Historic Vests and Jackets

A selection of 19th-century vests and jackets, showcasing intricate designs and fabrics. Highlights fashion evolution with attention to detail and ornamental styles.

Men's clothing vest Habit unknown

Jacket 1825-35 British. Jacket. British. 1825-35. linen

Waistcoat 1840 American. Waistcoat 90932

Vest 1860-69 American Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.The patterning on this vest is composed of the highly sinuous paisley form seen on French paisley shawls which were at the height of their popularity in the 1860s. The paisley motif was adapted by Europeans from the Indian boteh form after the appearance of goods, such as shawls, began to be imported from India by the East India Trading Companies in the 17th century. This motif has endured through the century and has become one of the

Wedding waistcoat 1860 American. Wedding waistcoat 91082

Vest 1854 American or European. Vest 91040

Vest 1840s Danish. Vest 91049

Men's clothing vest Habit unknown

Waistcoat, Medium: silk embroidery on silk foundation, linen back Technique: embroidered on satin weave, White satin with polychrome silk embroidery and green and brown chenille. Small floral sprays scattered over the ground. Down the center, a series of fish of many different types. Cut straight across the bottom. Pockets are straight., France, 1775-1800, costume & accessories, Waistcoat

Waistcoat 1830-35 American. Waistcoat 90933

Waistcoat 1850s American or European. Waistcoat 91087

Mondon M., 1920, Ivory synthetic fur, lining in ivory silk with Palais Galliera Palace, Museum of fashion of the city of Paris

Mondon M., 1920, Ivory synthetic fur, lining in ivory silk with Palais Galliera Palace, Museum of fashion of the city of Paris

Woman's Summer Outer Jacket, 19th century, 32 1/2 x 66in. (82.6 x 167.6cm), Silk, China, 19th century

Vest. Culture: American or European. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Alvin Shiren and Nancy Crimi, Vest, c 1940 Vest

Yellow vest with red stripe, vest outerwear men's clothing apparel silk wool linen shoulder, waist, bottom, textile yellow men's vest with red stripe high collar button fastening with eight buttons and buttonholes with wrap that can change Lining and back of light linen fabric. Rear almost completely open and fasten with three bows man dress suit

Vest. Dated: c. 1940. Dimensions: overall: 38.5 x 29.5 cm (15 3/16 x 11 5/8 in.). Medium: watercolor and graphite on paperboard. Museum: National Gallery of Art, Washington DC. Author: Alvin Shiren and Nancy Crimi.

Blouse ca. 1860 American. Blouse. American. ca. 1860. Cotton, linen

Garment; silk, lined with linen

Cardar Satin cardigan, with embroidered floral scatter Motif in brown, cream and green and fine flower and leaf vessels in brown, pink, cream and green; sleeves and back of white flannel, anonymous, 1770 Cardigan of white silk satin, embroidered purple and green flower fits. White rusted linen sleeves. No collar, closed back. silk. linen (material). satin. flannel embroidering Cardigan of white silk satin, embroidered purple and green flower fits. White rusted linen sleeves. No collar, closed back. silk. linen (material). satin. flannel embroidering

Undershirt 1864 American A visually pleasing garment with its decorative embroidery, perhaps what is most interesting about this piece is its provenance. The undershirt was made for Louise Garbin Zabriskie, born May 30, 1864. The Zabriskie's were a prominent Brooklyn family and their social standing is evident by the high quality of this piece of infant wear.. Undershirt 157898

Vest. Printed cotton, beige canvas, green and red patterns, 7 covered buttons, between 1815 and 1830. Galliera, fashion museum of the city of Paris. Covered button, print cotton, vest, haute couture, masculine, male model, green, red, seven pattern, beige canvas, clothing

Men's vest in cream-colored rips silk, embroidered in yellow and cream, vest outerwear men's clothing silk shoulder, waist, bottom, textile embroided mens vest of cream colored rips silk embroided in yellow and cream color along the edges board and on the pocket flaps Narrow upright collar cut away front placket button fastening at the center front with nine buttons covered with fabric At the hem also hook and eye Back and lining of simpler fabric man dress suit empire

Evening vest. Culture: probably French. Date: 1840-49.Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward. Museum: Metropolitan Museum of Art, New York, USA.

Men's vest. unknown, author

Dress 1878 American. Dress 173524

Waistcoat late 18th-early 19th century American or European. Waistcoat 79243

Waistcoat ca. 1790 French. Waistcoat 84575

Bodice from a womans gown unknown

Vest 1840s American or European. Vest 90925

Visiting dress. Culture: probably American. Date: 1890-93. Museum: Metropolitan Museum of Art, New York, USA.

Coat mid-19th century American or European. Coat 91914

Vest ca. 1838 American or European. Vest 90928

Vest ca. 1850 probably Italian. Vest. probably Italian. ca. 1850. silk

Vest 1830-49 European. Vest 90814

Baby jacket; 1. PO. 18th century (1701-00-00-1750-00-00);Becik, clothing, children's clothing

Bodice late 18th century American or European. Bodice 86863

Evening vest. Culture: American. Date: 1838.Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.The vest of the 1820s and 30s prominently had shawl collars and patterned textiles. This vest is a beautiful example of that period and exemplifies the decorative quality required. The wool pile embroidery is unique and intriguingly muted next to the glossy velvet while the glass buttons are a distinctive vivid contrast. Museum: Metropolitan Museum of Art, New York, USA.

Bodice. Culture: American or European. Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Coat. Culture: American or European. Date: mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Bodice of a burgess unknown

Waistcoat. unknown, author

Woman's Blouse (Spain); cotton; Bequest of Marian Hague; 1971-50-69

A dress made of taffeta and lace, consisting of a bra and skirt. unknown

Vest of black sheet with back of white cotton with nine silver buttons with crowned W. vest of very fine black sheet, with back of white cotton, part of office suit. Short sleeveless model, high-locked with a standing border. Permitted slightly digested with a point. Nine silver buttons with a crowned w embossed.

Wedding vest 1854 American. Wedding vest 91045

Waistcoat; silk embroidery on silk foundation; 1917-27-1

Vest 1835-55 American or European. Vest 90810

Suit ca. 1825 American. Suit 98144

Waistcoat 1774-93 French. Waistcoat 108558

Morning jacket ca. 1870 American. Morning jacket. American. ca. 1870. Cotton

Garment, Medium: silk, lined with linen Technique: ribbed weave with supplementary warp pile (velvet), 18th century, costume & accessories, Garment

Waistcoat. Culture: French. Date: 1760-70.Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.The embroidery on this vest is particularly attractive, from the inventive floral sprigs composed of different flowers down to the dot border being reflected in the bull's-eye motif of the buttons. Overall this is a charming remnant of 18th-century men's wear. Museum: Metropolitan Museum of Art, New York, USA.

Jacket early 19th century. Jacket 85625

High -closed sleeve vest with two low bags with valve and 11 dust buttons, fine red -green striped satin; sleeves and part of the back of green silk, lining linen and cotton, anonymous, c. 1760 - c. 1770 High -closed sleeve vest with two low bags with valve and 11 dust buttons, fine red -green striped satin; Sleeves and part of the back of green silk, lining linen and cotton. The lining has been labeled by Avril Hart (V&A) as "Fustian" and is half linen, half cotton. Netherlands (possibly) silk. satin. linen (material). cotton (textile). fustian High -closed sleeve vest with two low bags with valve and 11 dust buttons, fine red -green striped satin; Sleeves and part of the back of green silk, lining linen and cotton. The lining has been labeled by Avril Hart (V&A) as "Fustian" and is half linen, half cotton. Netherlands (possibly) silk. satin. linen (material). cotton (textile). fustian

Waistcoat, Medium: silk Technique: chain-stitch embroidery, Cream-white taffeta waistcoat embroidered in multi-colored silks using chain stitch. Legend of the Fox and the Crow across bottom and pocket flap. Sprays of flowers on buttonholes. Late 18th century style waistcoat with a straight bottom and standing collar. Narrow silk fringe edges on front and collar. Twelve buttons., France, late 18th century, costume & accessories, Waistcoat

Chasuble with embroidered orphrey unknown

Bodice from a womans gown unknown

Vest; The eighties of the 18th century (1780-00-00-1789-00-00);shells, ships, plant ornaments, sea landscapes

Bodice. Culture: American or European. Date: late 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Dress. Culture: French. Date: 1885-90.Amelia Beard Hollenback (1877-1969) was the daughter of the prominent financier and philanthropist John Welles Hollenback (1835-1927). The members of the Hollenback family were avid travelers, making frequently trips throughout Europe and the United States. Made for Amelia in Paris, this vivid blue plush coat exhibits the same detail given to women's clothing of the time. Museum: Metropolitan Museum of Art, New York, USA.

Waistcoat 1787-89 French. Waistcoat. French. 1787-89. silk

Loose sleeve from children's wambuis from matted white satin, anonymous, c. 1600 - c. 1699 Loose sleeve from children's wambuis made of matted white satin. Sportswear (). Netherlands (possibly) satin Loose sleeve from children's wambuis made of matted white satin. Sportswear (). Netherlands (possibly) satin

Coat. Culture: American. Date: 1868.This boy's coat is a handsome example of a child's dressy outer garment to be worn when the child is on display. The garment is in excellent condition and shows very little wear. It is possible that it may have been worn by two children as the skirt was originally two inches longer, which changes the proportion of the cape to the skirt length of the coat. The cord embroidery on the coat is very elaborate and nicely textured. Museum: Metropolitan Museum of Art, New York, USA.

Bodice of a burgess unknown

Waistcoat 1850s American. Waistcoat 91083

Vest with front buildings of cream -colored side, embroidered with a floral motif, anonymous, 1906 Vest with front buildings of cream -colored side, embroidered with a floral motif of cream -colored side, and back properties. Model: Scarf collar, lightly tailored, two side pockets with narrow borders, closure by means of four fabric buttons. Lined with finely woven cream -colored linen. Backs of ditto linen, hemed to the middle and equipped with Banje with copper buckle. Veriaing: on the scarf collar, the fronts and the pocket flaps embroidered with a Chinese -looking floral motif. The buttons are unadorned. Dutch East Indies, The Fronts: Silk. embroidery:. Lining: Linen (Material). Back properties: Linen (Material). buckle: copper (metal) embroidering / casting Dutch East Indies, The Vest with front buildings of cream -colored side, embroidered with a floral motif of cream -colored side, and back properties. Model: Scarf collar, lightly tailored, two side pockets with narrow borders,

Cape mid-19th century American or European. Cape. American or European. mid-19th century. no medium available

Waistcoat, Medium: silk Technique: two interconnected structures: twill plus plain weave (lampas) Label: silk lampas, Gentleman's waistcoat with a small overall pattern and neo-classical leafy sprays symmetrically arranged down the center front, in taupe on an olive green ground. At the lower edge, a 'frieze' of the Triumph of Cupid in blue and white., France, 1785-1800, costume & accessories, Waistcoat

Vest. Satin shaped blue petroleum and brown, cheese canvas back brown, cream cotton lining, 2 leather strips on the edge, 6 flowing button and 6 buttonholes, between 1890 and 1900. Galliera, Museum of fashion of the city of Paris. Leather strip, petroleum blue, border, passage button, buttonie, two, back, cotton cotton lining, vest, haute couture, brown, masculine, male model, satin facon, six, canvas brown

Vest third quarter 19th century probably French. Vest 91072

Bodice from a womans gown unknown

Body from beige side with a woven line; The body has long sleeves and is equipped with a front with a high board, part of dress (), Anonymous, c. 1897 Body of striped beige silk. Tailored and put on a thin cotton abdomen; With a small lap. Outstanding fronts with vertical stripes cover a cross -stripped triangular vest, on which a raised high board is set. Seventest sleeves, smooth from below, but with a wrinkled head. The closure with hooks and eyes is at the front. Netherlands silk. cotton (textile). haken: metal Body of striped beige silk. Tailored and put on a thin cotton abdomen; With a small lap. Outstanding fronts with vertical stripes cover a cross -stripped triangular vest, on which a raised high board is set. Seventest sleeves, smooth from below, but with a wrinkled head. The closure with hooks and eyes is at the front. Netherlands silk. cotton (textile). haken: metal

Woman's Collar. Europe or North America, early 19th century. Costumes; Accessories. Linen plain weave, drawn threadwork, cotton embroidery

Dress. Culture: American. Date: 1850-55.This is nice, well-made example of a stylish boys garment from the period when both boys and girls wore dresses as toddlers. During this time it was considered a coming of age when boys could graduate to wearing pants. Museum: Metropolitan Museum of Art, New York, USA.

Bodice of a burgess unknown

Coat 1787-89 probably French. Coat 91868

Vest 1820 American or European. Vest 108622

Waistcoat early 19th century American or European. Waistcoat 90922

Waistcoat 1840-59 American or European. Waistcoat. American or European. 1840-59. silk

Jerkin European early 17th century Consultation with the Arms and Armor Department determined that this jerkin may have been worn under armor, due to the abrasion pattern visible across the garment.

Jacket late 18th century French. Jacket. French. late 18th century. silk

Dress 1870s American. Dress. American. 1870s. cotton

Pelerine. Culture: American. Date: ca. 1835.This is a quintessential example of the multi-tiered pelerine collars of the 1830s that lay on top of the large gigot dress sleeves. The combination of floral embroidery, saw-tooth borders and various pointed edges creates a visually compelling effect. Museum: Metropolitan Museum of Art, New York, USA.

Blue silk dressing gown, anonymous, c. 1750 A dressing gown of light blue silk (taft) lined with identical blue silk but with a slightly coarser structure; used neck; the sleeves at the cuffs narrowed (turned or wrinkled); Seam in the middle of the lining. Netherlands silk A dressing gown of light blue silk (taft) lined with identical blue silk but with a slightly coarser structure; used neck; the sleeves at the cuffs narrowed (turned or wrinkled); Seam in the middle of the lining. Netherlands silk

Mouna Katorza, 1931. Printed canvas, Gros-Grain. Woolen threw, silver wire embroidery. Palais Galliera, fashion museum of the city of Paris.

Bodice 1860-65 American. Bodice 109497

Jeanne Lanvin (1867-1946). Bolero in lamé and stitching, around 1933-1934 (front view). Galliera, fashion museum of the city of Paris. 25960-4 Bolero, feminine, blade, gold, surprise

Vest 1885-90 probably British. Vest 91123

Neck Insert or Dress Front Made 1701-1900 Greece. Linen, plain weave; embroidered with linen in eyelet hole, double hem, overcast, and satin stitches; insets of linen, needle lace; edged with linen, twill oblique interlacing tape .

Slobkous from ecrukliglig linen, short model with four knots and a linen belt under the foot, anonymous, c. 1900 - c. 1930 Slobkous of coarse ecrukligent linen cotton, short model with four cream -colored mother -of -pearl knots. Lined with fine linen cotton a linen belt under the foot, with silver -colored buckle. Netherlands whole: Cotton (textile). lining: cotton (textile). Buttons: Mother of Pearl. buckle: Metal Slobkous of coarse ecrukligent linen cotton, short model with four cream -colored mother -of -pearl knots. Lined with fine linen cotton a linen belt under the foot, with silver -colored buckle. Netherlands whole: Cotton (textile). lining: cotton (textile). Buttons: Mother of Pearl. buckle: Metal

Wedding vest 1808 British. Wedding vest 174530

Shirt of Mail and Plate late 15th-16th century Turkey, possibly Istanbul The Arabic inscriptions in praise of an unidentified ruler ("the khan, the wise") are similar to those found on turban helmets attributed to the Ak-Koyunlu (White Sheep Turkoman) in northwestern Iran and Anatolia.. Shirt of Mail and Plate 32107

Noh Costume (Nuihaku) with Millet and Nandina Berries on a Background of Pine Branches and Zither Bridges late 18th-early 19th century Japan A nuihaku is a pliant, full-length costume for the Noh theater usually worn by actors playing the roles of women or young men. The term nuihaku is a compound word made up of two textile techniques: embroidery (nui) and application of metallic leaf (haku). On this robe, the embroidered design consists of scattered sprays of ripe millet and nandina plants with their characteristic red berries, while applied gold leaf defines alternating blocks of pine branches and zither (koto) bridges. All four motifs have auspicious symbolism in Japanese art.. Noh Costume (Nuihaku) with Millet and Nandina Berries on a Background of Pine Branches and Zither Bridges 70233

Charles Bowman, Man's Vest, 1941 Man's Vest

Blouse; XIX/XXW. (1880-00-00-1920-00-00);

Nancy Crimi, Man's Waistcoat, c 1941 Man's Waistcoat

Vest 18th century American or European. Vest. American or European. 18th century. no medium available

Cape. Culture: French. Designer: Emile Pingat (French, active 1860-96). Date: ca. 1895.Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailored outwear was particularly sought after.This beautifully constructed Pingat cape gains a rich and elegant appearance from its use of coordinating black beadwork embroidery on alternating flat and pleated panels of contrasting materials. That elegance can particularly be seen in the front where the embroidery on the two flannel panels line up to create a larger cohesive design oriented horizontally, a

Dress 1891 American. Dress 102937

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