Single breasted and double breasted took alternative chances to enter and get out of the fashion among men during those days just like notch lapels, shawl lapels and no lapels. The double-breasted waistcoat became more stylish after Lapels were notched, which means split into different levels. The waistcoat had one pocket in one of the sides of the buttoned centre which was used by men to keep handkerchief and pocket watches.
A belt or tie was attached at the back of the waistcoat to keep it fitting tight around the middle section of the man. This accentuated his shape in similar manner corset did for women of that era. In Victorian era, it was considered impolite for a man to be seen in bare shirt sleeves. No one other than his wife should see him without vests.
So, even the labourers wore vests made of denim, dock canvas or heavier, thicker cotton. The Union Pacific is celebrating years since the Golden spike. There will be events all along the route of the Union Pacific.
Would you be interested in addressing the costuming of that period? I would like to see more paletots or other mantels. A sontag or two. And some more simple straw hats for summer wear. Likewise some indian cottons made up in summer wear. Broadcloth is pretty warm in summer. Beautiful examples available when I google s summer dresses but I cant even find the fabric.
Large pagoda sleeves transparent fabrics. Very simple designs. Interested in any of these ideas? This site uses Akismet to reduce spam. Learn how your comment data is processed. Previous Next. View Larger Image. A short history of the waistcoat up to the Victorian era The waistcoat commonly called a vest in American English is a sleeveless upper-body garment. About the Author: recollections. Related Posts. May 27th, 0 Comments. May 22nd, 1 Comment. May 19th, 2 Comments. May 15th, 1 Comment.
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Casual Suit. Men Casual. Costumes En Tweed. Business Casual Men. Edwardian Costumes. Edwardian Clothing. Edwardian Dress. Edwardian Fashion. Edwardian Era. Clothing in the Victorian Era was strict, accompanied by numerous frills, ruffles, embroidery, crinolines, bustles, corsets, and at the helm of all were petticoats.
Petticoats performed two functions: under linen and structural garment. It protected the dress and disguised the contours of legs as well as provided warmth. It was added to shape the dress and mirror the cut of the dress. The Victorian dresses were colored or corded, i. With time, the number of dresses reduced, especially due to the cage crinolines.
However, after the fall of age of cage, petticoats reestablished themselves and with more decorated ruffles and colors than before. Scarlet decorated with black was the preferred design while it assumed a narrow width. Skirts and dresses were also gored, i. Gored petticoats with horsehair became the main supporter of the skirt while also giving a conical shape to the dress. Throughout the decade, the style of dresses changed, but people did not banish petticoats.
The end of the Era also saw a detachable train attached to the dress. It became a symbol of femininity and was carried out even in the Edwardian Era. It placed high importance on etiquettes, so much so that women were restricted from showing their ankles. Bloomers were wide and often had ruffles at their seams. The common folks used cotton stockings while the richer women wore silk stockings or woolen. Next came the chemise with elaborate dressing again.
Then came the gut-wrenching literally corset, bustles, layers, and layers of the petticoat, and structured crinolines beneath their dresses. The change of dress was as numerous as the items to be worn. An at-home dress was a simple garment with a high neckline, hem touching the floor, and a little train.
Similarly, afternoon dresses were lavish with a low neckline. Women attired themselves with afternoon dresses when they were expecting friends or going out with them. Evening gowns were usually made of silk or other lustrous material. It has a high neckline and long sleeves, devoid of many trimmings to avoid accidents at the dinner table. The example mentioned above illustrates the dresses and rituals of the upper-class society.
The lower class women would wear what was affordable. Crinolines need no introduction, for they have been synonymous with typical Victorian dressing: prim, proper, and outrageous. Women opted for crinolines to rescue themselves from complicated layers of petticoats while still keeping the busty back intact.
The fashionable women from the 40s preferred crinolines, which transitioned into the light frame of metal spring hoops. Regardless of the types, women used they invariably create volume beneath the skirts. By the s, even factory workers and maids were wearing them. The explains the presumption that farthingale in 15th century Spain preceded crinolines. Women felt liberated from the blanket of petticoats after the advent of crinolines of hooped skirts.
They simply wore a dress over the crinoline that seamlessly did the work. Ladies opted for flannel petticoats during the winter. Crinolines were originally dome-shaped in the 50s that later modified into pyramid shape a decade later. During the late 60s, it was devised into a small hoop before disappearing from fashion in Bustles are one of the historical artifacts that are yet to penetrate the modern clothing scene.
Yet, in the Victorian ages, it was a hype to adorn bustles at the back. Especially after many women fell prey to crinolines and their hazards, bustles manifested into a new trend that was comparatively benign. It hooked at the back to give it a busty appearance while flattening the front and the sides. Typically constructed of steel and cotton, they were buckled or tied in the front, encouraging trains, frills, and the bodice. Frills and laces were sewn onto the trains to make it flouncy and organza-styled.
After a hiatus, the bustle returned to mainstream fashion in what is called the second phase. This phase is characterized by a severely tailored figure that grew in the late 19th century. An industrial support bustle developed to hold the weight of the explosion of fabrics that hung over it. The back of the gown was embellished prolifically with bows, frills, laces, pleats, and the like.
When women started hitting the streets during the rise of the 20th century, these clothing fads proved to be unsustainable because of their heaviness. Victorian fashion is characterized by an emphasis on the waist and the breasts supposed to spring right under the chins.
Thus, the corsets and bodices were employed to achieve the right proportions. It was in the same Era that the necklines widened, and the bodice assumed a V-shape. The bodice was a piece of garment that covered the torso, from the neck region to the waist. As the women of those times remained inactive and shy, the place of the bodice shifted from the shoulders to the upper arm to further restrict movement.
It also accentuated the V-shape figure as the ideal body type of the Victorian Era. While the French bodices were firmly held against the skin, English bodices were gathered and trimmed with lace and ruffles. The trimmings began at the shoulders and were brought down to the waistline in a V-shape. Along with a corset helped to attain a conical shape. The jacket bodice did not attach to the skirt, which became popular in the s. Often going well below the hips, these bodices were in contrast to the color of the dress.
Women experimented with Spanish style jacket over a blouse for a different look and seemed to love it. Sometimes it was long and other times cropped, worn during the daytime. Whereas for formal wear, the bodice consisted of two long points in front and three long points at the back. Regardless, it was a staple part of an ensemble that women loved. The mourning dress, similar to other fashion trends, was brought about by Queen Victoria herself.
The Queen dressed in black for forty years after the death of her husband, Prince Albert. It made way to what we now know and use as the mourning dress. The mourning years were very tough for widows as they were made to don only black ensemble and isolate themselves. It was black, crepe material with black piping on collars and cuffs as well as black buttons. Accessories such as gloves were also lined with black pipe along with the cuffs, and black pearls or jet stones were made into pendants.
As established, black dominated the wardrobe with black linings on all white articles. Dull black crepe immediately replaced lustrous articles such as top hats and gowns anytime a close one died. Affording the mourning dress reflected social status among people of the Victorian Era.
The effluent society stitched mourning clothes and matching bonnets for their maids. None of the family members could leave the house without the all-black-everything fit. For full mourning, women covered their faces with a black crepe weeping veil. Prince Edward, the son of the reigning Queen, was a symbol of a male fashionista. He traveled the world and became an arbiter who brought trends in a fashion-for instance, the three-piece suit.
As ready-to-wear clothes flourished, the accessibility of men on the lower rungs of the wealth ladder could afford shirts. It was complex and often hectic to keep laundering their shirts, so people bought half a dozen detachable collars and cuffs as they were the only areas visible for public scrutiny. The standard form of shirts was plain white, starched in washing to achieve a crisp look. Besides the standard form, men entertained patterned shirts. The collars were many, such as a standard fold down to wingtip and rounded banker collars to high standard collars.
Men could wear them interchangeably day-in and day-out, for they were detachable and easily afforded. Trousers were hung with suspenders as there were no belts in that Era. Moreover, button flies adorned the pants for zipper flies had not yet been discovered. Women in this period never left their house without carrying a host of essential accessories. They included articles of practical purposes such as gloves, shoes, ornaments, and somewhat frivolous such as the bonnet trimmed with exotic birds.
One of them was parasols. The middle of the s was the year when Victorian people became familiar with parasols. They were foldable umbrellas with silk folds that instantly became trendy. Since suntans and melanin were associated with peasants and maids, Victorian elites never wanted to contact the sun. To avoid any sun exposure, women in the upper class and middle class started the trend of carrying a paraso l.
Parasols were unfurled to avert sunrays but were more than just that. It was, as usual, a symbol of high class and wealth. Not everyone could afford a parasol, which came in elaborate nets and laces. They were made of silk as well as a tassel at the top of the umbrella. Some of the exquisite ones came with tilting luster for tilting angles. Besides the top, the handles were also made of ivory for the have-all. While it was common for parasols to come with wooden handles, ivory was a luxury.
Apart from the three-piece suit, another trend that gentlemen in the Victorian Era followed was carrying a cane. Otherwise, the whole fit looked somewhat incomplete. Canes or walking sticks were a crucial part of the Victorian gentleman ensemble that men maintained. Men carried walking sticks or canes not as an aid for walking but rather as a status symbol of wealth and power. Often, canes attributed authority, which men of the upper class so fondly carried.
But it was completely birthed from a psychological perspective of men. When people laid down their swords, they picked up canes in the 17th century. Kings carried specter, and in the same way, men sought to carry canes as if subtly asserting that the power is in their hands. And they possessed not only one or two canes but a whole collection of canes.
The most common was an ivory-handled cane that most people owned. Wood was alien to Britain in the 16th century. As time passed, variegated handles were manufactured with silver-pique work. Later on, the cane handles were even gilded at the wooden handle.
The collection of canes included a rustic cane for dog walks and a sober one for the office. Similarly, men took exotic wood and gorgeous handle cane to the opera. There was a cane for each-the sailors, the Duke, and even the peasants. All in all, it was an indispensable article. The most enduring role of a Victorian hand fan is the symbol of royalty, like that in the ancient period.
Delicate damsels of the Victorian Era carried hand fans to express their wealth, and sometimes even their relationship status. A lot could be predicted by the crowd based on how a lady carried her hand fan. The way she held it, carried it and waved it could potentially answer whether she was single, taken, or plain hot.
Thus, making it a universal language. During the beginning of the 19th century, hand fans were not a thing. They came in simple models with thin leaves of spangled silk, and their handles were plain and not ornamented. It was only during or after the s that the fans of the previous manner arrived. Soon, the leaves were dotted with mother-of-pearl and ivory sticks.
Each vellum leaf had a delicate painting, and the handles were gilded. It offered the fans an exquisite design and catapulted fashion rage. Illustration on the fan copied from 18th-century fans and paintings a la Watteau. Similarly, fans at this period were imported from France, China, and Japan. Until the midth century, bonnets were mandatory for all girls and women.
Initially used for protection from the sun and injuries, it soon became a symbol of wealth and authority. It was a style statement that both males and females wore. It differed in style from the large bonnet, small bonnet, tall and short hat, and plain versus elaborately decorated. Not on that, there were different bonnets for different occasions such as riding, walking, partying and also for home use.
The most famous straw bonnets were made of straws from Tuscany, plaited in Italian style. Other variations were silk bonnets gathered at the front and tied at the back. The year introduced cottage bonnets that assumed brim and a crown continuous in a straight line.
From the mids, open straw plaits mixed with horsehair were plated in fancy braids. Velvet was often a winter fabric for making bonnets. In the 50s, an open bonnet arrived that was low and sloping at the back. The 60s saw a trend of spoon-shaped bonnets. It was most ornately designed with velvet, crepe, flowers, feathers, and ribbons.
Price and other details may vary based on product size and color. VATPAVE Mens Victorian Suit Vest Steampunk Gothic Waistcoat. The waistcoat (commonly called a vest in American English) is a sleeveless upper-body garment. For men, this item is usually worn over a dress. Victorian Mens Vests / Waistcoats Commonly called waistcoats, the vest has been a staple of mens wardrobe for centuries. In the victorian era.