What were wigs made of in the 1700s, horsehair human hair and powdered starch explained

The materials behind 18th-century hairpieces: an overview of historic wig components

When people today ask what were wigs made of in the 1700s, they are often surprised to learn the variety, ingenuity and social complexity wrapped up in those powdered styles. In the long 18th century, hair fashion was not a single material story: craftsmen combined plant and animal fibers, human hair, manufactured additives and cosmetic powders to create the looks that signaled class, profession and taste. This article unpacks the most common substances — horsehair, human hair, and powdered starch — and then expands on the production techniques, finishing products like pomatum and powder, and the cultural reasons behind material choices.

Primary raw fibers: human hair and its sources

Human hair was prized for its natural appearance and ability to accept colour and curl. Barbers, hair merchants and wig-makers sourced hair from multiple channels: barbers’ combings, hair sold by ordinary people, imported consignments from Europe and beyond, and occasionally from monasteries or hospitals where hair cuttings were collected and sold. Human hair wigs were more expensive because they looked lifelike and could be re-styled; they were commonly used for intimate portraits, court appearances and by those who could afford upkeep. Human tresses were washed, sorted by length and quality, softened with oils or mild pomatum, and then sewn or knotted into lace or canvas caps.

Horsehair: structure, strength and volume

Horsehair had a central role in the 1700s, especially for specific structural needs. Unlike human hair, horsehair is coarse, springy and durable; it was used to make under-structures, padding, false tails and full wigs when a lighter, cheaper or more voluminous alternative was desired. Wig-makers used mane and tail hair for its length and strength, sometimes mixed with human or goat hair to create a balance of sheen and robustness. The texture of horsehair allowed wigs to hold big shapes — rolls, poufs and stiff queues — and it resisted humidity better than many plant fibers.

Other animal fibers: goat, sheep and even yak

Goat and sheep wool were less common but still part of the material palette, particularly in provincial areas or for lower-cost theatrical wigs. Goat hair could mimic a coarse human look and was easier to obtain in bulk. In global trade networks, fibers from different regions appeared in markets and were adapted to local tastes. The wig-maker’s shop was therefore a mixed-fiber environment where appearance, cost and availability determined choice.

Non-hair components: canvas, wire, pads and frames

To support the elaborate silhouettes that became fashionable, craftsmen relied on non-hair supports. A typical large wig often contained an inner cap or "toilet" made from canvas or linen, stiffened with starch or glue, and sometimes reinforced with wire frames or cork pads. These supports were crucial to keeping height and shape. Horsehair might be wound around a frame to create a pouf; cotton wadding or wool pads were tucked in for volume. The combination of stiffened caps, wire, and padding made it possible to achieve towering forms without relying solely on hair mass.

Pomatum and binding agents: the grease that kept style in place

Pomatum was an essential preparation used long before modern hair gels. It typically combined rendered animal fats, beeswax, resins and fragrant additives such as orange flower water, ambergris or musk. Pomatum helped to bind individual hair strands to each other and to the cap, provided sheen, and acted as an adhesive for sticking on powder. While pomatum could preserve a style, it also attracted dirt and vermin if not properly cleaned, and heavy use could discolor fine human hair. Wig maintenance therefore required careful cleaning cycles that included re-starching and re-pomatuming.

Powder: starch, flour and scented mixtures

One of the most distinctive features of 18th-century wigs was the white powder. When considering what were wigs made of in the 1700s, many people immediately picture powdered white hair — a look achieved largely with starch-based powders. Powder was commonly made from wheat starch or rice starch, sometimes mixed with ground white clay (kaolin) or fine flour. Producers might scent the powder with lavender, orange flower or other aromatics to mask odors. Powdering served several functions: it hid discoloration, gave a fashionable matte whiteness, softened the look of pomatum, and created a uniform surface that photographed and painted well. Wealthier clients could afford finer, perfumed powders packaged by apothecaries or specialized powderers.

Application techniques: powdering, curling and styling

Wigs were styled using a set of craft techniques that combined heat, chemicals and mechanical shaping. Curls were set with heated irons, papillons (tubes of paper) or by winding hair around wooden rods. Starch was applied as a dry powder or as a wet paste that stiffened when dried; the latter was useful for maintaining vertical elements. Backcombing and padding produced volume; hot irons fixed the overall shape. For coloured or streaked effects, wig-makers used dyes — sometimes chemical, sometimes vegetable — and even introduced false segments of hair for highlights. The entire process required skill and time, which is why bespoke pieces were expensive.

Economics and social signals: why materials mattered

The choice between horsehair, human hair and other materials was rarely purely practical: it was a social decision. Gentlemen of the court and established professionals preferred natural human wigs as a sign of refinement. Horsehair wigs and mixed-fiber pieces were acceptable for fashionable but slightly less formal uses, for theatre and for people who needed durability over delicate appearance. Powdering itself conveyed status: an impeccably powdered wig required frequent maintenance and travel to a hairier or barber, so the look signalled leisure and wealth. Conversely, soldiers, sailors and labourers often wore simpler, untreated, or locally-made hairpieces adapted for functionality.

Health, hygiene and the unseen costs

Wigs in the 1700s came with hygiene issues. Pomatum, powder and natural oils attracted lice and mites. The practice of wearing wigs also encouraged less frequent head washing under the original hair, which could exacerbate scalp conditions. However, some contemporaries argued wigs reduced direct exposure to environmental dust and cold, and powdered wigs were even thought to mask small imperfections or baldness. Cleaning routines for quality wigs included careful washing with lye or mild soap, removal of infestations, re-application of pomatum and re-powdering.

Trade networks and material availability

The flow of hair and associated materials was shaped by trade networks. Imported hair could come from Eastern Europe, Mediterranean regions and the broader Atlantic trade. Horsehair and goat hair were sourced regionally from rural markets. Starch and powdered bases were produced in mills and apothecaries, and perfumers added scents to distinguish premium powders. Wig-makers maintained relationships with suppliers and often kept stockpiles of different grades of hair for clients with varying budgets.

Conservation and museum examples

Today, preserved 18th-century wigs in museums and collections provide valuable evidence about materials and construction. Conservators analyse hair under microscopes, perform fiber tests, and sometimes use non-invasive spectroscopy to detect residues of pomatum or powder ingredients. These scientific methods confirm historical records: many surviving pieces show mixed-fiber construction, evidence of canvas caps, and residues consistent with starch and fatty pomades.

Regional and class variations

Across Europe and the American colonies, wig fashions and materials varied. In metropolitan centres like London and Paris, luxury human-hair wigs and perfumed powdered products dominated elite circles. In provincial towns and theatrical contexts, cheaper materials such as horsehair, sheep wool or blended substitutes were common. Clergy, legal professionals and military officers often followed distinct conventions — shorter, powdered queues versus full perukes — that determined material choice.

Summary: answering the core question

To return to the core curiosity — what were wigs made of in the 1700s — the short answer is that they were composite creations: primarily human hair when realism and status were priorities, commonly horsehair or mixed animal fibers where structure and volume were needed, and finished with powdered starch and pomatum to achieve the fashionable whitened appearance. Wig-makers used supports, frames and adhesives to hold form, and craftsmen selected materials according to cost, availability and social meaning.

Practical legacy: what modern reenactors and conservators should know

For historical reenactors and conservators, understanding the original materials helps with faithful reproductions and proper care. Human-hair pieces require different cleaning and storage methods than horsehair wigs; powdered starch can be recreated with modern starches and subtle scents, while pomatum can be faithfully approximated with beeswax and carrier oils. Conservation ethics emphasise reversible treatments and the minimisation of modern contaminants.

Historical nuance matters: not every wig was powdered, not every wig was human hair, and local custom often overrode metropolitan fashion. Understanding materials illuminates not just craft but context — class, trade and daily life in the 1700s.