Historical Women's Fashion

A collection of antique women's garments, showcasing intricate designs, embroidery, and fabrics from the 18th to early 20th centuries, highlighting elegance and craftsmanship.

Girls dress with white cotton underlay with woven vertical stripes and top layer of white cotton, decorated with folds, ruffles with folds and edges English embroidery., Anonymous, c. 1890 A girl dress from Creme Mul with long sleeves and high necks. cotton (textile) embroidering A girl dress from Creme Mul with long sleeves and high necks. cotton (textile) embroidering

Pelisse ca. 1817 probably British. Pelisse 103990

Coat (burnous ), anonymous, 1850 - 1865 Cape, Burnous, White Silk with sky blue cord and fringe. Wide shoulder model with hood and low -feature built -in sleeve spices. Closure with sturdy white atinians ribbon. Wide decorative edges of cord and two sides brushes. Humbling blue padded satin lining, stitched in cubes. Netherlands (possibly) silk. Cape, Burnous, White Silk with sky blue cord and fringe. Wide shoulder model with hood and low -feature built -in sleeve spices. Closure with sturdy white atinians ribbon. Wide decorative edges of cord and two sides brushes. Humbling blue padded satin lining, stitched in cubes. Netherlands (possibly) silk.

Babani. Evening gown. Green silk canvas, embroidery of silver and bronze metal wires; Champagne silk canvas lining. 1920s. Galliera, fashion museum of the city of Paris. 101861-4 Haute couture, female mode, female model

Vest. Cream silk taffeta. Embroidery in the past, son of polychrome silk. Galliera, fashion museum of the city of Paris. 156730-2

Visiting kimono, 1920 - 1940 Semi-formal women's kimono for visitors (Homongi), with a decoration over the entire plane of flower balls from, among other things, peonies, chrysanthemums and balloon bells with long cords. Cinnamon-colored crepe silk (Chirimen) with a damask woven decoration of chrysanthemum motifs and a painted yuzen decoration with embroidered detailing in colored and gold thread. Red silk lining. Only family crest (mon) of balloon bell (Kikyo). Japan silk painting / embroidering Semi-formal women's kimono for visitors (Homongi), with a decoration over the entire plane of flower balls from, among other things, peonies, chrysanthemums and balloon bells with long cords. Cinnamon-colored crepe silk (Chirimen) with a damask woven decoration of chrysanthemum motifs and a painted yuzen decoration with embroidered detailing in colored and gold thread. Red silk lining. Only family crest (mon) of balloon bell (Kikyo). Japan silk painting / embroidering

Cloak 1885-89 American In the 1870s shawls lost popularity due to its immense size and the reducing expanse of skirts to help support them. Although some were retained as heirlooms, others were stitched into the more wieldy shape of the cloak or the mantle. This cloak is made from a fine quality embroidered Indian shawl. Embroidered shawls were produced in India to imitate woven shawls because they were easier and faster to make than the woven variety. Embroidered examples have an interesting textural quality about them which lends itself to the highly decorated outerwear of the 1880s.. Cloak 155800

Cape ca. 1895 Emile Pingat French Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailored outwear was particularly sought after.This beautifully constructed Pingat cape gains a rich and elegant appearance from its use of coordinating black beadwork embroidery on alternating flat and pleated panels of contrasting materials. That elegance can particularly be seen in the front where the embroidery on the two flannel panels line up to create a larger cohesive design oriented horizontally, as opposed to the other panels which are vertically orie

Dress 1880-89 American. Dress 104935

Ensemble 1888 Mrs. Samuel Shimn This ensemble was made by the donor in 1888. At the time of the donation in 1928, Mrs. Shimn was a resident of New York City. The embroidery motifs and piecing appear to be in the Eastern European folk tradition; however the blouse is constructed in the fashionable style of the 1880s.. Ensemble. American. 1888. cotton, linen, silk

Evening Japon of Black Crêpe, Anonymous, c. 1935 - c. 1939 Long black dress with collar of white tire over the shoulders and a round edge of half flowers in tire around the neck. Netherlands band: cotton (textile). crepe (textile). silk Zeist Long black dress with collar of white tire over the shoulders and a round edge of half flowers in tire around the neck. Netherlands band: cotton (textile). crepe (textile). silk Zeist

Petticoat 1840-55 American. Petticoat 155760

Man's Coat and Waistcoat. France, circa 1750. Costumes; principal attire (upper body). Silk cut, uncut, and voided velvet (ciselé) with supplementary metal strip weft patterning

Mens vest with camel yarn front, vest outerwear men's clothing linen mother-of-pearl shoulder w 28,5, waist w 39,0 bottom w 38,5 kemelsgaren linen textile Men's vest with camel yarn front ecru colored linen back sleeveless Light yellow with white floral stripes Two side pockets on bottom front board and double row knots of six knots where the wrap can be changed dress suit man

Chéruit, 1905, silk, beige, bug, satin of the same palace Galliera, fashion museum of the city of Paris Beige silk rod embroidery, stylized patterns, flowerships, silk acorns.

Front of a white, Tafzijde Kazuifel, with embroidery ,, c. 1600 - c. 1699 Front of a white Tafzijde Kazuifel, with embroidery in the floss side and gold and silver thread. The embroidery has a pattern of symmetrical flower vines with a pink bow and a single bird, caught in a bay bar. England silver thread. taffeta. embroidering Front of a white Tafzijde Kazuifel, with embroidery in the floss side and gold and silver thread. The embroidery has a pattern of symmetrical flower vines with a pink bow and a single bird, caught in a bay bar. England silver thread. taffeta. embroidering

Blouse 1865-70 British. Blouse 109479

Dress ca. 1740 British. Dress 84402

Coat with dotted pattern. In the final quarter of the 18th century coats became ever more tight-fitting. The sleeve inset was higher on the shoulder and further back than today. The front panels were cut back from the chest down. The neckline was not deep in this period, and the standing collar was high. This fabrics pattern of red dots is interspersed with a scattered twig motif.

Child's Dress

Woman's Dress Bodice 1884-6. Holliday, Son & Browne. Bodice made in Birmingham .

Waistcoat, Medium: silk, linen Technique: chain stitch embroidery made with a tambour hook using 12 colors of silk, on silk plain weave. Back: linen plain weave, Man's waistcoat with standing collar and welt pockets. Embroidered on the center front edges with floral motifs and at the lower edge with images of river gods, on puce silk., France, 1780-95, costume & accessories, Waistcoat

Worth. "Coat". Ocher woolen sheet, black silk satin, black tulle embroidered with metallic threads and black wires, applications and acorns. Around 1912. Galliera, fashion museum of the city of Paris. 73751-4 Brown color, ocher color, wool sheet, haute couture, Worth house, coat, female mode, trimmings

Skirt of yellow silk dam mast, with asymmetrical pattern with raster work, rose and grenade, anonymous, c. 1700 - c. 1750 Skirt of yellow silk dam mast, decorated with an asymmetrical pattern with raster, rose and grenade fields. Europe silk damask Skirt of yellow silk dam mast, decorated with an asymmetrical pattern with raster, rose and grenade fields. Europe silk damask

Evening vest 1830-35 American Waistcoats and vests of the 18th and 19th centuries served as a layer protection and ornamentation during a period in fashion when the coat was intended to be left open in the front. The color was often chosen to complement the suit and covered in imaginative embroideries, heavily woven patterns or shiny satins made to draw the eye. The style of the neck, the length and the hem treatment fluctuated as the tastes changed from over-sized coats of the early 18th century to narrow tightly fitted coats of the late 18th century and onward.. Evening vest 159477

Afternoon dress. Culture: American. Date: 1883-85. Museum: Metropolitan Museum of Art, New York, USA.

Nancy Crimi, Waistcoat, c 1936 Waistcoat

Corset. Culture: American. Manufacturer: Crotty & Richards. Date: ca. 1872. Museum: Metropolitan Museum of Art, New York, USA.

Woman's Ensemble (Dress and Jacket)

Fritz Boehmer, Zoar Embroidered Flannel Petticoat, c 1938 Zoar Embroidered Flannel Petticoat

Petticoat 1840s American. Petticoat 90460

Child's Coat late 19th century This child's coat is tailored in late nineteenth-century style, but the fabric was probably woven earlier, in the late eighteenth century. This kind of textile is unique to Kashmir, where for decades families in the trade had spun, dyed, designed, and woven textiles for the emperors. A number of inscribed textiles of similar patterning and construction are known to have been made in Amritsar, and so this fabric is also assumed to have come from there. View more. Child's Coat. late 19th century. Wool; double interlocking twill tapestry weave. Attributed to India, Punjab or Kashmir, Amritsar. Textiles-Costumes

Corset 1880s British. Corset 86425

Lamellar Armor (Byang Bu'i Khrab) and Helmet possibly 16th-17th century Tibetan This is a representative example of a Tibetan lamellar armor and helmet. Both pieces show signs of hard use and repairs. By comparison with examples that are thought to be earlier in date, its lamellae are relatively coarse, dark in color, roughly finished, and more irregular in size. Most Tibetan lamellar armors share several distinct features. The body of the armor has the form of a sleeveless robe made from twelve to fourteen or more rows of lamellae, and the coat has a distinct waist, with the lamellae of that row being bent in a subtle curve. Most armors are sleeveless, but some have shoulder defenses formed of several rows of lamellae, and full sleeves in at least one rare instance. The coat opens down the length of its front, and the back of the skirt is split vertically from the bottom row up to the waist by two seams, one at either side. Some are trimmed with borders made of silk brocade, which is

Dolman coat. This quilted dolman coat is trimmed with pared ostrich feathers. It was a common decorative feature in the 1880s, used especially by French fashion designer Emile Pingat. The sleeves are gathered at the shoulder to accommodate the puffed sleeves of the dress.

Dress 1863-65 American. Dress 103516

Bodice; silk and metallic, lined with linen

Dress. Culture: British. Date: ca. 1810. Museum: Metropolitan Museum of Art, New York, USA.

Chasuble fourth quarter 15th century Italian The textile used in this chasuble is a beautiful example of elaborate weaving. Here the use of cut and uncut velvet is used to delineate the interior layers of the flowers, which gives them a rich and dimensional appearance. The use of metallic bouclé to provide an additional level of patterning also shows a high level of weaving acumen. The curvilinear pattern known as ferronerie is used here on the main fabric of the chasuble. Ferronerie was prevalent in textile design during the Renaissance and reflected the ornate ironwork of the period.. Chasuble 156497

Mens vest made of gold-beige half-silk damask or brocade with pattern of flowers and arabesques finished with brown cord, 31 buttons, vest outerwear men's clothing silk damask shoulder, sleeve, waist, bottom, 47th textile man skirt dress

Mitaine from white chopper cotton embroidered with a floral motif of red rotary side. Judge mitaine (fingerless glove) of white chopping cotton embroidered with a floral motif of red rotary side. Model: cut out one piece, starting with a deck on the hand, a dense thumb and an open seam on the bottom of the arm. Furitive to the elbow.

White silk dress with blue flowers, anonymous, c. 1850 - c. 1920 White silk dress with woven pattern printed with blue flowers. Europe cotton (textile) printing White silk dress with woven pattern printed with blue flowers. Europe cotton (textile) printing

Mitaine from white kepper cotton and linen. Right mitaine of kepper kits and linen. Cocked obliquely from the fabric. With padded point that falls over the hand ridge and inches without a great. Decorated with red embroidery on the back. S- shaped embroidery of branches with an imposed cord. Decorated with berries, tulips and rosettes. Completely trimmed with a flannel stitch along the seams.

Evening ensemble. Culture: French. Design House: House of Lanvin (French, founded 1889). Designer: Jeanne Lanvin (French, 1867-1946). Date: spring/summer 1923.This Lanvin dress is very indicative of 1920s fashionable dress. Its intricate embroidery is unique to France while the spiral motif is a Lanvin signature.Jeanne Lanvin was apprenticed to a milliner and a dressmaker before opening her own millinery shop in 1889. She expanded into dressmaking when her clients began asking for the ensembles in which she adorned her daughter, Marguerite di Pietro (1897-1958). Her style embodied the femininity of youth in a most modern way with meticulous and relatively sparse surface embellishments and robe de style silhouettes, which could be worn by women of all ages. Lanvin's aptitude can be seen through her house's 1920s expansion into fur, lingerie, men's wear, household goods and perfume. She even had the forethought to open her own dye factory which produced the inimitable 'Lanvin blue.' Th

Dress (Mantua) with Train. On her wedding day in 1759 Helena Slicher wore this gown with a skirt no less than two-metres wide! The skirt is supported by large panniers, side hoops around the hips. Unusually, this dress combines two different types of court dress. The bodice with a tail’ follows the English court dress, a mantua, while the loose train was popular primarily on the Continent. (Please check the folder for additional details.)

Underwear with Volant. Under skirt of white cotton, with Volant. cotton (textile) Under skirt of white cotton, with Volant. cotton (textile)

Streamer Skirt, 35 3/8 x 41 in. (89.85 x 104.14 cm) (at waistband), Silk, cotton, China

Jenny. Large night dress. Ivory silk satin. Chiffon. Rhinestone embroidery and silver tubes. Around 1924-1925. Galliera, fashion museum of the city of Paris. Years twenty 1920 20, embroidery, ivory color, woman, female fashion, evening dress, satin, silk, evening, stass, female clothing

Dress 1825-29 probably American. Dress 102954

Bodice (france); trapunto quilted cotton plain weave lined with linen plain weave. outline stitching is linen; stuffing is cotton.; Height: 46cm (18 1/8in.) Width: 40 cm (15 3/4in.); Bequest of Elinor Merrell; 1995-50-339

Paul Poiret, summer (title given by the author), 1910. Ivory Crêpon, embroidery of red, green and white silk threads. Green curly velvet. Dark green satin, ponted with ivory silk, metallic agarfs, seafood hem. Palais Galliera, fashion museum of the city of Paris.

Man's vest. Large of laps bit paperback, blue silk, polychrome silk threads, silver spuns, lining, choring of cream, back, canvas, linen, cream. Wood buttons covered with silver threads. 1730-1740. Galliera, fashion museum of the city of Paris. 76117-25 Blue, flower, man's vest, clothing, male mode, floral motif, clothing, 18th 18th 18th 18th 18th 18th 18th century, Habit

Bodice 1864-70 American. Bodice 173578

Historia. Siglo XIII. Sobrevesta, túnica sin mangas colocada sobre la cota de malla que cubría al caballero medieval.

"Feuille d'automne". Culture: French. Designer: Paul Poiret (French, Paris 1879-1944 Paris). Date: 1916.The day ensemble 'Feuille d'Automne' (Autumn Leaves), introduces the new, slightly raised hemline of the season. While Denise Poiret had worn boots à la Russe for years, they were especially apt when coordinated with ankle-exposing skirts. As with many of Poiret's designs, this ensemble acknowledges the prevailing mode while modifying it to the idiosyncratic sensibility of the designer. In the early 1920s, Poiret was to advocate panniered (wide-hipped) and crinolined silhouettes, but in this period - when many design houses endorsed a full, umbrella-shaped skirt - Poiret insisted on a line that cleaved reasonably to the body. There is fullness in the paisley-patterned skirt, but because it is not supported by petticoats, it collapses into the slender and natural line advocated by the designer and preferred by his wife. The surplice blouse wraps at the waist, anticipating the body-c

Nightgown ca. 1856 American or European. Nightgown 108968

Coat ca. 1886 American. Coat 84722

Jumps (Woman's Waistcoat) Made 1730-1780 France. Silk, plain weave with self-patterning complementary wefts, pieced; linen, plain weave, pieced; lined with linen, plain weave, pieced; front opening, front peplums and neck edged with silk, plain weave tape; sides of peplum, back and underarms edged with silk, plain weave; lacings edged with silk, plain weave; silk braid lacings; iron alloy hooks and eyes; lacing holes reinforced with silk thread .

Jacket late 19th century Hungarian The intricate combination of materials and handwork techniques in this jacket make for a visually interesting garment. This level of decoration epitomizes the care and importance given to costume in traditional cultures. An interesting aspect of this garment is the direct interpretation of military uniform braid, resembling that of the Hussars originating in Hungary in the 15th century.Stewart Culin (1858-1929) was the Brooklyn Museum's first Curator of Ethnology from 1903 to 1929. Culin conducted collecting expeditions, traveling throughout the United States and the world. His goals for these trips were not just to expand the Museum's holdings, but to also provide context for these objects within their cultures. In addition to choosing rare and high-quality pieces, Culin sought artifacts with interesting provenance as well.. Jacket. Hungarian. late 19th century. leather, wool, metal, glass, silk

Petticoat ca. 1880 American. Petticoat 86345

Bodice 1837-40 American This is a charming girl's bodice which replicates the form of an adult garment of the period. Like women's dress during the 1830s, this bodice marks the beginning of the collapse of the full sleeve, an event that occurred in 1837.. Bodice 158302

Anonymous, Robe-Redingote, 1828. Cotton canvas, cotton muslin embroidered with pen and festoon point, pipple-up seams, cotton ribbon. Palais Galliera, fashion museum of the city of Paris.

Alb (Tunic) Made 1675-1700 Italy. Linen, plain weave; pleated; cuffs, flounce, and neck of linen, bobbin part lace .

Anonymous. "Tunic of great outfit of a battalion chief of the 4th RTM". Satin (armor). 1931-1931. General Leclerc Museum of Hauteclocque and the Liberation of Paris, Jean Moulin Museum. 158806-31

Ensemble. Culture: American. Date: 1876.The complete four-piece ensemble, seen here, is rare for children's clothing. This piece is a good representation of high style childrenswear from the 1870s. The whimsical detail in combination of red and blue ribbon trim on the coat, defines the coat as a separate piece of outerwear from the other parts of the ensemble. It is very possible that the bodice and jacket are alternatives bodices for the skirt. Museum: Metropolitan Museum of Art, New York, USA.

Dress of brown beige changeant Ottoman, horizontally raced with brown chenille (a) with corresponding loose belt (b), anonymous, c. 1955 Klapon Beige/Brown Changeant Ottoman with brown Chenille decoration and matching velvet belt. Netherlands Klapon Beige/Brown Changeant Ottoman with brown Chenille decoration and matching velvet belt. Netherlands

Louis Maldarelli, Waistcoat, 1937 Waistcoat

Witte japon, anonymous, c. 1850 - c. 1920 White dress with open worked vertical jobs. The collar is trimmed with lace, just like the bottom edge. Two pink bows at the front of the body, two white knots of plastic at the rear. Netherlands textile materials. White dress with open worked vertical jobs. The collar is trimmed with lace, just like the bottom edge. Two pink bows at the front of the body, two white knots of plastic at the rear. Netherlands textile materials.

Bonnet. Culture: Danish. Date: second quarter 19th century.This bonnet belonged to an unmarried woman from Lolland, an island of Denmark located in the Baltic Sea. Unmarried Dutch maidens wore black ribbons on their hats, blue for morning, and black for married women. Museum: Metropolitan Museum of Art, New York, USA.

Christening gown, Medium: linen, cotton Technique: embroidered, Bodice with square, low neck and revers in front, collar in back; no sleeves; full skirt with revers. Embroidery on front panel, revers, shoulders and bottom of skirt in solid stitches, drawnwork and eyelets in design of flowers, scrolls and waving bands., England, 1853, costume & accessories, Christening gown

Boys Coat, anonymous, c. 1770 - c. 1780 Children's jacket made of rose -colored silk with white stripes and figures, trimmed with silver spot and ditto buttons. Netherlands (possibly) silk

Children's pajamas (jacket, panties and belt) ". Blue printed pink cotton canvas, brown, yellow, red with children's balloon patterns. Pink Ottoman. Around 1924. Galliera, Museum of the City Fashion from Paris. 71776-26 Cotton, pink color, child, print, childish mode, decorative motif, pajamas, clothing

Child's Dress. Dated: c. 1937. Dimensions: overall: 38.8 x 30 cm (15 1/4 x 11 13/16 in.). Medium: watercolor, graphite, and gouache on paper. Museum: National Gallery of Art, Washington DC. Author: Joseph L. Boyd.

Vest 19th century. Vest. 19th century. Wool, metal wrapped thread; embroidered. Made in Turkey. Main dress

Jacket 1878-79 British. Jacket 107659

Unsurtered skirt with side splits of white ribbed cotton, multi-colored wool tamaged () With flower and leaf vines and loose flower and leaf branches, anonymous, c. 1700 - c. 1800 Skirt of heavy ribbed white cotton, on which embroidered woolen flowers and branches. cotton (textile). wool embroidering Skirt of heavy ribbed white cotton, on which embroidered woolen flowers and branches. cotton (textile). wool embroidering

Child's Dress. England, circa 1864. Costumes; principal attire (entire body). Silk, velvet ribbon, cotton lining

Jacket with wide 7/8 sleeves with cover, long lapel collar along fronts and wide shoulders with shoulder caps of light green ribbed moire silk; For higher than back .. Short bolero-like jacket from a jacket pack with wider 7/8 sleeves with ranked cuff. No collar along the neck, long lapel collar along front. Broad shoulders with shoulder caps. Jacket of light green ribbed moiré satin.

Ensemble 1876 American The complete four-piece ensemble, seen here, is rare for children's clothing. This piece is a good representation of high style childrenswear from the 1870s. The whimsical detail in combination of red and blue ribbon trim on the coat, defines the coat as a separate piece of outerwear from the other parts of the ensemble. It is very possible that the bodice and jacket are alternatives bodices for the skirt.. Ensemble 159207

Evening juice of red, black and white silk with cord embroidery. Evening juice of red, black and white silk with cord embroidery. Geometric Art Nouveau. Three-quarters of long, straight model without coupes. Long round neck. Short sleeves. On the front a loose smooth strip of white above black with a tanned spring edge, which has been accentuated with gold and silver cord.

Mary D Porter, Child's Dress, 1935 1942 Child's Dress

Blouse (Camisa) first half 19th century Philippine, Manila. Blouse (Camisa) 221684

Paul Poiret, Mexico, 1922, brown wool sheet, white wool strike. Embroidery with turquoise pearl needle and small metal plates, suede fringes, black printed white satin lining (by the Martine workshop). Palais Galliera, fashion museum of the city of Paris. Lining with plant patterns. Western style fringes.

. Mitaine of white corner leather decorated with pleated green and pink silk and fringes of green, pink, white and yellow silk. With a separate open thumb and an open seam on the inside of the arm

Uncut waistcoat front, Medium: silk Technique: couching, knot, and satin stitch embroidery and appliqué on warp-faced plain weave Label: Couching, knot, and satin stitch silk embroidery and appliqué on silk warp-faced plain weave, Incomplete waistcoat, embroidered in multicolored silks with a pattern of a cockfight and a border design of flowers on a white ribbed silk., probably China, for French market, late 18th century, embroidery & stitching, Uncut waistcoat front

Woman's Capelet

Vestido de novia, diseño de Pedro Rodríguez, 1970. Museu del Disseny de Barcelona.

Nightgown and Bed Jacket, Madame Watrigant, c. 1930 A salmon -colored `voile quadruple 'nightjapon, trimmed with lace. Deep v-neck front and back. Narrow straps. High waist just below the breasts. Skirt completely finely written. Small tow. Along the neck, the arm holes and the hem trimmed with a wide strip of salmon -colored tulle in floral motif. Hereby a short bed or dressing jacket (inv.no. BK-1986-60-B). maker: Brusselsdesigner: United States of America silk. cotton (textile) A salmon -colored `voile quadruple 'nightjapon, trimmed with lace. Deep v-neck front and back. Narrow straps. High waist just below the breasts. Skirt completely finely written. Small tow. Along the neck, the arm holes and the hem trimmed with a wide strip of salmon -colored tulle in floral motif. Hereby a short bed or dressing jacket (inv.no. BK-1986-60-B). maker: Brusselsdesigner: United States of America silk. cotton (textile)

Children's Torero costume (jacket, panties, hairstyle) ". Golden yellow cotton canvas, ribbons in gold. Golden sequins. 20. Galliera, fashion museum of the city of Paris. 76182-27 Hairstyle, golden yellow cotton, panties, suit, child, gold, ribbon, pink, gilded sequin, canvas, bullfighter, jacket

Summer Robe for Court Lady 20th century China. Summer Robe for Court Lady 68985

Pikeman Armor for an Officer Made 1625-1630 Greenwich. Half armor was worn by both foot soldiers and light cavalrymen. English Pikemen were infantrymen (foot soldiers) so named for their principal weapon, the pike, a staff that measured 16 to 20 feet in length. Abundantly studded with steel brass-capped rivets within embossed V-shaped motifs, a pikemanís armor included a helmet (pott), cuirass (breastplate and backplate), gorget (collar), and tassets (riveted steel skirt plates attached to the breastplate). For protection, the down-turned, wide-brimmed pott was originally designed to deflect arrows away from the neck, while the tassets shielded the waist and upper thighs. The patterned breastplate with bulbous tassets reflects the style of a doublet, with a wide full skirt over bulky trousers, which was fashionable at this time. The shoulder strap reinforcement and tasset hinges suggest that this harness belonged to an officer of the English Pikemen or even a member of the English roya

Sleeve vest. Blue silk taffeta, metal passenger, golden threads. 1730-1750. Galliera, fashion museum of the city of Paris. Man's cardigan, clothing, 18th 18th 18th 18th 18th 18th 18 Center

Nightgown and Bed Jacket. This ensemble was inspired by the nightgown and bed jacket worn in 1929 by the - then famous - movie actress Jeanette MacDonald in The Love Parade, which was directed by Ernst Lubitsch. Mrs Brusse had this outfit copied after having seen the film. The bed jacket, however, differs from the prototype in the movie, which is trimmed with ostrich feathers.

Dress for an ecclesiastical figurine, Medium: silk, metallic yarns Technique: satin weave with discontinuous supplementary weft patterning (brocade); bobbin lace, Dress for the figure of the Christ child. Made from the same material as the dress for the statue of the Madonna (1931-43-8). Trimmed on sleeves, down the front and along the hem with silver lace. Bit of lace edged linen with ribbon at neck., Spain, 18th century, costume & accessories, Dress for an ecclesiastical figurine

Costumes based on porcelain figures in Germany and Austria. Rococo. Vienna and Nymphenburg. 1760. historical. authentic. digitally restored reproduction from a 19th-century model

Bodice. Culture: American. Date: ca. 1865. Museum: Metropolitan Museum of Art, New York, USA.

Laars Prince Willem V, c. 1748 - c. 1806 Boot (right boot) from Juchtleer, with silver galon and lace holes. White leather laces. According to tradition supported by Prince Willem V. Netherlands (possibly) Russia leather

Casaca masculina, siglo XVIII, MTIB88186. Museu Textil i d'Indumentaria de Barcelona.

Skirt front ca. 1600 Spanish While black and white, originally Spanish court colors, were the mode all over Europe by the end of the sixteenth century, Spanish portraits support the idea that this style of skirt and the embroidered design itself are specifically Spanish.. Skirt front. Spanish. ca. 1600. Silk. Textiles-Embroidered

Hat (Tricorne). Holland, circa 1790. Costumes; Accessories. Beaver fur

Waistcoat. Probably France. Date: 1790-1800. Dimensions: 58.4 × 41.8 cm (23 × 16 1/2 in.). Cotton, plain weave; copperplate printed. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

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