Historical Garments

A selection of historical clothing items, including infant jackets and men's waistcoats from the 18th to 19th centuries, highlighting intricate details.

Men's vest in cream-colored silk, embroidered with flower borders and triangles, vest outerwear men's clothing silk shoulder, waist, bottom side, textile embroidery Mens lace-up cardigan embroided with flower borders and triangles on front along edges and on pocket flaps Upright collar wide armholes cut away front panels dress man suit empire

Jacket ca. 1840 American This high-styled infant's garment reflects the styles of the time. Every detail is in place, including the gathering of the interior lining which is visible through the net layer. Great attention was also taken to the detail at the sleeve cuffs. The sprig embroidery patterning worked on the net was typical of early nineteenth century garments.. Jacket 157936

Man's Waistcoat. Italy or France, circa 1730. Costumes; principal attire (upper body). Silk twill and plain weave (gros de tours) with silk- and metallic-thread discontinuous supplementary-weft patterning bound in twill (lampas)

CARECO. Cotton canvas, printing with copper plate, white background, red shades. 1790-1800. Galliera, fashion museum of the city of Paris. CARACO, female mode, female clothing, 18th 18th 18th 18th 18th 18th 18 CENTURY

Dressing jacket 1880s American. Dressing jacket 109269

Waistcoat ca. 1760 British or French. Waistcoat 19726

Vest 1837 French. Vest 90931

Men's vest in cream-colored silk, embroidered with flower borders and triangles, vest outerwear men's clothing silk shoulder, waist, bottom side, textile embroidery Mens lace-up cardigan embroided with flower borders and triangles on front along edges and on pocket flaps Upright collar wide armholes cut away front panels dress man suit empire

Ensemble 1850 British. Ensemble 103080

Ensemble. Culture: French. Designer: Depret (French). Date: ca. 1867. Museum: Metropolitan Museum of Art, New York, USA.

Silk canered vest, metal embroidery and silver son, around 1720. Galliera, fashion museum of the city of Paris. 34791-3 Metallic embroidery, silver thread, cannetille vest, man, masculine, silk

Petticoat 1896-98 French. Petticoat 86368

Black taf side. Model: Robe Princesse, Anonymous, c. 1870 - c. 1880 Black taf side. Model: Robe Princesses. The lower edge of the dress is trimmed with a strip of white lace. Belonging to Pop BK-15444. silk. Black taf side. Model: Robe Princesses. The lower edge of the dress is trimmed with a strip of white lace. Belonging to Pop BK-15444. silk.

Evening vest 1855-60 probably French 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.. Evening vest 159247

Children's cape of white piqué, past and along the hem decorated with soutache., Anonymous, c. 1880 - c. 1890 Cape, Baby Pelisse Van Piqué puts Soutache. Amsterdam (possibly) pique Cape, Baby Pelisse Van Piqué puts Soutache. Amsterdam (possibly) pique

Underskirt ca. 1850 American or European. Underskirt 115259

Ensemble ca. 1867 Depret French. Ensemble 107881

Corset cover 1880s American. Corset cover 132282

Dress (England); Manufactured by Bromley Hall (United Kingdom); cotton

Evening dress. Culture: British. Designer: Lucile (British, 1863-1935). Date: ca. 1913. Museum: Metropolitan Museum of Art, New York, USA.

Waistcoat, Medium: silk, metallic thread, metal sequins Technique: embroidered, Right front of man's waistcoat in cream-colored silk with multicolored floral embroidery down the front and along the bottom. In a cutaway style with wide standup collar and pointed pocket flaps. Body of the waistcoat is decorated with sequins and single leaves., France, ca. 1775, costume & accessories, Waistcoat

Evening dress. Culture: French. Designer: Paul Poiret (French, Paris 1879-1944 Paris). Date: 1924.Poiret made several trips to the Near and Middle East throughout his career, and the influence of the decorative and structural elements of Eastern costumes informed his designs. An interesting phenomenon in Poiret's work from 1910 onward is his manipulation and modification of authentic Middle Eastern garments. In many instances, Poiret inserted gussets of soft fabrics into the two-dimensionally conceived garments of the region to create a more supple drape to the otherwise stiffly planar garments. In this short evening dress, Poiret retained defining elements of Middle Eastern dress and also referred to Mughal attire by inserting rigid, heavily embroidered triangular godets at either side of the skirt. The crisp outline characteristic of Mughal and Ottoman styles is subverted, however, by his use of a supple silk satin that drapes softly over the torso. Typical of Poiret's inventivenes

Woman's cape, Medium: cotton Technique: roller printed on plain weave, Tiered and ruffle-edged cape of cotton printed with a multicolored floral pattern on a black ground., Europe, early 19th century, costume & accessories, Woman's cape

Shirt 1890-99 probably American. Shirt 103179

Blouse; Herse, Bogusław (1872-1943); XIX/XXW. (1890-00-00-1930-00-00);

Waistcoat, Medium: silk Technique: embroidered and appliquéd, Gentleman's waistcoat of white ribbed silk has a small standing collar with revers and is cut straight across the bottom. Applied border of navy blue silk is decorated with single flower heads and covers the front collar, center front, pocket flaps, and the bottom edge. Body has small detached geometrical motifs while small clusters of leaves and flowers decorate the center front. Larger leaf and flower clusters with elaborately shaded ribbon garland decorate the spaces above and below the pocket flaps. Pockets flaps have applied pale blue medallions filled with a single large flower head., France, late 18th century, costume & accessories, Waistcoat

A long dress from nettle cloth with ramps, anonymous, c. 1860 A long dress from nettle cloth with ramps. Netherlands buckram. A long dress from nettle cloth with ramps. Netherlands buckram.

Robe 19th-early 20th century Greek (Attic). Robe 85869

At-home Robe (Banyan). India, probably Coromandel Coast, for the Western market, circa 1750. Costumes; nightwear (entire body). Cotton plain weave, mordant-painted and resist-dyed

Apron 1860s American. Apron 104375

Mantilla. unknown, author

Skirt late 18th century British. Skirt 155201

Fichu 1830-40 American. Fichu 168446

Coat, Medium: silk Technique: embroidered, Man's coat of brown grosgrain embroidered with floral design in pale polychrome colors., France, 1770-1780, costume & accessories, Coat

Corset - Parisian Corset Co. Ltd. Parisian Corset Co. Ltd.

Corset 1820s American or European. Corset 82068

Dolman. Culture: American. Date: 1870-80. Museum: Metropolitan Museum of Art, New York, USA.

Bustle 1873 Austrian. Bustle 85160

Dress or christening dress in white cotton, wide straight neck, lace border, christening clothes baby clothing children's clothing wear clothing cotton, textile sewn lace lace Long white cotton flared christening dress or slip dress. Body wide with side seams and shoulder pass both the front and back is further smooth. Wide straight neck with drawstring through the neck and narrow edge as garnish. Lace also runs along the sleeve ends of the straight short sleeves The waist runs drawstring The skirt is pleated from the waist and has side seams wide hem edge with two narrower dressings upwards The split mid back runs to halfway the length of the dress CH 4 dress child baby boy girl baptism baptism christian church religion religious ceremony

Ball gown 1885 House of Worth French The influence of French botanical painter Pierre Joseph RedoutŽ's faithful depictions of roses with thorny stems can be seen in this Worth gown, which applies a similar pictorial precision in brittle metallic on silk.. Ball gown. French. 1885. silk

Uçetek Entari 19th century The entari, or robe, was the main element of womens dress in the Ottoman Empire, worn together with a chemise, or gömlek, and baggy trousers, or şalvar. The typical shape of the entari, a robe open down the front with long sleeves and triangular pieces added to each side of the skirt for added fullness remained consistent over a long period, with modifications in details of length, proportion, decoration and fabric choices dictated by changing taste. The garment illustrated here would have been at the height of fashion in the second quarter of the nineteenth century, with its exaggerated length, finely embroidered muslin fabric and elaborate trim. Made of a fine white muslin, perhaps imported from India, the all over embroidered design of floral sprigs, small bouquets in baskets and intertwined ribbon was executed before the garment was assembled. The neckline, sleeve openings, front and side openings and hem are all trimmed with an intricately knotted trim

Coat 1780-89 French. Coat. French. 1780-89. silk

Coat. Culture: French. Date: 1780-89. Museum: Metropolitan Museum of Art, New York, USA.

Long flared christening dress in white cotton, high waist and V-shaped lace-up with white embroidery, christening clothes baby clothing children's clothing wear clothing cotton, textile white embroidery embroidery anglaise sewn long white widening cotton christening dress with white embroidery broderie anglaise bodice with side seams fairly high waist with band through the rear part of the waistband are three strings strung. On the front of the bodice with straight neck, V-shaped interlocking waistline with embroidery anglaise and needle lace Along the stripe piece of scalloped embroidery over the shoulder along the neck at the back ending in collar Bodice backside wrinkled Short sleeves with double pof and broderie band along the sleeve hem. Skirt pleated side seams. On the front in the center for decoration of embroidery anglaise. Double wide skirt hem. Along the upper edge of the wide hem narrow edge embroidery Split mid back from the neck to 13 of the total length of the dress dres

Evening vest. Culture: American. Date: ca. 1830.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.This vest, which belonged to a Brooklyn family, is an early example of the plain white formal satin vest. The importance of the formal vest became much more prevalent in dinner and evening wear of the late 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Caftan unknown

Petticoat late 1890s probably French. Petticoat. probably French. late 1890s. silk

Wedding dress. Culture: French. Date: 1890. Museum: Metropolitan Museum of Art, New York, USA.

Wedding vest. Culture: American. Date: third quarter 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Joseph L Boyd, Waist, c 1938 Waist

Long flared christening dress of white batiste, V-shaped front with plumetis embroidery, also on the skirt, short sleeves with three embroidery ruffles, christening clothes baby clothing children's clothing wear clothing cotton mid back, skirt, shoulder w 16.0 sleeve, under w 85,0 plain weave embroidery textile Long flared christening dress with white embroidery in plumetis On the V-shaped front on the front and on the skirt part in the middle front to the bottom wide out and behind the skirt hem as narrow sling. Short sleeve with three fine embroidery ruffles. The front has loose dot that falls over the waist dress baby child boy girl baptism baptism church religion religious ceremony

Dress 1850-75 Tibet. Dress 126722

Wedding dress. Culture: American or European. Date: 1829. Museum: Metropolitan Museum of Art, New York, USA.

Coat 1894 American. Coat 103925

Cape. Culture: American. Date: ca. 1895. Museum: Metropolitan Museum of Art, New York, USA.

Habit coat. unknown, author

Vest ca. 1850 American. Vest 91039

Dress 1762-86 American. Dress. American. 1762-86. Cotton

Dress 17th century European. Dress 102983

Dolman 1885-90 American The dolman was an essential form of outerwear in 1880s fashion. The style was shaped to fit over the bustle silhouette prominent at the time without concealing the elaborate decorations of the back of the skirt. A unique feature on this dolman is the chenille loops, which actually look like caterpillars, as the French word would imply.. Dolman 159470

Bathing suit 1890-95 American. Bathing suit 86434

Evening vest 1850-55 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 textile on this vest carefully alludes to a very sophisticated 18th-century serpentine striped fabric. Although vests of the second half of the 19th century were more somber this vest echoes the decorative quality of the past in plain white.. Evening vest 159436

Dress ca. 1895 Russian Worn by the donor, Tina H. Solomon at the age of 5, this dress is said to have been made by her mother in Russia. The heavy fabric is an indication that it was clearly made for cold weather. The plaid is beautifully matched and shows a particularly well thought out construction, which is then dressed up with sparkling buttons and silk trim. The overall silhouette follows the prevailing style of the 1890s.. Dress. Russian. ca. 1895. wool

Dress apron for a doll of white cotton, decorated with narrow and wide lace strips, Anonymous, 1880 - 1890 Dress apron for a doll of white cotton, decorated with narrow and wide lace strips. The Netherlands, ca. 1885. Netherlands cotton (textile) Dress apron for a doll of white cotton, decorated with narrow and wide lace strips. The Netherlands, ca. 1885. Netherlands cotton (textile)

Bodice. Pique of fancy cotton, clip, embroidery, between 1850 and 1853. Galliera, fashion museum of the city of Paris. Staple, embroidery, bodice, fancy cotton, female, haute couture, model, female model, spike

Robe a l'Anglaise ca. 1770 British. Robe a l'Anglaise 175829

Mariano Fortuny (1871-1949). Interior coat. Beige woolen crepe, golden painting, brown and white glass pearls, mink garnish. Around 1911. Galliera, fashion museum of the city of Paris. 101979-18 Haute couture, female mode, female model

Woman's Dress

Bodice 1775-99 American or European. Bodice 105366

Dress Panel (France); Designed by Hector Guimard ((French, 1867-1942)); Made by Maison Coudyser; silk

Bodice 17th century French. Bodice 84122

Dress ca. 1840 American. Dress. American. ca. 1840. cotton

Shirt. Culture: American. Designer: Elizabeth Wild Hitchings. Date: 1816-17.This shirt was created, from the linen fiber to the finished garment, by the donor's great-grandmother, Elizabeth Wild Hitchings, for her husband Benjamin Hitchings, a sea captain, in 1816. It was common practice for a wife or servant to hand stitch family members' shirts prior to the mid-19th century, but rarely was such handiwork recorded, making this case rare and intriguing. In addition, its elegant stitching makes it a perfect example of the familial care taken in sewing prior to the common possession and use of the sewing machine. Museum: Metropolitan Museum of Art, New York, USA.

Frock coat 1830-49 probably American. Frock coat 91375

Stomacher first third 18th century British. Stomacher 107911

Jacket late 1860s Belgian. Jacket 107882

Waistcoat, Medium: silk Technique: embroidery in satin, stem and knot stitches; couched silk cord; appliqué of silk ribbon on plain weave Label: Satin, stem and knot stitches in silk, couched silk cord, and appliquéd silk ribbon on silk plain weave, Gentleman's waistcoat with standing collar, straight hem edge and pocket welts, with ten worked buttonholes and covered buttons, lined with twill. Embroidered in twenty-five colors of silk floss and chenille on an ivory silk taffeta ground. Overall small floral sprig, with a deep border of irises and other flowers down center front and across bottom. On the larger flowers at the bottom, caterpillars are embroidered in various shades of chenille., France, 1785-90, costume & accessories, Waistcoat

Dress. Culture: American. Date: ca. 1825. Museum: Metropolitan Museum of Art, New York, USA.

Waistcoat, Medium: silk Technique: embroidered on satin weave, Man's white waistcoat embroidered with polychrome silks in a floral design. Blue and yellow are especially bright., France, 1751-1800, embroidery & stitching, Waistcoat

Waistcoat 1760-70 French 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.. Waistcoat. French. 1760-70. silk, cotton

Men's wedding card, white silk embroidered with floral pattern, eleven embroidered buttons, white linen back, lining light purple, vest outerwear wedding clothing men's clothing silk linen satin, textile wedding card. Men's vest: Light cream silk satin. Fronts consist of ribbed court satin ribbed court silk ribbed court satin etc. The jobs satin are embroided with spreading biscuits in blue cream pink brown brown green The strips on both sides of the closure are embroided with floral scrolls Closure: eleven flat round buttons covered with fabric and embroided with blue star motif Elf open buttonholes. Standing collar. Small reveries also embroided on the inside. Two empty narrow rectangular bags. Along collar fronts along the bottom edge of the vest and around the pockets of brown cord embroidery. The vest is cut straight from below. The front panels are lined with purple satin. The back is made of white linen (double) Nicolaas van der Hilst marriage man Delfshaven Rotterdam This cardi

Vest. White silk shaped Polychrome cashmere patterns, lining and back in white cotton threesome, white leather lining at the bottom and lead, bordered all along by a rod of trimmings, hand sews, 6 half-color buttons in flowout, tightening paw in The back with metal loop, between 1830 and 1850. Galliera, fashion museum of the city of Paris. Borde, metallic loop, half-ball button, polychrome cashmere, roping rod, white cotton, hand sews, white leather, back serge, lining, faconnee, vest, haute couture, masculine, male model, pattern, tightening leg, six, White silk

Upan; 1 PO. XVII century (1600-00-00-1650-00-00);Strzałecki, Antoni Jan (1844-1934) - collection, gift (provenance), male fashion, geometric ornaments, Poland (culture), Polish clothing

Dress. Culture: American. Date: 1825-30. Museum: Metropolitan Museum of Art, New York, USA.

Jacket. Culture: Russian. Date: 1840-80.The dushegreya in Russian costume is also commonly known as a "body warmer". The style is seen both with and without sleeves. The cut is similar to the sarafan or the short epanechka bodice with the addition of padding and tubular pleats at the back. Sleeveless styles are cut straight across the body and hang from narrow straps. Dushegreya were worn over the sarafan for additional warmth when outdoors.This object was collected by Stewart Culin (1858-1929) during a collection expedition in 1923. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Possessing an insatiable curiosity and appetite for collecting objects of all kinds, Culin conducted over twenty worldwide collecting expeditions between 1901 and 1928. The trips covered American Indian territories, New England, Asia, India, Great Britain, and all of Eastern and Western Europe. The seven expeditions between 1917 and 1928 were specifically focused on co

Wedding cape ca. 1870 probably French. Wedding cape 107825

Man's vest. Silk satin, cream, front liners, lower back and pocket in velvet Taffette background (plush), silk, cream, upper back in linen, cream, application embroidery and knot point, silk thread and dark red silk caterpillar, wood buttons covered with pink flowerhouse. 1720-1740. Galliera, fashion museum of the city of Paris. 101032-15 Costumes, 18th 18th 18th 18th 18th 18th century

Vest of light blue sheet, with a back of white cotton, part of official costume, anonymous, c. 1905 Cardigan of light blue sheet, with back of white cotton, part of official costume. Short, sleeveless model, highly closed with a standing plate. Fronts slightly deepened with a point. Nine knots, three side pockets. The Hague (possibly) cloth. cotton (textile) Cardigan of light blue sheet, with back of white cotton, part of official costume. Short, sleeveless model, highly closed with a standing plate. Fronts slightly deepened with a point. Nine knots, three side pockets. The Hague (possibly) cloth. cotton (textile)

Vest. Yellow silk broachus with a sowing of pink and blue patterns, border, back and lining in front in ecru cotton, 5 buttonholes, 5 matching fabric buttons, between 1800 and 1815. Galliera, fashion museum of the city of Paris. Blue, border, button, buttonie, pin, five, cotton ecru, back, lining in front, vest, haute couture, mannequin, masculine, male model, pink pattern, sowing, yellow silk, matching fabric

Vestido sastre femenino, 1905, MTIB88137. Museu Textil i d'Indumentaria de Barcelona.

Vest. Cream linen canvas, wooden board print, two colors. 1730-1740. Galliera, fashion museum of the city of Paris. 76117-4 Coulur, vest, printing, wooden board, Linen canvas cream

Waistcoat. France. Date: 1775-1800. Dimensions: 66.3 × 66.7 cm (26 1/8 × 26 1/4 in.). Silk, satin weave, embroidered with silk threads; embroidered fabric covered buttons; silk, twill weave lining; linen, plain weave back. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Vest 1874 American. Vest 91077

Ensemble last quarter 18th century European. Ensemble 83897

Dolman 1865-75 American or European. Dolman 107716

Woman's Dress

Jenny. Dress. Red gold, yellow, green gold canvas, entirely embroidered with Turquoise Corail gold pink pearls ... beaded fringes on a section on one side, modern lining, around 1925. Galliera, fashion museum of the city of Paris. Corail, modern lining, whole embroidered, female, pearling bangs, haute couture, yellow, mannequin, female model, cap side, turquoise pink pearl, red, gold, green, dress

Kimono with Pheasants amid Peonies first half of the 20th century Japan Vividly colored pheasants and peonies appear against a ground that graduates delicately from light brown to beige, from top to hem. The depiction of pheasants amid the king of flowers,” as peonies were known in East Asia, has a long history in Japanese pictorial arts and is associated with summer. The auspicious peony motif originated in China and began appearing in Japanese decorative arts in combination with long-tailed birds. Here, rocks, birds, and pink- and apricot-colored flowers are depicted on the front of the kimono, with the left and right halves of the composition almost merging at the back in a modern rendering of a classical pattern. The realistic depiction of the flowers and the birds reflects the influence of Western oil painting.. Kimono with Pheasants amid Peonies 76986

Afternoon jacket. Culture: French. Designer: Jacques Doucet (French, Paris 1853-1929 Paris). Date: ca. 1905.Jacques Doucet was first, and foremost, a connoisseur of art. Additionally, his passion for the refined and exquisite overflowed into his dealings with fashion, making him one of the finest French couturiers during the Belle Époque. The House of Doucet began as a family business, specializing in women's lingerie and laces, as well as articles of clothing for men. Founded in 1817, the company rose to fame under the hand of Jacques. The house was known for its luxurious offerings, which were worn and coveted by royalty, members of the elite society in both Europe and America, and actresses of the stage.The bolero jacket was a popular style during the early part of the twentieth century and the materials chosen for this particular piece reflect the Belle Époque. Heavy cord embroidery has been combined with wooden beads, velvet ribbons and cut steel ornaments. Creating a perfect ju

Blouse. Culture: British. Date: 1865-70. Museum: Metropolitan Museum of Art, New York, USA.

Dress Italian 18th century

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