Royal Naval Waistcoat. Royal Naval uniform: pattern 1795. Circa 1795. English. Cotton; gilt brass & wool. This white wool waistcoat of the 1795 pattern. The rank and status of the wearer was indicated by the pattern of the button, in this case a flag officer. It is interesting to note that the waistcoat retains the three-point pocket flap, which would have been considered old fashioned in 1795. | Royal Museums Greenwich
Vest 1800–1810, American or European. Silk & linen. | THE MET
Coat and waistcoat worn by Peter II, 1727–1730 Coat and waistcoat, France,1727–1730, Silk velvet and silk taffeta with silver embroidery
In this ensemble the silk of the waistcoat and coat cuffs has faded considerably. It was once a vibrant pink, an elegant contrast to the deep blue velvet of the coat. Both garments are decorated in silver embroidery, worked separately then applied to the velvet and taffeta, rather than embroidered directly onto the coat and waistcoat. | The Moscow Kremlin Museums via V&A
The Coronation uniform of Alexander I, 1801 Alexander I came to the throne in 1801 after the assassination of his father, Paul I. He had been given a liberal education at the court of his grandmother Catherine the Great and once he became emperor he modernised many aspects of Russian society. Like his father, Alexander was fascinated by military uniform. He designed new ones for Russian regiments and wore the uniform of the Preobrazhensky Regiment for his coronation. A courtier noted that ‘the Emperor’s court came to resemble soldiers’ barracks. The emperor’s office was full of orderlies, messengers and lance-corporals modelling the uniforms of various troops, and the emperor would spend hours with them, making chalk marks on their tunics and undergarments amidst samples of moustache brushes, boot brushes, button-polishing boards and other similar sundries.’ Coat - Russia, 1801. Cloth, poplin, linen, weaving, embroidery. The chest bears the star of the Order of St. Andrew the First-Called, embroidered in silk and gold. The ink inscription on the inner side of the left sleeve tells that the coat has been sewn by Alexander Golitsyn in 1801. Painting - Russia, the second quarter of the XIXth century. Unknown painter. Canvas, oils. Boots - Russia, the early XIXth century. Leather; silver-plated spurs. The boots of black leather were a part of the Alexander I's coronation costume. They served as a symbol of the Tsar's role as a powerful military commander. The leather fitted closely at the back of the ankle to hold a metal spur which was used for controlling the horse when riding. Waistcoat - Russia, 1801. Cloth, linen, non precious metal, weaving. The short single-breasted waistcoat has a low stand-up collar and two set-in pockets with flaps. Fastened with buttons. The same pieces are on the pocket flaps. Hat - Russia, 1801. Felt, lace, plume, weaving. The hat of the coronation costume is executed of black felt with plumes of black ostrich feathers. It is edged with plume of white feathers which was the only sign of the generalship in those times. Sources ↳ The Moscow Kremlin | V&A
The Coronation Robes of Paul I 1797 Paul I, son of Peter III and Catherine the Great, came to the throne in 1796 after his mother’s long reign. For his coronation, he wore a uniform that he had designed himself in the style of Prussian military uniform. The day after his coronation, the emperor ordered all the imperial regiments including the two life guards regiments, Semenovsky and Preobrazhensky, to adopt the same style. Paul I was the first Russian emperor to wear military uniform at his coronation. His interest in uniforms was echoed by Great Britain’s Prince of Wales (the future King George IV), who was colonel of several regiments and collected uniforms. When Napoleon Bonaparte became Emperor of France in 1802, he began to wear his army uniform for everyday dress. Coronation coat - Russia, 1796. The coat - cloth, velvet, camlet, cotton cloth, gold, silver, enamel, weaving, embroidery, casting, engraving. The garment was transfered to the Armoury Chamber in 1797. The coat's lining bears two inscriptions with dates of its execution and of the very coronation. The coat has a multipurpose fastener which can be used variously depending on the circumstances. The stars of the Order of St Andrew and the Order of St Alexander Nevsky with silver and gold pieces are sewn on the front of the clothing. Boots- Russia, the late XVIIIth century. Leather, steel spurs. Waistcoat - Russia, 1796. Wool, cloth, weaving, gilding. The short jacket, close-fitting in the waist, has no collar or sleeves. Its front side is completed with a fastener. Hat - France, the XVIIIth century. Felt, leather, cotton cloth, braid, plume, lace, foil, gold treads, weaving. Gloves - Russia, the late XVIIIth century. Elk skin. Portrait of Paul I - Stepan Shchukin, circa 1796. Sources ↳ V&A | The Moscow Kremlin | The State Hermitage Museum
Ensemble 1900–1910, Albanian,silk, wool & metal. | THE MET
Wedding ensemble Late 19th century, Albanian, silk, cotton & metallic thread. | THE MET
Waistcoat, England, c 1790 - 1795. Wool, lined and backed with linen, engraved gilt metal. 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. | V&A
Suit, (Frockcoat, waistcoat and breeches), Italian, 1740-1760, silk, metal, cotton, linen. This suit is the epitome of mid-18th century men's wear with its curved jacket front, fitted breeches, narrow sleeves and decorative mid-thigh length waistcoat. Waistcoats of the time were a vehicle for imagination and, in this case, add an ornate aspect to an otherwise conservative ensemble. The unique textile of the waistcoat indicates an interest in the exotic, with a stairway leading up to a pavilion with an overarching natural elements, while still following traditional floral patterning commonly found in waistcoats of the 18th century. Unlike most suits of the period, this suit can be undoubtedly linked through matching buttons on the coat, breeches and waistcoat. | THE MET
