This red wool suit is dated between 1700-1705. It is embroidered with silver-gilt thread.

The suit coat (AKA surtout or justacorps) of the Georgian period evolved from that of the Restoration period. They show slightly more shaping through the torso than their predecessors, and skirts will gradually get wider and fuller.

Other notable characteristics are:

-They initially remain collarless.

-Sleeves are shortened-ending somewhere between the wrist and elbow. Sleeves often finish in a large cuff, though there were also cuffless varieties.

-This particular coat is rather short. The typical coat is knee length.

-Coats have the ability to button from neckline to hem.

--Pocket placement is rising to functional levels. No more are pocket flaps floating just above the hem of the jacket.

-Breeches are moderately full through the rump, but are narrow through the leg. Breeches develope a fall front-a square flap that buttons closed.

His cravat is tied around his neck with the ends hanging loosely.

This coat is characteristic of those from around 1720. It is made of silk and features a ornately embroidered waistcoat (which is also made of silk).

After this time:

-the skirt of the coat continues to widen. Excess fullnes is controlled by pleating it into the center back and sides of the coat.

-Coats are now only able to button from neckline to waist. The center front corners of the coat are slightly angled toward the back, preventing the coat from closing below the waist.

-Sleeves are still just short of the wrist.

Waistcoats during the first half of the 18th century may or may not be sleeved. They continue to be long, and are cut with added fullness (just like the coat). They are slightly shorter than in the previous century-falling about 4" short of the coat hem.

This ensemble features a cravat tightly wound around his neck. The frill emerging from the center fronot of his waistcoat is a jabot. It is attached to his shirt.

After 1720, it becomes fashionable for the wide skirts of the coats to be stiffened with buckram, a heavily sized fabric of cotton or linen. This stiffening gave the affect of the skirt standing away from the body. This attempt to compete with the growing size of the female silhouette is shortly lived. In the second half of the century the silhouette will again grow narrow and vertical.

This man's coat is made with boot cuffs--large cuffs reaching up to (or beyond) the elbow).

He is carrying a tricorne hat underneath his left arm.

Coats of the first half of the 18th Century generally had side vents to accomodate the wearing of a dress sword (a sword worn solely for decoration by the aristocratic class. It is truly jewelry and would rarely be used for fighting or defense). It is possible for the coat to also have a center back vent in addition to the side vents.

Notice that his shoes have red heels. This remains a popular fad among the wealthy/noble classes. Tongues of shoes may also be painted red.

White linen cravats remain the neckwear of choice for men in the first third of the 18th century. The typical cravat was approximately 4 feet long and 6 inches wide. It wraps around the neck several times, concealing the neck band of the shirt completely.

The way that a man chose to tie his cravat was indicative of his personal style and creativity. However, there are a number of cravat tying variations that received specific names.

This gentleman wears his cravat in a manner referred to as a steinkirk. The ends of the cravat are generally twisted together in a rope like manner. However, the key identifying feature of this trend was the pulling of one end of the cravat through a buttonhole in his waistcoat.

This suit dates to the 1760s. All three components-coat, waistcoat, breeches--are made of the same fabric. Suits of this nature are referred to as ditto suits.

Beginning mid century, the amount of fullness in the coat begins to decrease. Initially, pleating at center back and the sides disappears. Gradually, the cut of the coat changes as well. Beginning at about mid chest, the corners of the coat at center front are completely rounded off (or "cut away") and slope backwards. These coats generally still feature buttons from neckline to hem, but only the top 2-3 buttons are actually able to be buttoned while being worn. The rest of the buttons and buttonholes were merely decorative.

As a result of the new cutaway styles, much more of the waistcoat and breeches are able to be displayed. These garments begin to take on a greater importance in the overall ensemble.

Coat sleeves begin to lengthen again, and will eventually reach the wrist once more.

The waist coat becomes shorter-this one reaches to the low hip.

Breeches will become more narrow and more fitted as we approach the end of the century.

This full dress suit is from the 1790s. The design of the garments dates slightly earlier, however. Many characteristics of men's suits from the last 1/4 of the century are shown here.

The standing collar developes late in the 1760s. The cutaway center front becomes more and more exaggerated. It is no longer possible for the coat to button closed. Also, the fullness through the skirts disappears altogether. There is most likely only one vent (at center back) in this coat. Sleeve length returns to the wrist.

Breeches become very narrow and fitted to the leg. Leather breeches become favorable during this time, since they were able to conform to the leg of the wearer and maintain a smooth fit. (The breeches shown here are not leather.)

The waistcoat shortens drastically. The hem usually falls somewhere between the high hip and waist. They are almost always sleeveless now, and resemble a modern day vest.

The male calf emerging from the tight breeches is considered an erogenious zone during the second half of the century. The fashionable male was well aware of this. He may even chose to wear artificial calves in order to make his leg apear more shapely.

This gentleman wears the new neckwear of choice: the stock and soliatire.

The cravat slowly fades from popularity-being retained by the more conservatively fashioned individuals. The new alternative-the stock-featured a linen square (lined in buckram) folded to create a tall, stiff neckband. The stock concealed the neckband of the shirt, and fastened at the center back with a buckle, buttons, or ties. A solitaire- a dark (usually black) silk scarf (about the size of a modern handkercheif) or a black ribbon (tied in a bow)-was worn on top of the stock.

This gentleman also wears the new popular hat over his wig. As wig styles become less voluminous, hats can actually be worn on the head once again. The tricorne hat is the favored headdress. It is created by folding up the brim of the previous century's cavalier style hat, creating three points.

Gentlemen who still favored larger styles of wigs might find it difficult to balance a hat in addition to the wig. He would have a highly decorated flattened style of hat designed to be carried rather than worn-a chapeau bras.

These two coats are both dated from the 1790s. They are similar in all manners of construction*, save the elaborate embroidery. They also might be owned by the same upper class gentleman.

Men's wear begins to favor simpler styles in the second half of the century. Quaker built, "plain dress" attire becomes the staple for daytime attire, while the more extravagant attire is saved for the most formal evening occasions or "Court Dress". Men begin to favor quality of cut and construction over ornate decoration as a sign of wealth.

*The coat on the left does seem to have a turned down collar, making it slightly different than the one on the right. Turn down collars come into fashion during the 1770s, and fold back lapels (as we know them today) come into fashion during the 1780s. Both of these collar constructions are influences from the "country dress" Frock Coat.

Pictured here are various Wig Styles for men seen during the second half of the 18th Century.

Top Row:

Left/Center Left(Fig. 1&2): Bob Wig

Far Right (Fig. 4): Toupee/Fortop Wig with queue

Center Right (Fig. 3): Bag Wig

Bottom Row:

Left/Center Left (Fig. 5&6): A Bob Wig Variation

Far Right (Fig. 9): Silk bag from Bag Wig