Waistcoat

Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

This is a waistcoat from the beginning of the 18th century (1720-40). There are many features that distinguish it as an early waistcoat like the length, flair at the sides and the shape of the pockets. The other examples in this post are more similar to the waistcoat we are making but it is good to see an example of how the silhouette and design has changed through the century.

Both Images from: Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

These two images are from the middle/end of the 18th Century; on the left from 1760-80 and on the right 1770-80. It is clear to see how the details and silhouettes have changed from the first waistcoat. The lengths are shorter and are cut closer to the body. There is no flare at the sides what-so-ever and the shape of the center front line has changed dramatically. Instead of simply buttoning up til the hem it buttons down to the tops of the pockets and then cuts away. The placement of the pockets is much lower (although that may be because of the length of the waistcoat); also the pocket is less dramatic in it's shape. The use of trim and decoration is different as well. In the earlier waistcoat the embroidery seems to be on most of the waistcoat, in contrast the later waistcoats have it around the neck, center front, and pockets (however the one on the left is quilted throughout the waistcoat.)

Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

This waist coat is very different from the previous waistcoats but is only a few years later, 1790-1800. Being double-breasted is enough to set it apart from the others. But yet again it is shorter and the center-front and hem line is straight buttons to the hem and a very straight hem. The pockets are simple rectangles and seem to sit higher probably to accommodate the higher hem line. The shape of the collar/neck line is also very different from previous examples. The decoration design and placement is different. I like how the patterns created blend into the elements of the waistcoat; especially the center front how the buttons seem to be incorporated into the design. In a few short years this waistcoat changed dramatically from it's predecessors.

Waugh, N. (1964). The Cut of Men's Clothes 1600-1900. 
London, Theatre Arts Books.

This is a good example of two different waistcoat patterns for two different styles of waistcoats. The pattern at the top of the image is from a 1735-40's waistcoat and the bottom is from 1770's waistcoat. This is a good comparison because unlike the images it shows the back of the waistcoat. It looks like the earlier waistcoat laces in the back whereas the later waistcoat has a small opening at the bottom. The center fronts are very different shapes to fit the style but on both there is a little flare at each side seam which is interesting because it shows a small progression of style. The neck line, button holes, and pockets on each are different as well.
I think that overall the closest style waistcoat to the one we are making is maybe one around 1760-80. The pockets are very similar as well as the cut in the front. In some ways it's difficult to really say because there aren't multiple views of the back and the side in the images above, but from the front it is most similar to the middle two images. Our waistcoats will not have any type of trim or embroidery. It is probably better for a hire department to have more simple costumes that can span many characters. Things like decorative trim could also be tacked on by the person renting it and then taken off before returning it.