Texts on wig making - Cage wig research

Consulting the book 'Wig Making and Styling' I found some examples of structured wigs and also using different materials in wigs, below are some screenshots from this;

 The text didn't specifically cover what I was looking for, however did explain how to use hair alongside different materials or change the structure of an already made wig. The images were useful in showing the structuring of the cage, however the fact that it didn't look too secure a structure and also wasn't covered in the tutu net I have previously seen meant it wasn't going to be a book I followed, but was good to consider as alternate technique.

Also included was a gallery of alternate wig shapes which would be created for theatre. This is not the context I am working in but it was interesting to see the amount of shapes achievable with the structuring technique.

There are not many texts available on the construction of tall/cage wig structures only very incredible tutorials using alternate ideas of doughnuts and wire mesh, therefore I began to look at the history of high wigs instead - although this research is not appropriate to the era my project is based on it is still important to understand the origin of tall wigs - something briefly touched on in our first year History and Reality unit;

The seventeenth and eighteenth century was ages of elegance. Never in European history do we see men and women so elaborately artificial, so far removed from natural appearance. What could not be done with the natural hair was made with wigs. This epoch was an extravagant explosion of amazing hairstyles, a reaction completely opposed to the modesty and shyness of former centuries. The hair was in synchrony with the "Rococo" style, which was the most important one until the end of the century. It was an artistic style in which curves "s" shaped predominated, with asymmetries, emphasizing the contrast; a dynamic and brilliant style, where the forms played integrating a harmonious and elegant movement. A style according with an age of new philosophic ideas, like the Enlightenment, and according with the affluence of a powerful economic wealth arrived to Europe from the travels to the new continent, America. People at that time believed that they were living in the best of all possible worlds. At the end of the century, artistic and cultural styles changed; it appeared the "neo-classic" style, much more sober and conservative, with a return to the classic Greek and Roman esthetic.

The wear of wigs in men started to be very popular at the end of the 17th century, while the reign in France of Louis XIV, the Sun King. All his court began to use wigs, and as France was the pattern of the fashion for all Europe at that age, the use of wigs was spread to the rest of the courts of the continent. In 1680 Luis XIV had 40 wigmakers designing his wigs at the court of Versailles. 

From 1770, wigs were also extended to women. And, as the years were going on, women wigs were being made taller and more sophisticated, especially in France. Men's wigs were generally white, and women's wigs of pastel colors, like pink, light violet or blue. Depending on how wigs were ornamented, they could reveal a person's profession or social status. Wealthier people could cost expensive wig designers and better materials. They were made in general with human hair, but also with hair from horses or goats. The countess of Matignon, in France, paid to the famous hairdresser Baulard 24.000 livres a year to make her new headdresses every day of the week. 

Near 1715, wigs started to be powdered. Families had special rooms for "toilette", where they arranged and powdered their artificial hair. Wigs were powdered with starch or Cyprus powder. To powder wigs, people used special dressing gowns, and covered their faces with a cone of thick paper.

Images and text from History of Hairs.com