Coat 1873-1875. England. Cotton velveteen, lined with silk, wool twill and cotton, edged with wool braid. As the frock coat became formal daywear in the 1850s, a more informal style of coat, called the morning coat was introduced. It had skirts that were cut away in front. This early 1870s morning coat was known as the ‘University’ style. It is characterised by sharply angled cut-away fronts, short length and double-breasted style. The wide collar and lapels are typical of the 1870s, as is the loose sleeve. | V&A
Vest C.1840 - 1860. Binding Patterned silk satin, machine-woven cotton fabric in plain weave. Metal buckle, buttons bench. Hand Stitching. | Digitalt Museum
Self-portrait (1842) by Johann Baptist Reiter (1813-1890).
Wedding vest 1840–49. British. Silk, cotton & leather. | THE MET
Court presentation ensemble 1834. British (probably). Wool, silk, leather & metal. | THE MET
Man’s Top Hat Peck and Company (United States, Massachusetts, Boston, active 19th century). Circa 1832. United States, Massachusetts, Boston. Beaver fur. | LACMA
Man's robe C. 1830. French. Damascus silk and cut velvet. | Les Arts Decoratifs
Trousers Ca. 1833. British. Flax. (There is no information on the blue jacket.) | THE MET
Suit 1940-1949. Utility. Great Britain. Tweed lined with sateen. A more casual look pervaded men's fashions during the 1930s and 40s. The lounge suit with its generous cut and wide trousers was the most popular form of daywear. Tweeds were suited to everyday, weekend and country wear and dark jackets were appropriate for professional use. During the Second World War waistcoats were often omitted due to rationing. | V&A
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
Royal Naval uniform Royal Naval uniform: pattern 1795-1812. 18th-19th century. English. Brass; gold alloy; linen; silk & wool. This uniform, which belonged to Admiral Sir William Cornwallis (1744-1819) illustrates the principal changes to uniform regulations for the year 1795. These include the change in colour of the lapels and cuffs from white to blue and the inclusion of epaulettes. Epaulettes were a military fashion that came from France, and although they were not mentioned in uniform regulations until 1795, some officers wore them anyway. In terms of contemporary fashion, this uniform reflects popular styles with its narrow sleeves, cuffs and lapels, and illustrates the leaner silhouette that was popular in male dress towards the end of the 18th century. | Royal Museums Greenwich
Nelson’s Trafalgar coat. Royal Naval uniform: pattern 1795-1812 (Nelson’s Trafalgar coat). Made before 1805. England. Materials brass; gold alloy; metal thread; silk & wool.
Vice-admiral’s undress coat worn by Nelson (1758-1805) at the Battle of Trafalgar. There is a bullet hole on the left shoulder, close to the epaulette. The damage to the epaulette itself is also apparent. There are blood stains on tails and left sleeve, which is probably that of Nelson’s secretary, John Scott, killed earlier in the action. The coat is of blue wool cloth with a stand-up collar and button-back lapels. On the left side, Nelson’s four orders of chilvary - Knight of the Bath, Order of the Crescent, Order of Ferdinand & Merit and Order of St Joachim - are sewn to the front of the coat and over the edge of the lapel so that it could not be unbuttoned. The sleeves terminate in an extremely narrow round cuff with two rows of gold distinction lace and three flag officers buttons. The left sleeve is line with black silk twill, but the right is lined with the same fabric only as far as the elbow. At the end of the right sleeve is a small black silk loop which would have secured the sleeve to a lapel button. The tails and breast are lined with white silk twill and the shoulders are quilted with running stitch. | Royal Museums Greenwich
Mantle 1840–70. Hungarian. Wool, leather & cotton.
The Hungarian szür is derived from mantles over 2500 years old, and continued to be worn into the early 20th century. The garment was worn by shepherds mostly, providing protection from the harsh elements. Their thick wool felt was protective against cold and wet, and the long collars were adorned with roundels at the lower corners that could be connected to form a hood. Generally knee to mid-calf length, they were heavily adorned with embroidery and appliqués specific to their locality. The szür was usually worn draped over the shoulders, with the sleeves hanging loose. It was a much-coveted object, and so costly that many men resorted to thievery to afford one. The motifs of this szür were inspired by ancient Islamic motifs. The intricacy and density of the embroidery is stunning and virtuosic. | THE MET
Anishinaabe outfit ca. 1790. Fort Michilimackinac, Michigan. Birchbark, cotton, linen, wool, feathers, silk, silver brooches, porcupine quills, horsehair, hide & sinew. | NMAI
Mi’kmaq Ceremonial Robes 1825. Wool broadcloth, silk ribbon appliqué & white glass beads. Originally a mass-produced European jacket, the lapels and collar of this coat were removed by a Mi’kmaq artisan and replaced with gray and red silk ribbons, embroidered with white glass beads in a traditional floral motif. This robe would only have been worn on ceremonial occasions. | NBM via Contested Terrain