Fashions From History

This simple unlined jacket represents an informal style of clothing worn by women in the early 17th century. Unlike more fitted waistcoats, this loose, unshaped jacket may have been worn during pregnancy. A repeating pattern of curving scrolls covers the linen from which spring sweet peas, oak leaves, acorns, columbine, lilies, pansies, borage, hawthorn, strawberries and honeysuckle embroidered in coloured silks, silver and silver-gilt threads. The embroidery stitches include chain, stem, satin, dot and double-plait stitch, as well as knots and couching of the metal threads. Sleeves and sides are embroidered together with an insertion stitch in two shades of green instead of a conventionally sewn seam. Although exquisitely worked, this jacket is crudely cut from a single layer of linen, indicating the work of a seamstress or embroiderer, someone without a tailor's training. It has no cuffs, collar or lining, and the sleeves are cut in one piece. The jacket was later altered to fit a thinner person. The sleeves were taken off, the armholes re-shaped, the sides cut down, and the sleeves set in again.

Several examples of knitted jackets or waistcosts survive in museum collections are waistcoats, with well-known examples in the Victoria and Albert Museum, London (473-1893, 346-1898, 106-1899 and 807-1904). Both men and women wore these items of clothing either as undergarments during the day or as informal déshabillé or undress at home in the evening to provide additional warmth. These items tend to fall into two categories: Italian waistcoats that open down the front, sometimes known as Florentine waistcoats, and those that pulled over the head. Italian waistcoats were knitted using one or two colours of silk yarn, in imitation of patterns found on woven silks, the effect often enhanced with the use of purl stitches. The fine gauge of these waistcoats suggests that they were hand-knitted in professional workshops, using extremely fine metal knitting needles, known as ‘wires’, for wealthy classes to buy as ready-to-wear clothing. The garment is constructed from rectangular knitted sections; two front panels, two back panels and two sleeves. Several have triangular gores inserted to provide additional width over the hips, at home by the wearer or a member of their household. Their name suggests that they were made in Italy and exported to northern Europe, but it is now known that fine silk yarns were imported from Naples to London from the late sixteenth century to supply the native knitting industry. Because knitted waistcoats were for informal wear there are no known sources showing them being worn, making it hard to give them a more specific date. They appear to have originated at the beginning of the seventeenth century. Lady Elizabeth Howard, the wife of Lord William Howard (1563–1640) ordered ‘a pound of woosted for wastecotes’ for 9 shillings in 1618 and the Danish Royal family used knitted silk waistcoats for children’s shrouds during this period. Knitted waistcoats continued to be worn throughout the century. There are records of waistcoats being relined during the course of their use. Sir Thomas Isham (1656/7–81) is billed £1 5s 6d from his tailor for ‘new Lining A Purple and gold Silke knit wastcoate’ in April 1680. There are continuing references to them also in the early eighteenth century, including a London newspaper report of the theft of a ‘green silk knit waistcoat with gold and silver flowers all over it’ in 1712.

The high waistline and narrow sleeves, open at the front seam, are characteristic of women's waistcoats of the early 1620s. The blackwork embroidery is of exquisite quality and is worked in a continuous pattern throughout the body of the garment. A group of interlocking curling stems enhanced with a garden of roses, rosebuds, peapods, oak leaves, acorns, pansy and pomegranates, with wasps, butterflies and birds, make up the embroidery design. The extremely fine speckling stitches create the shaded effect of a woodblock print. This style of blackwork is typical of the early seventeenth-century and thought to have been inspired by the designs from woodblock prints that the embroiderers were using. The waistcoat is unlined and embellished with an insertion of bobbin lace in black and white linen at the back of each sleeve, and a edging of bobbin lace in the same colours.

This ensemble demonstrates fashionable formal dress for men in the 1630s. The breeches are long and fairly full in cut, reaching just below the knee. The doublet has a high waist at the sides and back, extending to a point in front. A deliberate opening of the seam on each sleeve allows the fine linen shirt underneath to be seen. No ensemble was complete without a cloak, and this example spans almost a full circle. The ornamental technique used on this outfit is unique and complicated. Braided silk threads were couched to narrow bias strips of satin which were sewn to a wider satin strip, pinked on each side. Then they were cut into short pieces and arranged vertically and diagonally over the satin surfiace of each garment to create a decorative effect that, from a distance, looks like slashing. The cape [flat collar] of the cloak has been altered at a later date.

Extremely rare survival of a shirt and breeches, called slops, as worn by sailors from the late 16th through to the 18th centuries. This unique set of loose, practical sailor’s clothing reveals life aboard ship. They are made of very strong linen to endure the hard, rough work. There is tar across the front from hauling ropes. The breeches are heavily mended and patched, which the sailor would have done himself.

Object Type This ensemble of doublet and breeches is typical of a wealthy man's clothing. It would have been worn with a matching or contrasting cloak. A fine lace or linen collar and cuffs would have completed the outfit, along with silk stockings and heeled leather shoes. Time The style of this outfit is characteristic of the 1630s. The breeches are longer and less voluminous than they were in the early 17th century. They are attached with long heavy hooks which run through eyelets at the waistband on the inside of the doublet. The silk ribbons at the waistband once had the function of holding doublet and breeches together, but are now purely decorative. On the doublet the waist tabs are now much larger and longer than they had been 20 years previously. Materials & Making The lustrous white satin was a suitable fabric for stamping and pinking. The fabric was probably dampened first and the stamping tools heated to make the impression indelible. In between the stamped motifs, a pinking tool similar to an awl created the tiny decorative holes. Once the satin was decorated, it was cut and hand-sewn. The doublet and breeches are interlined with wool and lined with silk.

This ensemble of plain wool serge, probably once black, now faded to brown, is a rare example of everyday men’s dress of the early 17th century. It is lined for warmth with a linen pile fabric, similar to modern towelling. The doublet openings are faced with shot silk, perhaps to deceive a casual observer that the whole garment was lined with a more luxurious fabric. The cut of the ensemble may represent the rather old-fashioned tastes of someone from a rural area or an older man. By 1625 slashed or paned sleeves were coming into fashion and a longer, slimmer cut of breeches replacing the full style seen here.

This waistcoat is a rare example of early 17th century informal dress, which never appears in visual images and with few references in inventories and accounts. References to these garments in wills and wardrobe accounts show that they were worn by both men and women. They seem to have been produced in workshops, knit in ensembles of shaped pieces for the fronts, backs and sleeves. One of the latest references to them appears in a London paper of 1712 reporting the theft of 'a green silk knit waistcoat with gold and silver flowers all over it, and about fourteen yards of gold and silver lace thick upon it.' Similar jackets have survived in many parts of Europe and it is assumed that they came from one centre of production - Italy seems most likely as silk yarns were most easily obtainable there. It is possible that the knitted pieces were stitched together by the purchaser.

The waistcoat is hand knit with coral pink silk and yellow silk wrapped with silver-gilt thread. It is constructed of five shaped panels, one for the back, one each for the two fronts and the sleeves. The seams are hand-sewn with silk thread and the whole garment is lined with blue linen. A series of regular holes along the front edges of the lining on each front edge suggest that it originally fastened with silk ribbons and metal points. It was once thought that these waistcoats were produced on the early versions of the knitting frame. However research has shown that the frame was not developed enough in the early 17th century to produce purl stitches or such a fine gauge. Each panel of knitting bears a pattern of stylised scrolling floral motifs worked in yellow silk on coral. These may have been inspired by the designs of woven silks. A very similar pattern can be seen on knitted waistcoats in the Royal Ontario Museum, the Cleveland Museum of Art and the Museum der Stadt in Ulm. The design is further delineated by the use of reverse stocking stitch against a ground of stocking stitch. A border of basket stitch (squares of purl and stocking stitch) edges the lower hem and wrists. The knitting is very fine, about 17 stitches per inch.