Traditional Asian Jackets

A collection of detailed jackets from different Asian regions, highlighting intricate embroidery and traditional textiles from various cultures.

Jacket, 36 1/2 x 46 in. (92.71 x 116.84 cm), Cotton, silk, China

Theatrical woman's robe, 19th century, L.61-1/8 x W.58 in., satin, cotton, China, 19th century, During the Qing Dynasty, men played both male and female roles in plays and operas. Stage decoration and scenery were kept to a minimum, so the audiences attention needed to be captured by dramatic, exaggerated costumes and stage makeup to ensure the characters were recognizable. This robe would almost certainly have been over-the-top as everyday wear, but on stage its bright pink color and butterfly design were necessary for dramatic effect.

Coat, late 19th century, 49 1/2 x 58 9/16 in. (125.73 x 148.75 cm), Silk, cotton; ikat, Uzbekistan, 19th century

Woman's Birthday or Informal Ceremonial Robe late 19th-early 20th century China. Woman's Birthday or Informal Ceremonial Robe 68479

Court Robe, 19th century, L.55-1/8 x W.49-3/4 in., k'ossu, satin, China, 19th century

Woman's tunic, 20th century, 21 1/2 x 23 in. (54.61 x 58.42 cm)5 1/4 x 9 in. (13.34 x 22.86 cm) (object part, back collar), Cotton, rayon (); needlework, Laos, 20th century

Dalmatic first half 18th century French. Dalmatic 227739

Chikarkarpe robe, late 19th century, Unknown Ainu, 56 1/4 × 49 1/2 in. (142.88 × 125.73 cm) (overall), Cloth: cotton; cotton appliqué and embroidery, Japan, 19th century

Robe, 19th century, L.40 x W.35-1/8 in., satin, silk, China, 19th century, This robe is decorated with peaches, pomegranates, and citrons (also known as 'Buddhas hand') in gold against a purple ground. The motifs are imbued with symbols of good fortune: the peach stands for longevity, the pomegranate for fertility, and the citron for good luck. Together they constitute the 'Three Abundances.' These, in combination with the endless knot motif in the neck and sleeve bands, mean the robe is emblematic of a long, happy, and prosperous life blessed with many children.

Theatrical warriors jacket with dragons 18th century China This type of jacket was usually worn by a performer playing a Manchu general. The ceremonial armor worn during parades and inspections inspired its form.On view during Rotation 1 of exhibition from June 25, 2016 through January 13, 2017.. Theatrical warriors jacket with dragons 65664

Manchu Man's Semiformal Court Robe (jifu), late 19th century, 57 x 78 1/4 in. (144.78 x 198.76 cm), Silk, China, 19th century

Jacket, China

Baby Carrier, 24 1/8 x 31 1/2 in. (61.28 x 80.01 cm), Cotton, silk, rayon; needlework, China

Baby Carrier, 40 1/2 x 23 in. (102.87 x 58.42 cm), Cotton, sequins; needlework, China

Imperial Court Robe China. Imperial Court Robe 70236

Trousers early 19th century India. Trousers. India. early 19th century. no medium available. Main dress

Woman's Jacket, 19th century, L.34 x W.52-1/4 in., Silk, China, 19th century

Woman's Quasi-Official Vest with Insignia Square, 19th century, L.40-1/8 x W.39-1/8 in., Embroidered satin, China, 19th century

Theater costume unknown

Woman's Summer Robe 19th century China. Woman's Summer Robe. China. 19th century. Silk, metallic thread. Qing dynasty (1644-1911). Costumes-Embroidered

Baby Carrier, 25 5/8 x 28 1/2 in. (65.09 x 72.39 cm) (without tie fragment), Cotton, silk, metallic strips, China

Body with long sleeves of printed cotton, anonymous, c. 1800 - c. 1920 Cotton body with long sleeves made of printed cotton. The pattern consists of windows containing a black palm leaf in oval. Europe cotton (textile) printing Cotton body with long sleeves made of printed cotton. The pattern consists of windows containing a black palm leaf in oval. Europe cotton (textile) printing

Chasuble Made 1501-1525 Italy. Silk, warp-float faced 4 1 satin weave with three and four-color supplementary pile warps forming cut voided velvet; edged with woven tape; lined with silk, plain weave .

Apron fourth quarter 19th century Croatian The lively and exuberant embroidered design of this high-quality apron reflects the celebratory spirit that is the essence of traditional holiday costume.The apron was collected by Stewart Culin (1858-1929) during a collection expedition in 1920. Culin was the Brooklyn Museum's first Curator of Ethnology, serving from 1903 to 1929. Possessing an insatiable curiosity and appetite for collecting objects of all kinds, Culin conducted over twenty worldwide collecting expeditions between 1901 and 1928. The trips covered American Indian territories, New England, Asia, India, Great Britain, and all of Eastern and Western Europe. The seven expeditions between 1917 and 1928 were specifically focused on collecting regional textiles and costumes from Eastern and Western Europe and, to a lesser extent, New England. Culin's goals for these trips were not just to expand the Museum's holdings, but also to preserve their cultural contexts. He did so through a

Dalmatic from 1773, goldsmith's art and textile art from the 16th to the 20th century, St., Sankt, Saint

Skirt, 20th century, 38 3/16 x 29 3/4 in. (97 x 75.57 cm), Cotton, Vietnam, 20th century

Paul Poiret, 1922. 2 different fabrics, an ivory silk canvas partly greenery pink and orange, and one of striped silk and pampered with orange green and pink patterns, 2 staples on the shoulder. Palais Galliera, fashion museum of the city of Paris.

Robe 19th century Japan (Ainu) The native people of Northern Japan are called the Ainu and historically have been culturally distinct from the Japanese--in language, religion, and artistic traditions. Among the most renowned of their works of art are wood carvings and textiles. The Ainu's distinctive attush cloth is made from the inner bark of the elm tree or from linden or nettle plants. Men were responsible for collecting the bark, but, as with all Ainu costume, the design, weaving, sewing, and decorating were done by women for their own families. This attush robe has uniformly wide sleeves, a trait that shows a similarity to and probable influence of the Japanese kimono; by contrast, the sleeves of the cotton robe also shown here taper from the armpit to the wrist.. Robe 53902

Noh Robe (Japan); silk, metallic yarns

Lady's Short Jacket. Culture: China. Dimensions: Overall: 36 1/4 x 65 in. (92.1 x 165.1 cm). Date: mid-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Jacket, China

Dress, early 20th century, 55 x 35 in. (139.7 x 88.9 cm) (width at hem), Cotton (azi), gold metallic threads; needlework, Syria, 20th century

Manchu Man's Semiformal Court Robe (jifu), 19th century, 59 x 84 in. (149.86 x 213.4 cm), Silk tapestry (kesi), China, 19th century

Woman's Informal Coat with Large Rosettes 18th century China Roundels and rosettes have a long history in China, dating back to the seventh century. The embroidered rosettes on this robe are particularly notable for their fine detail. They are on a nearly hidden light-blue background and were set in, not applied to the surface of the garment, which features a subtly contrasting light-golden-yellow background embroidered with flowering branches. Exquisite robes such as this one were often refurbished for succeeding generations. The borders of this coat, for example, are from a later period.. Woman's Informal Coat with Large Rosettes 42109

Semi-formal female garment (ao). unknown, craftsman

Dalmatic (one of a pair). Culture: Austrian. Dimensions: Height (neck to hem): 36 1/2 in. (92.7 cm). Date: 1830-39. Museum: Metropolitan Museum of Art, New York, USA.

Child's coat, early 20th century, 27 7/8 x 38 7/8 in. (70.8 x 98.74 cm), Metallic threads, silk, cotton, Uzbekistan, 20th century

Women's Vest, 19th century, L.53-7/8 in., silk, China, 19th century

Aubergine red Japanese skirt with floral design in sitstechniek, japonse_rok outerwear men's clothing clothes cotton ink shoulder w 95,0 mid back, under w 101.0 sleeves, side 47s left side left 48.5 sleeve w right 29.5 sleeve w left 31.5 textile eggplant red Japanese skirt handpainted with flowers carnations forget-me-nots roses and peonies The pattern of the coat is painted on the fabric and then cut and sewn in there man flower VOC

Toreador suit 19th century Spanish. Toreador suit. Spanish. 19th century. silk, metallic thread, glass, cotton

Womans fish-skin festival coat (hukht), 19th century, Unknown Nivkh, 54 3/4 × 42 1/2 in. (139.07 × 107.95 cm), Cloth: fish skin, sinew (reindeer), cotton thread; appliqué and embroidery, Russia, 19th century

Robe first half 19th century or earlier Tekke Turkoman women's mantles are typically embroidered, by women, with small motifs in silk thread with a lacing stitch (kesdi). They are worn over the tunic (kurta) cloak-fashion, covering the head and shoulders, with the long vestigial sleeves hanging down the back and joined by an embroidered band. Among the Tekke, the chyrpy's color indicated the age of the wearer: dark blue or black for a young woman, yellow for a married woman of middle age, and white for a matriarch. The motifs were most frequently stylized flowers, and especially the tulip, the most prolific wildflower of the region. The fish in the present piece, however, represent another ubiquitous requirement in Turkoman life, that of good fortune and the provision of protection. Robe. first half 19th century or earlier. Silk; embroidered in silk thread; cotton lining. Attributed to Turkmenistan. Textiles-Costumes

Dalmatic 1720-1725 Italian. Dalmatic 227567

Dragon Robe, 1662-1722, L.56 1/4 in. (back seam), Silk, China, 17th-18th century

Shirt 19th century Hungarian. Shirt 98345

Uncut Panels for Mans Vest. England, circa 1855. Costumes. Cotton canvas with wool and silk embroidery (Berlin work)

Kimono (furisode) with design of peonies, chrysanthemums, wisteria, and fans, late 18th century, Unknown Japanese, 65 1/2 x 50 1/4 in. (166.37 x 127.64 cm), Damask silk, silk and metallic threads, Japan, 18th century, During Japans Edo period (1603-1868), it was customary for young, unmarried women to wear furisode, a type of robe with long, hanging sleeves. Young women of the merchant and warrior classes preferred opulent, even somewhat flamboyant designs. The design and decoration of this robe suggest that it was once a furisode for a younger woman who kept wearing it after she was married but shortened its sleeves to reflect her new status. It is lavishly decorated with an overall pattern of peonies, chrysanthemums, wisteria, and chūkei (a type of folding fan). The underlying silk was dyed with safflower to produce the robes reddish-orange color, often used for young womens clothing.

Imperial Court Robe 19th century China. Imperial Court Robe. China. 19th century. Silk, metallic thread. Qing dynasty (1644-1911). Costumes-Embroidered

Waistcoat Front Panel Made 1760-1769 India. By the 18th century Indian textile artisans had already been celebrated internationally for centuries for their cotton textiles, whether embroidered or dyed in bright colors. This waistcoat front panel exemplifies Indian makersí ability to cater to the taste of foreign markets the shape of the embroidery was made to the specifications of Western European tailoring.. Cotton, plain weave; embroidered with silk yarns and gilt-metal-strip-wrapped silk in chain stitches .

Skirt, 19th century, L.34-7/8 in., silk, gold thread, China, 19th century

Kurta 19th century. Kurta 86186

Tube skirt, China

Imperial Court Robe early 19th century China. Imperial Court Robe 65360

Kimono for an unmarried woman, 1905 - 1920 Formal kimono with long sleeves for an unmarried young woman (Furisode), decorated all over the plane with large fans, snowflake, bamboo, chrysanthemum and other plant motifs, with flower bulbs to cords that cross the composition. Cream-white crepe silk with yuzen decoration in mainly red, green and pink, with detailing in silver and gold thread, gold and silver foil. Red silk lining. Three family weapons of chrysanthemums. Japan silk embroidering / painting Formal kimono with long sleeves for an unmarried young woman (Furisode), decorated all over the plane with large fans, snowflake, bamboo, chrysanthemum and other plant motifs, with flower bulbs to cords that cross the composition. Cream-white crepe silk with yuzen decoration in mainly red, green and pink, with detailing in silver and gold thread, gold and silver foil. Red silk lining. Three family weapons of chrysanthemums. Japan silk embroidering / painting

Womans kimono for official events. Illustrated books appear to be scattered over the fabric, together with a fan and a crown with white hair. Kimonos with white family emblems at the neck and on the sleeves are worn on formal occasions, such as weddings or temple ceremonies.

Informal Womens Kimono. Kimonos with fashionable patterns in strong colours reflected the optimism of the changing society. This kimono with irregularly shapedgeometric fields is comparable to the one in the print of the woman holding a hand mirror.

Robe, c. 1900, 40 1/2 x 51 1/2 in. (102.87 x 130.8 cm), Silk and sheepskin, China, 19th-20th century

Over Robe (Uchikake) with Fans and Flowers second half of the 18th-first half of the 19th century Japan High-ranking samurai women wore luxurious uchikake like this one in the late Edo period. The distinguishing characteristics of this type of robe are color and pattern. Usually arrayed on a red or white ground, various floral patterns alternate in a blocklike layout with a nonfloral pattern, such as stylized waves, key-fret patterns, or fans (as here). On this robe, chrysanthemums, peonies, and cascading wisteria mingle with colorful butterflies executed in kanoko tiedye and silk and metallic-thread embroidery. The damask ground is embellished with more chrysanthemums and a geometric key-fret pattern.. Over Robe (Uchikake) with Fans and Flowers 44529

Chikarkarpe robe, late 19th century, Unknown Ainu, 48 3/4 × 52 1/2 in. (123.83 × 133.35 cm) (overall), Cloth: cotton; cotton appliqué and embroidery, Japan, 19th century

Emperor's Jifu (Semiformal Court Robe). Manchu; China. Date: 1825-1850. Dimensions: 151.4 × 199.7 cm (59 5/8 × 78 5/8 in.). Silk, slit tapestry weave; painted details; upper sleeves: silk, satin weave self-patterned by areas of twill weave; lower sleeves: silk, twill weave; impressed ribs. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Outer Robe (Uchikake) with Peonies, Plum Blossoms, and Butterflies late 18th-early 19th century Japan The uchikake is a lined silk robe with a wadded or padded hem, worn over another garment without a sash, usually for formal occasions or stage performances. The origins of the use of this garment among women of the samurai elite can be traced back to the Kamakura period (1185-1333). In the early Muromachi period (1392-1573) it was worn from early May to early September; from the end of the Muromachi period it was part of formal winter attire and made of thick materials. Starting in the mid-Edo period, it was constructed with white, black, and red figured satin and often fully embroidered with multicolored threads and gold. The uchikake is still worn over a kimono in the traditional wedding ceremony. This example is embellished with auspicious symbols, such as peoniesking of flowers, the first blossom of the springplum blossoms, and butterflies, which represent joy and longevity as we

Robe, 19th century, L.49 x W.44-1/8 in., satin, metal studs, linen, China, 19th century

Man's Jifu (Semiformal Court Robe) Made 1840-1870 China. Silk and gold-leafed-paper-strip-wrapped silk, slit tapestry weave; embroidered in padded satin and stem stitches; painted; edged with silk and gold-leaf-paper-strip-wrapped silk in warp-float faced satin weave with weft-float faced twill interlacings of secondary binding warps and supplementary patterning wefts; metal buttons . Manchu

Robe, Medium: silk Technique: gauze weave; woven and embroidered trims Label: silk gauze, woven and embroidered trims, Robe closing diagonally across the shoulder and under the right arm. Made of dark purple silk in gauze weave with medallions of dragons and floral designs. Trimmed with a wide black silk band embroidered in shades of blue with flowers, butterflies, and auspicious symbols; and a narrow green band woven with floral designs. Fastenings are four silk frogs with four spherical brass buttons., China, 19th century, costume & accessories, Robe

Kimono with Design of Lilies, Chinese Bellflowers, and Pinks second quarter of the 20th century Japan This light brown, crepe silk summer kimono has woven diagonal fret patterns; lilies, Chinese bellflowers, and pinks are hand-painted on the lower half of the front panels. The summer flowers are of pastel colors, white, light green, yellow and blue. The outlines of the flowers are emphasized in stronger lines and tones, while the inner sections of the petals are almost translucent, allowing the underlying fret pattern to show through. The design is concentrated on the front of the kimono, while the back is left without additional painted patterns.. Kimono with Design of Lilies, Chinese Bellflowers, and Pinks 76988

Robe (China); silk

Chasuble second quarter 18th century Indian, Coromandel Coast and Central European, for European market This chasuble is constructed from a most unusual textile, from which two distinct designs were taken to create the front and back of the vestment. The back of the garment, shown here, was made from a portion of the fabric with a pattern of repeating mound-shaped motifs enclosed in an ogival frame linked by floral sprays; the front uses a pattern of red diamond-shaped motifs resting on a blue band, which once appeared on each side of the repeating-mound pattern. A departure from most of the dyed cloths made for export on Indias Coromandel Coast, this textile finds its closest visual parallel in a group of European brocaded silks now referred to as "lace-patterned." These eighteenth-century textiles are characterized by the use of large-scale motifs, especially streamers and floral sprays, which are set against delicate, lacelike diaper patterning and floral vines. Although these silk

Man's Birthday Robe 20th century China. Man's Birthday Robe 69978

Miniature Imperial Jacket, Qianlong period, 1736-1795, Silk, China, 18th century

Suit 1850s American. Suit 104928

Noh Robe (Japan); silk, gilded paper

Woman's Silk Robe, c. 1770-80. China, Qing dynasty (1644-1911). Silk: satin weave with supplementary weft pattern; overall: 132.1 x 142.5 cm (52 x 56 1/8 in.).

Woman's ceremonial blouse (Huipil), c. 1960s, 27 x 36 1/2 in. (68.58 x 92.71 cm), Cotton; supplementary weft patterning, Guatemala, 20th century

Jacket Japanese 18th-19th century View more. Jacket. Japanese. 18th-19th century. Silk, paper. Main dress

Man's Jifu (Semiformal Court Robe). Manchu; China. Date: 1720-1740. Dimensions: 134 × 188.8 cm (52 3/4 × 74 3/8 in.). Silk and gold-leaf-over-lacquered-paper strips, 1:1 plain gauze weave with supplementary brocading wefts; cuff trim: silk, plain weave; neck trim and closures: silk, warp-float faced 7:1 satin weave; lined with silk, plain weave self-patterned by areas of 1:1 plain gauze crossings; cuffs lined with silk, plain weave; metal buttons. Origin: China. Museum: The Chicago Art Institute, Chicago, USA. Author: Manchu.

Man's Theater Costume (Reversible) Made 1850-1900 China. Silk, warp-float faced 3 1 'Z' twill weave self-patterned by areas of plain weave; edged with bands of silk, warp-float faced 7 1 satin weave; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped cotton, laid work and couching; embellished with gilt-metal framed mirrors; trimmed with silk and gold-leaf-over-lacquered-paper strips, plain weave; collar silk, warp-float faced 7 1 satin weave; embroidered with silk in eyelet and satin stitches; inner coat silk, warp-float faced 7 1 and 4 1 satin weaves; embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped cotton in satin stitches; laid work and couching; trimmed with silk and gold-leaf-over-lacquered-paper strips, plain weave and with silk, knotted cut fringe wrapped with gold-leaf-over-lacquered-paper-strip-wrapped cotton threads; closures silk, warp-float faced 4 1 satin weave; lined with ramie, plain weave; glazed; inner lining ramie, plain weav

Short Coat Made 1801-1850 Japan. Wool, plain weave, fulled (gorofukuren); appliquÈd with silk, plain weave with supplementary pile warps forming solid velvet; embroidered with silk, gilt-strip-wrapped-silk; silk and gilt-paper-strip, twill weave with secondary binding warp and patterning weft; lined with silk, plain weave; edged with silk and gilt-paper-strip, twill weave with secondary binding warps and patterning wefts .

Man's Paper Garment 19th century Japan Japanese paper, known for its strength and softness, has the added advantage of being very warm. In the process of making paper clothing, sheets of handmade paper are first joined into large sheets (some of the joins are visible in this example), which are then treated with strengthening agents like persimmon juice. The points of stress in this garment are reinforced with silk patches that also create an arresting design.. Man's Paper Garment 53918

Tibetan Man's Robe, Chuba, late 1600s. China, Qing dynasty (1644-1911), Kangxi period (1662-1772). Silk, gilt-metal thread of two kinds: satin weave with supplementary weft patterning; width across shoulders: 189.9 cm (74 3/4 in.); length back of neck to hem: 152.4 cm (60 in.).

Jacket, 22 7/8 x 56 in. (58.1 x 142.24 cm), Cotton, silk, China

The semi specific longpao male robe with the motif of eight five fled dragons unknown

Square cashmere shawl, border with plant patterns and 4 corner palms. Kashmir with white reserve, woven with the launched, cut, silk chain, wool frame, armor in a chick. Around 1830. Galliera, fashion museum of the city of Paris. Angle, armor, border, cashmere, silk chain, carre, decoupe, vegetal pattern, palm, four, white reserve, serge, lance weave, weft wool

Woman's Kimono (Kosode) with Snow-Covered Mandarin Orange Trees and Poem. Japan, Edo period (1615-1868), late 18th century. Costumes; principal attire (entire body). Silk plain weave (crepe; chirimen), paste-resist dyed (shiroage) and stenciled imitation tie-dyed (kata kanoko shibori), with silk and gilt-paper-wrapped-silk-thread embroidery

Woman's Waitao (Semiformal Domestic Surcoat) Made 1875-1900 China. Silk, warp-float faced 7 1 satin weave; embroidered with gold-leaf-over-lacquered-paper-strip-wrapped wild silk and silk, laid work and couching; collar tape, closures, and lining silk, warp-float faced 7 1 satin weave; metal button . Han-Chinese

Theatrical jacket with grapevines. Culture: China. Dimensions: Overall: 36 3/4 x 85 1/4 in. (93.3 x 216.5 cm). Date: 18th century.The pattern on this jacket--part of a theatrical costume with skirt 30.76.23-- features an amalgam of grapevines and dragons that twists and curves across the white background. You can see one dragon head on the left of the jacket, and another can be found in the center on the back. The quality of both the materials and the workmanship is very high: note the subtle changes in color of the silk embroidery within the leaves and the use of gold thread to delineate the branches, leaves, and tendrils of the grapevine. Museum: Metropolitan Museum of Art, New York, USA.

Imperial Court Robe China. Imperial Court Robe 69952

Woman's Dress Made 1700-1900 Attica. Cotton, plain weave; embroidered with cotton in back and double running stitches; insets of cotton, needle lace .

Robe late 19th century. Robe 86249

Blouse India 17th century

Dance skirt, China

Jacket, from a two-piece set, 31 3/4 x 53 7/8 in. (80.65 x 136.84 cm), Silk, cotton, metal buttons, China

Empress's Twelve-Symbol Robe China. Empress's Twelve-Symbol Robe 65675

Furisode Made 1801-1868 Japan. This furisode, a long-sleeved garment worn by children and unmarried women on special occasions, belonged to a family whose crest was the tachibana, the flower of the Mandarin orange. Made of rinzu (a soft, lustrous silk), it probably was used as an uchikake (outer coat). The red fabric is woven in a pattern that combines geometric and floral forms. A blossoming plum tree embroidered with gold and white silk thread spreads its branches from hem to shoulder. The carefully embroidered blooming tree shows the influence of Western art on Japanese design. Needlework typical of this period was used to portray illusionistically the contours of the tree trunk. First the edges of the trunk were padded with a heavy thread; then, over this padding, gold-wrapped thread was couched with red silk thread.. Silk, 4 1 satin damask weave (rinzu); embroidered with silk and gold-leaf-over-lacquered-paper-strip-wrapped silk in satin stitches; laid work and couching, and padde

Ancient Chinese clothes, court dress, with large sleeves and embroidery, Qing dynasty, eighteenth century.

Collar ca. 1890 Italian Collars this size have a strong presence and this scale is a good vehicle for large and dramatic lace designs such as this one. Notable in the design are the realistic depictions of four different flower varieties, including iris and tulips and the significant variation of grounds in the floral motifs which heightens the visual interest. Laces composed of premade tapes such as this one were a less expensive version of their bobbin or needle-made counterparts, in this case Milanese type.. Collar 156757

Robe, Medium: silk Technique: couched cord and satin stitch embroidery; lined, Robe with short sleeves made of ribbed red silk embroidered in white silk (satin stitch) and couched cord in design of open flowers and scrolling leaves; lined with blue silk; one tie of pink silk, (others missing). Garment intended for an ecclesiastical figurine., France, early 18th century, embroidery & stitching, Robe

Lined Jacket, 24-5/8 x 49 in. (62.5 x 124.5 cm), Cotton, China

Tunic front panel, mid 20th century, 18 1/4 x 16 5/8 in. (46.36 x 42.23 cm), Cotton, India, 20th century

Outer Coat, 20th century, L.50-1/8 x W.47 in., Silk, satin, China, 20th century

national Eastern outerwear on white background. Asian, Uzbek chapan. caftan on a white background

Cloak mid-19th century American. Cloak 108091

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