With connotations of romance, long styles hanging away from the face and over the ears were named “heart-breakers”. 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). Suggesting extravagant peruke styles could be contained to Europe (mainly France) for the general population at that time (Corson, 2003). In 1649, certain combs one needed to dress the wigs were very difficult to obtain in England. “Bigwigs, heartbreakers and love locks” (1650-1685) Furthermore, use of ‘twirling irons' has also been recorded (Corson, 2012). Postiche styles where held in place with clay pins or curling rods then they were boiled, baked or dried. 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. “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”. Men would send instructions on how they would like their wig set… 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. Charles II even banned English clergy men from wearing wigs in the 1660’s (Sherrow, 2006 & 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. Throughout the seventeenth century the ‘correct’ length of male hair was debated (Corson, 2003 and Ribeiro, 1968). Through research conducted, it is concluded by the author that Charles II was internally influenced by the arts and beauty. 1) His legacy includes introducing Ballet, Court Masque’s, and re-introducing Theatre (previously closed by Cromwell) to the English public. Through Charles II rein, the restoration was a “…period of great opulence in English art, architecture and design” (The V&A, A, 2014 pp. Charles II ruled without parliament until his death in 1685 (Bio, 2013) This had a direct impact on the ‘modes’ worn, which will be explored. 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. 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). However, was defeated by Cromwell (1651) and retreated again into exile returning to claim his throne in 1660 (BBC, 2014). In 1649, King Charles I was executed and after a deal was brokered with Scotland’s Charles II, was appointed king. However, he was soon forced to France for exile (Bio, 2013). By 12 years old, he was appointed commander in chief of Western England (BBC, 2014). 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. King Charles II (1630-1685) sat for Sir Peter Lely in 1675 for the above oil painting (National Portrait Gallery 2014, b). 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. It will focus on his life, death, legacy and mid to late 17th century hairstyles, make-up, and fashion trends. 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. Internal and external factors influencing the time period and Charles II: “Bigwigs, heartbreakers and love locks” (1650-1685):ĭictatorship to Monarchy a New Artistry in Dress (1650-1670):Ĭreation of a middle class and the freedom over clothing: Hairstyles and Postiche of the mid to late Seventieth Century: Image 1 King Charles II (1675) Peter Lely:
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