Feather Stitches and French Knots: Research: Waistcoat

Men's Fashion Illustrations from the time, part of
Anushka's research as well

When I initially began researching for my waistcoat I wasn't sure the best starting point. In some ways I was unsure my role within the costume of the Narrator, should I be working closely with Anushka, who was making the jacket and trousers, or focus on the waistcoat as a separate part and it's own distinct project? In the end the best research was a mix of both. I was able to discuss the general shape of the waistcoat, the length, and some design lines with Anushka based off of her research. I checked with Rose, the designer, about how many pockets I needed and if there was anything special that I needed to know for the part of the Narrator. Since this is a tailored suit I will be following what we learned in our tailored waistcoat unit last year. Once that information was gathered I did a little independent research to find more examples of what I was making.

These three images were a lucky find. The are all from The Met Museum website. The front and back cream waistcoat was made in 1916, it is British made out of Wool. The Accession Number is: 1979. 152.8. The checked waistcoat is dated: 1910, it is British made of wool and silk cotton and the accession number is: 1984.160.4

These three waistcoats are a great example of what I will be making for the Narrator. Both are collar-less and have hem lines shaped similarly to the design. I thought it would be a good mix to get a waistcoat from 1910, the checked ( maybe a little earlier) and then one closer to when the play is set: the cream from 1916. Although the Narrator isn't a shabby character he's not overly wealthy and Rose has said she wants his costume to looked lived in but not worn out. The main differences between the early and later waistcoat is the shape in the center-front of the hem line. On the cream the curve is slightly more pronounced, and therefore might have been a little longer, whereas the checked waistcoat has a shallower curve and might have sat a little higher on wearer. These are both two good examples of a waistcoat fitting the historical context and the design of the character.

Images References: