Cotton waistcoat with mother-of-pearl buttons, Met, c. 1860-69

Cotton waistcoat with mother-of-pearl buttons, Met, c. 1860-69

Embroidered waistcoat, McCord Museum, 1860

Embroidered waistcoat, McCord Museum, 1860


French waistcoat, Met, 1760-70

Wedding Waistcoat, Met Museum, 1860 For all the men out there!

Wedding Waistcoat, Met Museum, 1860

For all the men out there!

Riding Waistcoat | V&A Museum | c. 1790-1795 A woman’s riding outfit, known as a ‘riding habit’, frequently included a waistcoat styled after those worn by men, which accompanied a masculine-style coat and a petticoat (or skirt). This double-breasted example with high collar and revers (lapels) reflects the fashionable styles of men’s waistcoats in the early 1790s. The back lacing allowed a snug fit over stays and under a closely tailored coat.

Riding Waistcoat | V&A Museum | c. 1790-1795

A woman’s riding outfit, known as a ‘riding habit’, frequently included a waistcoat styled after those worn by men, which accompanied a masculine-style coat and a petticoat (or skirt). This double-breasted example with high collar and revers (lapels) reflects the fashionable styles of men’s waistcoats in the early 1790s. The back lacing allowed a snug fit over stays and under a closely tailored coat.

Waistcoat | V&A Museum | c. 1730-39 Satin dyed, a brilliant sunshine hue forms the body of this court waistcoat of the 1730s. Such a rich yellow was fashionable in men’s and women’s dress from the 1730s until the 1780s. In keeping with the lavishness of court dress, the waistcoat is embellished with embroidery in coloured silk and silver threads of several textures. A pattern of large flowers and leaves with feathered scrolls cover the front edges, the pocket flaps and the front of the waistcoat skirts. The scale of the embroidery pattern and its range of textures are characteristic of Baroque design in general and 1730s embroidery in particular.

Waistcoat | V&A Museum | c. 1730-39

Satin dyed, a brilliant sunshine hue forms the body of this court waistcoat of the 1730s. Such a rich yellow was fashionable in men’s and women’s dress from the 1730s until the 1780s. In keeping with the lavishness of court dress, the waistcoat is embellished with embroidery in coloured silk and silver threads of several textures. A pattern of large flowers and leaves with feathered scrolls cover the front edges, the pocket flaps and the front of the waistcoat skirts. The scale of the embroidery pattern and its range of textures are characteristic of Baroque design in general and 1730s embroidery in particular.

Waistcoat | V&A Museum | c. 1745 Women’s waistcoats were usually sleeveless like a man’s waistcoat, but shorter and shaped to fit over stays. Worn with a petticoat and bedgown, a waistcoat formed part of the informal ensemble of women’s dress. It could be worn under a gown to provide extra warmth. This waistcoat is made of silk quilted in a diaper pattern. Bright yellow was a popular colour for women’s dress from the 1740s to the 1770s. Quilting was a common type of needlework in the 18th century, as it was both decorative and practical. It can also be seen on petticoats and gowns. This waistcoat has a matching pair of pockets.

Waistcoat | V&A Museum | c. 1745

Women’s waistcoats were usually sleeveless like a man’s waistcoat, but shorter and shaped to fit over stays. Worn with a petticoat and bedgown, a waistcoat formed part of the informal ensemble of women’s dress. It could be worn under a gown to provide extra warmth. This waistcoat is made of silk quilted in a diaper pattern. Bright yellow was a popular colour for women’s dress from the 1740s to the 1770s. Quilting was a common type of needlework in the 18th century, as it was both decorative and practical. It can also be seen on petticoats and gowns. This waistcoat has a matching pair of pockets.

Riding Waistcoat | Metropolitan Museum | c. 1775

Riding Waistcoat | Metropolitan Museum | c. 1775

18thcentury: Waistcoat “In their leisure time ladies often did embroidery work at home, but the work on this piece demonstrates so advanced a level of skill that a professional maker may have been involved. The symmetry of the design from the left to the right side shows considerable proficiency in the layout of the motifs. The design of the stylized branch and flower motif was drawn on before the fabric was stretched over a wooden frame to hold it taut. The main designs were then executed in chain stitches called tambour embroidery. The seated embroideress worked the design with a hooked tambour tool in one hand placed at the back of the fabric and with the thread in the other hand on the right side of the fabric.” - (via: Arizona Costume Institute)

18thcentury:

Waistcoat

“In their leisure time ladies often did embroidery work at home, but the work on this piece demonstrates so advanced a level of skill that a professional maker may have been involved. The symmetry of the design from the left to the right side shows considerable proficiency in the layout of the motifs. The design of the stylized branch and flower motif was drawn on before the fabric was stretched over a wooden frame to hold it taut. The main designs were then executed in chain stitches called tambour embroidery. The seated embroideress worked the design with a hooked tambour tool in one hand placed at the back of the fabric and with the thread in the other hand on the right side of the fabric.” - (via: Arizona Costume Institute)