1650–1700 in Western fashion

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.

The wide, high-waisted look of the previous period was gradually superseded by a long vertical line, with horizontal emphasis at the shoulder.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.

In later decades, the overskirt was drawn back and pinned up to display the petticoat, which was heavily decorated.

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.

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.

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.

Early in the period, hair was worn in a bun at the back of the head with a cluster of curls framing the face.

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 doublets, and hundreds of yards of ribbon set the style.

In 1666, Charles II of England, Scotland and Ireland, 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.

One common factor were many yards of ribbon loops arranged on the shoulders and the lower parts of the sleeves.

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.

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.

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.

His early wigs very much imitated what were the hairstyles of the day, but they gave a thicker and fuller appearance than natural hair.

Wigs were introduced into the English-speaking world with other French styles when Charles II was restored to the throne in 1660, following a lengthy exile in France.

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.

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.