexes, all whilst he returned the monarchy to power. During his lifetime, there was great strife amongst the classes causing the gap between the poor and the rich to get more extreme and leading into the 18th century. It is clear from research that Charles II was a supporter of male makeup, postiche, beauty and extravagance in a time of civil upheaval.

 

 

Appendix Contents:

Appendix A: ‘Love locks’ and ‘the Roman T’ or ‘the hammer cut’ moustache (Corson, 2012)

Appendix B: A satire of a late 1640’s male dress. (Ribeiro, 1986)

Appendix C: Edward Bower’s 1648 painting of Charles I execution these ‘roundhead’ fashions apparent in the crowds. (Falkus, 1984)

Appendix D: Examples such as “the doublet” a popular three piece suit featuring a coat, waistcoat and breeches also named Rhinegraves or pantaloons tidied off with ribbon or trimmed with “fancies” (Cunnington, 1981. pp 63).

Appendix E: Male orientated boutiques- (Pistolese, 1970)

References:

Arnold, J. (1970) Peruke & Periwigs; a survey c. 1660-1740. Fleming & Humphreys (Baylis) Ltd, Leicester and London.

Bio (2013) http://www.thebiographychannel.co.uk/biographies/charles-II.html - accessed 14/05/2014

Brayfield, C. (2005) How feminism began - with shopping in the 17th century: The Times. 22/12/2005: p. 14

Bryer, R. (2000) The history of hair. Philip Wilson Publishers Ltd, London.

Calthrop Clayton, D. (1963) English Costume; 1066-1830. A.&C. Black Ltd, London.

Corson, R. (2003) Fashions in Make-up from Ancient To Modern Times. Third Edition, Peter Owen Publishers, London.

Corson, R. (2012) Fashions in Hair; the first five thousand years. Peter Owen Publishers, London.

Cunnington, P. (1981) Costume in Pictures. Herbert Press LTD, London.

Ewing, E. (1984) Everyday Dress; 1650-1900. Anchor Brendon LTD, B.T. Batsford Ltd, London

Falkus, C. (1984) The Life and Times of Charles II. Clark Constable LTD, Edinburgh.

Gorsline, D. (1978) A Visual History of Dress from Ancient Times to the 20th Century; What People Wore. Orbis Publishing LTD, London.

Laver, J. (1988) Costume & Fashion; a concise history. Thames and Hudson LTD, London.

National Portrait Gallery (2014 c) http://www.npg.org.uk/collections/search/portrait/mw72131/King-Charles-II?LinkID=mp00841&wPage=2&role=sit&rNo=53 – accessed 14/05/2014

National Portrait Gallery (2014,a) http://www.npg.org.uk/collections/search/portrait/mw01237/King-Charles-II?LinkID=mp00841&wPage=0&role=sit&rNo=14 – accessed 14/05/2014

National Portrait Gallery (2014,b) http://www.npg.org.uk/collections/search/portraitLarge/mw71976/King-Charles-II?LinkID=mp00841&wPage=3&role=sit&rNo=79 – accessed 14/05/2014

Pearson Schools and FE Colleges (2014) http://www.pearsonschoolsandfecolleges.co.uk/FEAndVocational/HairBeautyAndHolisticTherapies/BeautyTherapy/MakeupArtistry/Samples/Samplematerial/Historyoffashionandmake-up.pdf - accessed 14/05/2014

Pistolese, R. Horsting, R. (1970) History of Fashions. John Wiley & Sons, INC, London.

Reilly, L. (2013) Why did People Wear Powdered Wigs? http://m.mentalfloss.com/article.php?id=31056 – accessed 14/04/2014

Ribeiro, A. (1986) Dress & Morality. B.T. Batsford, London.

Sherrow, V. (2006) Encyclopedia of Hair; a cultural history. Greenwood press, London.

The BBC (2014) Charles II. http://www.bbc.co.uk/history/historic_figures/charles_ii_king.shtml- accessed 10/05/2014

The V&A (2014 A) Style Guide: Restoration. http://www.vam.ac.uk/content/articles/s/style-guide-restoration/- accessed 22/04/2014

The V&A (2014 B) 17th Century Theatre. http://www.vam.ac.uk/content/articles/0-9/17th-century-theatre/ - accessed 22/04/2014

Truman, N. (1966) Historical Costuming. Second Edition. Sir Isaac Pitman & Sons LTD, London.

Williams- Mitchell, C. (1982) Dressed for the Job; the story of occupational costume. Blandford Books LTD, New York.

Mood board:

Cunnington, P. (1981) Costume in Pictures. Herbert Press LTD, London.

Falkus, C. (1984) The Life and Times of Charles II. Clark Constable LTD, Edinburgh.

Morley, J. (1997) Panorama; a history of fashion from loincloths to Lycra. Macdonald Young Books, East Sussex.

National Portrait Gallery (2014) Charles II http://images.npg.org.uk/264_325/4/4/mw135144.jpg - accessed 20/03/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/0/5/mw129905.jpg- accessed 20/03/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/6/0/mw136460.jpg -accessed 14/05/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/3/5/mw01235.jpg - accessed 14/05/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/3/6/mw01236.jpg - accessed 14/05/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/3/7/mw01237.jpg - accessed 14/05/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/3/8/mw01238.jpg - accessed 14/05/2014

National Portrait Gallery (2014) http://images.npg.org.uk/264_325/3/9/mw01239.jpg - accessed 14/05/2014

Truman, N. (1966) Historic Costuming. Sir Isaac Pitman & Sons Ltd, London.

Williams- Mitchell, C. (1982) Dressed for the Job; the story of occupational costume. Blandford Books LTD, New York.

 

 

Appendix:

 

Appendix A:

‘Roman T’ beard and a straight ‘love lock’