Traditional Chinese Garments

Elegant Chinese jackets and robes featuring intricate designs and fabrics, reflecting traditional craftsmanship.

Jacket, 37 x 48 in. (93.98 x 121.92 cm) (cuff to cuff), Silk, cotton, China

Skirt, late 20th century, 34 3/4 x 23 1/4 in. (88.27 x 59.06 cm), Cotton, metallic threads, silk(), Laos, 20th century

Dance Costume, 20th century, 45 x 41 1/2in. (114.3 x 105.4cm), Cotton, burlap, poly-blend fabric, poly-blend thread; needlework, Nigeria, 20th century

Jacket, 22 1/8 x 41 1/4 in. (56.2 x 104.78 cm) (without ties), Cotton, silk, China

Noh Costume (Nuihaku) with Ivy, Incense Wrappers, and Bamboo Blinds first half of the 18th century Japan Garments decorated with nuihaku, a technique combining embroidery and applied metallic leaf, were first made in the late fifteenth century. The technique became extremely popular on womens kosode (garment with small sleeve openings) during the Momoyama period (1573-1615), particularly for creating naturalistic, complex patterns. Nuihaku garments were occasionally donated to outstanding Noh actors, and the term became synonymous with sumptuous Noh robes. The gold-leaf background on this robe suffuses the ivy, incense wrappers, and bamboo blinds with golden light. Elegant nuihaku, like this one, were worn wrapped around the waist as outer garments, mostly by actors playing female roles. On stage, actors could take advantage of the light-reflecting qualities of the applied metallic leaf.. Noh Costume (Nuihaku) with Ivy, Incense Wrappers, and Bamboo Blinds. Japan. first half of the 18t

Man's Tunic. Egypt, Coptic, late 6th to mid-7th century. Costumes; principal attire (entire body). Wool plain weave, wool tapestry weave with linen eccentric discontinuous-supplementary weft patterning, and wool weft-loop fringe

Undressed. Wide blue silk muslin, printed patterns o r; glass beads Golden. Around 1910-1920. Galliera, fashion museum of the city of Paris. 102216-11 Haute couture, female mode, female model

Manchu Empress' Semiformal Court Robe, 1662-1722, L.57-3/4 in., Silk tapestry (k'o-ssu), China, 17th-18th century, This chang-fu robe displays the standard formal arrangement of eight medallions set against a solid color ground. Each of the multicolored medallions contains a crane rounded in the center, surrounded by seasonal flowers (lotus, plum, magnolia, peony, and chrysanthemum). The neck and sleeve bands, as well as the cuffs, are decorated with multicolored crane roundels and seasonal flowers matching the body. The crane stands for long life, the flowers for purity, beauty, wealth and honor, as well as the four seasons. The red ground was an appropriate color for festive occasions like weddings and birthday celebrations.

Woman's Blouse (Pairan), 1800s. India, Cutch, 19th century. Embroidery, silk thread on silk ground; overall: 81.3 x 83 cm (32 x 32 11/16 in.).

Dolman ca. 1875 American This dolman is made from a fine quality Indian shawl which is sewn to shape with beautifully symmetrical seaming and a well placed border. The theme is carried into the interior with an elaborate paisley patterned silk lining making this truly a luxury item. 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 mantle.. Dolman 159426

Baby Carrier, 35 1/2 x 22 in. (90.17 x 55.88 cm), Silk, cotton; needlework, China

Wedding Apron, 20th century, 28 1/4 x 25 1/8 in. (71.76 x 63.82 cm) (without ties), Cotton, coins, metal studs, metal bells, wire, beads; needlework, Thailand, 20th century

Jacket. Culture: Czech (Moravian). Date: 1887. Museum: Metropolitan Museum of Art, New York, USA.

Dalmatic. Italy, early 18th century. Costumes; ecclesiastical. Silk damask with silk and metallic- thread supplementary weft patterning bound in twill (lampas) with metallic braid

Antique Chinese Mandarin Court Robes Tapestry / Textiles

Man's Sleeved Waistcoat. England, circa 1730. Costumes; principal attire (upper body). Silk velvet with metallic thread and purl embroidery.

Wedding Skirt and Jacket, 20th century, 49 x 26 1/4 in. (124.46 x 66.68 cm) (93.6a jacket)24 x 39 in. (60.96 x 99.06 cm) (93.6b skirt), Silk, China, 20th century

Womans kimono for official events, 1920 - 1940 Formal black women's kimono (Kuro-Tomesode), with a decoration of spread illustrated books on the lower side, a crown with flowers with a white hair and a theater fan with Paulownia and a phoenix. Fine black crepe silk (kinsha) with painted yuzen decoration. Red silk lining. Five family weapons (Mon). Japan silk painting Formal black women's kimono (Kuro-Tomesode), with a decoration of spread illustrated books on the lower side, a crown with flowers with a white hair and a theater fan with Paulownia and a phoenix. Fine black crepe silk (kinsha) with painted yuzen decoration. Red silk lining. Five family weapons (Mon). Japan silk painting

Woman's Blouse, 1980, 23 5/8 x 35 5/8 in. (60.01 x 90.49 cm), Cotton; supplementary weft patterning, embroidery, Guatemala, 20th century

Woman's Imperial State Robe China. Woman's Imperial State Robe 70565

Theatrical robe for a female Daoist priest 18th century China This robe with colorful patchwork was a typical costume for the role of a female Daoist priest. A similar robe now in the collection of the Palace Museum, in Beijing, bears ink inscriptions that indicate it was called a rice-paddy robe,” as its patchwork resembles the irrigated lowlands where rice is grown. Embroidery featuring multiple flowers adds charm and further suggests that the robe was designed for a female character.. Theatrical robe for a female Daoist priest. China. 18th century. Silk thread embroidery on silk satin. Qing dynasty (1644-1911). Costumes-Embroidered

Womans Garment (Albong)

Dress ca. 1780 German. Dress 98332

Manchu Prince's Semiformal Twelve-Symbol Court Robe, 1796-1820, L.55-5/8 x W.51-5/8 in., Silk, China, 18th-19th century

Bindalli Wedding Jacket mid-19th-early 20th century Bindalli (bindallı in Turkish) dresses, worn for weddings and other occasions by Muslim and Jewish women of different social classes in the Balkans and Anatolia, were sometimes accompanied by jackets such as this one, which would have been worn over the dress. The purple velvet fabric of the jacket would have matched the dress fabric, and the motifs of the all over dival embroidery would have been related to those appearing on the dress. The jacket is hip length, with the same round collar, dropped shoulders and straight sleeves that characterize many bindalli dresses. The all over embroidered design on the jacket body consists of large scale floral motifs, garlands and flower vases, with additional and slightly more delicate floral designs on the sleeves. Signs of wear along the sleeve and jacket edges indicate that this elaborately embroidered garment was worn over a long period of time, perhaps by multiple owners.. Bindalli Wedding

Jacket, from a two-piece set, 20th century, 16 3/4 x 58 in. (42.55 x 147.32 cm) (cuff to cuff), Synthetic fibers, cotton, sequins, metal snaps; needlework, Myanmar (Burma), 20th century

Apron, Medium: linen, cotton Technique: withdrawn element with embroidery, White linen apron with drawnwork and embroidery in colored cotton., Russia, 19th century, costume & accessories, Apron

Kimono (Japan); silk and gilded paper thread embroidery on cotton foundation

Coat, 18th century, 52 3/4 in. (134 cm), Wool, cotton, gold thread; embroidered, India, 18th century

traditional embroidered Palestinian dress Jerusalem

Man's surcoat (khalat), late 1800s. Uzbekistan, Shahr-i Sabz. Silk: embroidery, cross-stitch; overall: 150 x 218.4 cm (59 1/16 x 86 in.).

Apron. Culture: Russian. Date: 1830-70.This object is from the collection of Natalia de Shabelsky (1841-1905), a Russian noblewoman compelled to preserve what she perceived as the vanishing folk art traditions of her native country. Traveling extensively throughout Great Russia, she collected many fine examples of textile art of the wealthy peasant class. From the 1870s until moving to France in 1902, Shabelsky amassed a large collection of intricately embroidered hand-woven household textiles and opulent festival garments with rich decoration and elaborate motifs. The Brooklyn Museum holdings include many fine examples including the majority of the garments. Portions of Shabelsky's collection are also housed at the Museum of Fine Arts, Boston, the Cleveland Art Museum, and the Russian Museum of Ethnography in St. Petersburg. Depictions of the goddess are common in Russian embroidery, traditionally associated with fertility. Birds are associated with goddess worship for their proximi

Woman's Ceremonial Robe last third 19th century China. Woman's Ceremonial Robe 70539

Robe (Kosode) with Pines and Interlocking Squares second half of the 18th century Japan A pattern of overlapping squares as well as pine branches embellish the blue figured silk satin of this robe. Using a traditional tie-dye, or resist-dyeing, technique known as kanoko shibori (from the Japanese verb to squeeze”), the fabric is first twisted and compressed into tiny, three-dimensional shapes, bound, and then dyed. The design emerges when the binding is released and the fabric flattened. In the most popular variation of the technique, kanoko (fawn), the artisan hand-ties the fabric in small pinches to create a pattern of undyed details, typically similar to a small square with a tiny dot in the center that varies only subtly in shape. As products of a time-consuming and expensive technique, full kanoko-patterned garments were essential to the trousseaux of the eldest daughters of wealthy Kyoto merchants. Robes with kanoko covering their entire surface were the ultimate luxury.. Robe (

Garment from Central Asia unknown

Garment for an ecclesiastical figurine, Medium: cotton (for outer jacket); silk (for lining); metallic thread Technique: double cloth (outer jacket): plain weave with warps and wefts of twill, Jacket of blue and white cotton in squares with metallic trim., 16th-17th century, costume & accessories, Garment for an ecclesiastical figurine

Lounge suit. Culture: American. Date: ca. 1860. Museum: Metropolitan Museum of Art, New York, USA.

Pants

Undergarment (shitagi), c. 1850, Unknown Japanese, 63 x 22 in. (160.02 x 55.88 cm), Silk, Japan, 19th century

Shirt, 20th century, 22 5/8 x 52 1/2in. (57.5 x 133.4cm), Cotton, China, 20th century

Women's Haori with fans and flowers. Haori for a woman with a decoration over the entire flat of scattered cords, folding ranges and flowers. Wine-red fine crepe silk (Kinsha) with a woven decoration, embroidery imiting (Nuitori Shishu). Lining of damask woven white silk.

Shidong Child's Festival Jacket, 20th century, 20 1/2 x 25 3/4in. (52.1 x 65.4cm), Cotton, China, 20th century

Blouse Front with Collar, 19th century. Dalmatia, 19th century. Cottonembroidery on linen; average: 24.2 x 23.5 cm (9 1/2 x 9 1/4 in.).

Woman's Blouse, 20th century, 35 1/2 x 31 1/4 in. (90.17 x 79.38 cm), Cotton; supplementary weft patterning, Myanmar (Burma), 20th century

Placket and Cuffs, late 1800s. Northeast Woodlands, Great Lakes Region, Anishinaabe (Ojibwe) or Nehiyawak (Cree) People. Velvet, cotton; overall: 19.2 cm (7 9/16 in.); average: 12.5 x 30 cm (4 15/16 x 11 13/16 in.). In the 1800s, native peoples began to use European fabrics to fashion fine formal garments; they favored sturdy cloth, such as velvet and wool broadcloth, which provided support for heavy decorative beadwork that was added by hand. Often the fabric was a dark color, providing dramatic contrast for the multicolored beads. Rather than encrusting the entire garment, beadwork was confined to cuffs, “epaulettes,” bib-like plackets and yokes, rectangular panels sewn to leggings, shirts, and dresses, and the like.

Tube skirt, 20th century, 37 1/8 x 33 1/16 in. (94.3 x 83.98 cm), Cotton; needlework, China, 20th century

Child's Blouse, 1900-1925, 15 1/2 x 45 1/2 in. (39.37 x 115.57 cm), Cotton; needlework, Czech Republic, 20th century

Kosode with Design of Pines and Interlocking Squares. Culture: Japan. Dimensions: 71 x 50 in. (180.3 x 127 cm). Date: second half of the 18th century.This garment's design juxtaposes interlocking squares with gently diagonal passages of pines, in their conventionalized cloudlike form. The entire pattern was rendered in a resist-dyeing technique called kanoko (literally, fawn) shibori, in which tiny portions of the fabric were tied with thread and the cloth was dyed with indigo. The wrapped areas resisted the dye, resulting in a spotted pattern, resembling the coat of a fawn, in white against a blue background. Museum: Metropolitan Museum of Art, New York, USA.

Skirt, China

Coat, 26 3/8 x 54 3/16 in. (66.99 x 137.64 cm), Cotton, silk, sequins, China

Jacket, c. 1920, 16 1/2 x 50 in. (41.91 x 127 cm), Cotton, metallic thread; needlework, Syria, 20th century

Skirt from Theatrical Ensemble for a Female Role 18th century China A close look at this colorful design of phoenixes amid scrolling vegetation reveals transformations in the pattern: some of the flowering areas have heads. This transformational potential is present in the patterns of many Chinese costumes. In addition, the embroidered design of this skirt is identical to that of a theatrical jacket in the Qing court collection of the Palace Museum, Beijing.. Skirt from Theatrical Ensemble for a Female Role 65362

Livery early 19th century Italian. Livery 91884

Woman's pants, mid 20th century, 36 x 20 in. (91.44 x 50.8 cm), Cotton, Vietnam, 20th century

Informal Womens Kimono, 1920 - 1940 Informal women Kimono with a pattern over the entire plane of large, irregularly shaped surfaces in red, yellow and blue, with the dividing lines in white. Fine crepe silk (kinsha) with a damask woven key-fret pattern, the geometric decoration in tie-dye technology (Shibori). Red and pink silk lining. Japan silk painting Informal women Kimono with a pattern over the entire plane of large, irregularly shaped surfaces in red, yellow and blue, with the dividing lines in white. Fine crepe silk (kinsha) with a damask woven key-fret pattern, the geometric decoration in tie-dye technology (Shibori). Red and pink silk lining. Japan silk painting

Woman's Birthday Jacket late 18th-early 19th century China. Woman's Birthday Jacket 69973

Imperial Robe late 19th century China. Imperial Robe 70214

Dong Woman's Camisole, 20th century, 39 1/2 x 31 1/2in. (100.3 x 80cm), Cotton, China, 20th century

IIturgical garments unknown

Jacket, 20 1/2 x 60 in. (52.07 x 152.4 cm)10 x 6 1/2 in. (25.4 x 16.51 cm) (collar), Linen, wool, cotton, China

Festival Robe late 18th-early 19th century China. Festival Robe 69540

Samurai-Class Man's Surcoat (jinbaori). Japan, Edo Period (1615-1868). Costumes; outerwear. Lacquered leather (iyo-zane), stenciled paste-resist-dyed leather, silk braids (kumihimo), and gilt metal

Noh Robe (Karaori) with Autumn Flowers and Grasses first half of the 19th century Japan Karaori, literally "Chinese Weave," is a stiff brocade technique that employs a uniform direction of weft in which long stitches of glossed silk threads are floated over an unglossed silk twill ground, while foil-covered flat threads are bound close to the twill ground weave. The stiff karaori brocade does not drape easily, but it creates an angular effect, helping to evoke the spirit of a former noblewoman. The karaori with flowering grasses emphasizes that woman's femininity. The choice of a robe for a play is based on both its color and pattern, but not on a specific reference to a motif. The aura from the elegance of the robe and the actor's spiritual interpretation create the central persona in the play.A red-ground color (iro-ari) indicates the role of a beautiful young woman. Motifs are governed by convention, but they are incorporated in such variations that robes are rarely identical. The s

Leather Coat (Kawabaori) with Pattern of Large Shrimp 19th century Japan During the Edo period most kawabaori were used by townsmen who wore them for protection from the cold and for festival wear. The lively pattern of large shrimp resulted from a resist process called kataoki in which the pattern was reserved in the natural white color of the leather, while the rest was smoked to achieve a warm golden brown. The coat is reversible, with a pattern of stripes reserved in white on its other side.. Leather Coat (Kawabaori) with Pattern of Large Shrimp. Japan. 19th century. Leather, silk. Costumes

Woman's Skirt, 38 1/2 x 44 in., at waist, (97.79 x 111.76 cm), Silk, China

Womens kimono decorated with geometric patterns, c. 1920 - c. 1940 Informal women Kimono with a geometric pattern over the entire plane of vertical lanes with black, blue and red diamond shapes, interspersed with tires fine vertical lines. Nice crepe rayon (Jinken). CRême cotton lining. Japan rayon. cotton (textile) painting Informal women Kimono with a geometric pattern over the entire plane of vertical lanes with black, blue and red diamond shapes, interspersed with tires fine vertical lines. Nice crepe rayon (Jinken). CRême cotton lining. Japan rayon. cotton (textile) painting

Mans Coat (Chalat)

Margaine-Lacroix, 1925. Lamé gold, embroidery of pearl decor, glitter and polychrome silk threads at the chain point. Palais Galliera, fashion museum of the city of Paris.

Coat, 20th century, 48 1/4 x 55 3/4in. (122.6 x 141.6cm), Cotton, China, 20th century

Baby Carrier, 31 3/4 x 33 13/16 in. (80.65 x 85.88 cm), Cotton, silk, velvet, China

skirt, 19th century, L.32-3/4 in., silk, China, 19th century

Men Haori with tigers in the snow, 1920 - 1940 Haori for a man with a decoration on the lining of two tigers running in the snow. Black shiny silk (habutae) with brokaat woven decoration. Five family weapons (Mon) of stylized oak leaf (Kashiwa). Japan silk Haori for a man with a decoration on the lining of two tigers running in the snow. Black shiny silk (habutae) with brokaat woven decoration. Five family weapons (Mon) of stylized oak leaf (Kashiwa). Japan silk

Woman's blouse (Huipil), 20th century, 30 13/16 x 28 15/16 in. (78.26 x 73.5 cm), Cotton, Guatemala, 20th century

Woman's Haori With Flowering Plum and Bamboo. Haori for a woman with an ornament over the entire flat of red flowering prunus branches and bamboo stems in white. Beige fine crepe silk (Kinsha), with a stenciled yuzen decoration and gold foil on the outside and lining.

Stage costume by Leon Bakst, 1912, 1866-1924, Russia, Moscow, State Central A. Bakhrushin Theatre Museum

Skirt, China

Samurai-Class Womans Summer Formal Robe (goshodoki katabira). Japan, late Edo period (1615-1868), early 19th century. Costumes; principal attire (entire body). Ramie (chōma) plain weave, paste-resist dyed (yūzen) and stenciled imitation tie-dyed (kata kanoko shibori), with silk- and gilt-paper-wrapped-silk thread embroidery

Outer Robe (Uchikake) with Mount Hrai mid-19th century Japan The legendary isle of the immortals, located in the eastern seas according to ancient Chinese legend, is called Mount Penglai (Hrai in Japanese). In Japanese art, it was frequently represented as a gathering of cranes and tortoises in a bright landscape dominated by pine, plum, and bamboo. An auspicious theme, it was often used, as here, for bridal garments. This lined silk robe, or uchikake, with a wadded hem was meant to be worn as an outer garment, without a sash. It displays a wealth of motifs symbolizing good fortune, steadfastness, and longevity, including the Three Friends of Winter—plum blossoms, pine, and bamboo—cranes and long-tailed tortoises, and chrysanthemums of different colors. It also represents a moment of transition in Japanese textile art, when Edo-period motifs and themes were being kept alive but reformulated. The garment’s seemingly random scattering of design elements reflect mid-19th century changes

Woman's Informal Skirt, c. 1910, 37 3/4 x 46 in. (95.89 x 116.84 cm), Satin with silk embroidery, China, 20th century

Woman's Ceremonial Skirt (Tapis). Indonesia, South Sumatra, Lampung, Kauer people, 19th century. Costumes; principal attire (lower body). Cotton plain weave, silk embroidery, mica appliqué

Jacket, China

Kimono Japanese 1895-1900 View more. Kimono. Japanese. 1895-1900. Silk. Main dress

Coat (China); silk

Skirt 19th century Russian. Skirt 98452

Baby Carrier, 31 x 170 1/2 in. (78.74 x 433.07 cm), Cotton, silk, metallic strips, sequins; needlework, China

Skirt, 20th century, 42 x 26 1/4 in. (106.68 x 66.68 cm), Cotton, silk; needlework, Laos, 20th century

Informal Womens Kimono. The display windows of the large department stores presented the latest fashions to the shoppers, who mostly still wore kimonos. The new process for dyeing fabrics using stencils and new synthetic fabrics made kimonos more affordable. The motifs and colours of these kimonos were fresh and fit in with the worldwide modernism of the 1920s.

Skirt. Culture: China. Dimensions: 36 1/2 x 50 in. (92.71 x 127 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Woman's blouse (Huipil), c. 1990s, 33 1/2 x 32 1/4 in. (85.09 x 81.92 cm), Cotton; bound resist (jaspe); embroidery, ikat, Guatemala, 20th-21st century

Womens kimono decorated with cranes and camellias, 1920 - 1940 Informal women Kimono with a pattern over the entire plane of origami cranes and stylized green camelias. Wijnrode silk with decoration in stencil pressure (girls). Lining of white and crem cotton. Japan silk. cotton (textile) painting Informal women Kimono with a pattern over the entire plane of origami cranes and stylized green camelias. Wijnrode silk with decoration in stencil pressure (girls). Lining of white and crem cotton. Japan silk. cotton (textile) painting

Native Indian animal skin shirt, decorated, Eskimo, (Inuit). Canada 1870

Child's Bodice, early 1900s. India, early 20th century. Embroidery; satin decorated with gold thread, pearls, and glass beads (); overall: 26.3 x 59.5 cm (10 3/8 x 23 7/16 in.).

Skirt, 31 3/4 x 43 in. (80.65 x 109.22 cm) (at waistband, without top loops or ties), Cotton, silk, synthetic fibers, beads, metallic strips, velvet, China

Robe for Lay Aristocrat early 20th century Tibet. Robe for Lay Aristocrat 70506

Robe, 19th century, Unknown Japanese, 64 x 63 in. (162.56 x 160 cm), Brocade, silk, Japan, 19th century

Pair of Leggings, Cotton, China

Woman's Outer Coat 18th-early 19th century China. Woman's Outer Coat. China. 18th-early 19th century. Silk. Qing dynasty (1644-1911). Costumes-Embroidered

Bodice (dress top), c. 1920-1950, 14 1/2 x 55 1/2 in. (36.83 x 140.97 cm) (cuff to cuff), Silk, cotton, metallic threads; needlework, Afghanistan, 20th century

Boys Kimono with Lucky Thread Balls (Temari) and Bullets Japan ca. 1940s Boys, some of them sitting on oversized temari (lucky thread balls that Japanese mothers traditionally make for their daughters as New Years gifts), are depicted with army helmets. The characters on the chests of those carrying the Japanese flag read shingun, or “Divine Army,” referring to the forces of the emperor. The standing figures whose outfits depict fighter planes carry the flag of Manchukuo. They are shown against an endlessly repeating background of red, blue, and white bullets. View more. Boys Kimono with Lucky Thread Balls (Temari) and Bullets. Japan. ca. 1940s. Silk. Sh?wa period (1926-89). Textiles-Costumes

Chinese Woman's Unofficial Informal Robe, 19th century, L.39-1/4 in., Cut-silk velvet, China, 19th century, In China, different ethnic groups favored different styles of robes. The ethnic minority Manchu women wore full-length informal gowns with square cuffs, and women of the Han majority wore shorter, loose-fitting robes with wider sleeves like this one. These were generally calf-length garments worn over a standard wraparound skirt. This special-occasion robe features a scattered scheme of peonies and cicada insects in red cut velvet against a gold ground. The cicada symbolized regeneration and eternal youth. When depicted in flower or garden settings, it represented the harmonious coexistence of all things in nature. The outer cuff bands display, in light-green cut and voided velvet, the 'hundred antiques' motifa general collection of emblematic forms comprising the Buddhist Eight Treasures, the symbols of Four Fine Arts (music, chess, calligraphy, and painting), and numerous conv

Coat, 24 1/16 x 59 9/16 in. (61.12 x 151.29 cm), Silk, cotton, metal buttons, China

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