Dutch cap

Academic dress is a traditional form of clothing for academic settings, mainly tertiary education, worn mainly by those who have obtained a university degree, or hold a status that entitles them to assume them. It is also known as academical dress, academicals, and, in the United States, as academic regalia.

A folk costume expresses a national identity through clothing or costume, which is usually associated with a specific region or period of time in history. It can also indicate social, marital, or religious status. If the costume is used to represent the culture or identity of a specific ethnic group, it is usually known as ethnic costume. Such costumes often come in two forms: one for everyday occasions, the other for traditional festivals and formal wear. The word "costume" in this context is sometimes considered pejorative due to the multiple senses of the word, and in such cases "clothing", "garments" or "regalia" can be substituted without offense.

A headscarf is a scarf covering most or all of the top of a person's, usually women's, hair and head, leaving the face uncovered. A headscarf is formed of a triangular cloth or a square cloth folded into a triangle, with which the head is covered.

Western wear is a category of men's and women's clothing which derives its unique style from the clothes worn in the 19th century Wild West. It ranges from accurate historical reproductions of American frontier clothing, to the stylized garments popularized by Western film and television or singing cowboys such as Gene Autry and Roy Rogers in the 1940s and 1950s. It continues to be a fashion choice in the West and Southwestern United States, as well as people associated with country music or Western lifestyles, for example the various Western or Regional Mexican music styles. Western wear typically incorporates one or more of the following: Western shirts with pearl snap fasteners and vaquero design accents, blue jeans, cowboy hat, a leather belt, and cowboy boots.

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 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.

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.

The hennin was a headdress in the shape of a cone, steeple, or truncated cone worn in the Late Middle Ages by European women of the nobility. They were most common in Burgundy and France, but also elsewhere, especially at the English courts, and in Northern Europe, Hungary and Poland. They were little seen in Italy. It is unclear what styles the word hennin described at the time, though it is recorded as being used in French areas in 1428, probably before the conical style appeared. The word does not appear in English until the 19th century. The term is therefore used by some writers on costume for other female head-dresses of the period. This headgear was inspired by the headgear then current in the Mongol court.

Clothing in Afghanistan consists of the traditional style of clothing worn in Afghanistan. The various cultural exchanges in the nation's history have influenced the styles and flavors of contemporary Afghan designs. The national dress is the fusion of different ethnic groups in Afghanistan. The styles can be subdivided into the various ethnicities with unique elements for each. Traditional dresses for both men and women tend to cover the whole body, with trousers gathered at the waist, a loose shirt or dress, and some form of head covering.

The most characteristic North American fashion trend from the 1930s to 1945 was attention at the shoulder, with butterfly sleeves and banjo sleeves, and exaggerated shoulder pads for both men and women by the 1940s. The period also saw the first widespread use of man-made fibers, especially rayon for dresses and viscose for linings and lingerie, and synthetic nylon stockings. The zipper became widely used. These essentially U.S. developments were echoed, in varying degrees, in Britain and Europe. Suntans became fashionable in the early 1930s, along with travel to the resorts along the Mediterranean, in the Bahamas, and on the east coast of Florida where one can acquire a tan, leading to new categories of clothes: white dinner jackets for men and beach pajamas, halter tops, and bare midriffs for women.

Western fashion in the 1920s underwent a modernization. For women, fashion had continued to change away from the extravagant and restrictive styles of the Victorian and Edwardian periods, and towards looser clothing which revealed more of the arms and legs, that had begun at least a decade prior with the rising of hemlines to the ankle and the movement from the S-bend corset to the columnar silhouette of the 1910s. Men also began to wear less formal daily attire and athletic clothing or 'Sportswear' became a part of mainstream fashion for the first time. The 1920s are characterized by two distinct periods of fashion: in the early part of the decade, change was slower, and there was more reluctance to wear the new, revealing popular styles. From 1925, the public more passionately embraced the styles now typically associated with the Roaring Twenties. These styles continued to characterize fashion until the worldwide depression worsened in 1931.

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.

Fashion from 1910 to 1919 in the Western world was characterized by a rich and exotic opulence in the first half of the decade in contrast with the somber practicality of garments worn during the Great War. Men's trousers were worn cuffed to ankle-length and creased. Skirts rose from floor length to well above the ankle, women began to bob their hair, and the stage was set for the radical new fashions associated with the Jazz Age of the 1920s.

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.

Croatian national costume, also called as Croatian traditional clothing or Croatian dress, refers to the traditional clothing worn by Croats living in Croatia, Bosnia and Herzegovina, Serbia, with smaller communities in Hungary, Austria, Montenegro, and Romania. Since today Croats wear Western-style clothing on a daily basis, the national costumes are most often worn with connection to special events and celebrations, mostly at ethnic festivals, religious holidays, weddings, and by dancing groups who dance the traditional Croatian kolo, or circle dance.

Headgear, headwear, or headdress is any element of clothing which is worn on one's head, including hats, helmets, turbans and many other types. Headgear is worn for many purposes, including protection against the elements, decoration, or for religious or cultural reasons, including social conventions.

The 2010s were defined by hipster fashion, athleisure, a revival of austerity-era period pieces and alternative fashions, swag-inspired outfits, 1980s-style neon streetwear, and unisex 1990s-style elements influenced by grunge and skater fashions. The later years of the decade witnessed the growing importance in the western world of social media influencers paid to promote fast fashion brands on Pinterest and Instagram.

Fashion in the twenty years between 1775 and 1795 in Western culture became simpler and less elaborate. These changes were a result of emerging modern ideals of selfhood, the declining fashionability of highly elaborate Rococo styles, and the widespread embrace of the rationalistic or "classical" ideals of Enlightenment philosophes.

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.

Catharina Both van der Eem is a painting by the Dutch Golden Age painter Frans Hals, painted in 1620 and now in Louvre Museum. It is considered a pendant portrait to the Portrait of Paulus van Beresteyn, in the same museum.