Waistcoats: A Tailored History
20 May - 20 December 2025
Extract from an article in The Tailor and Cutter, 1898
A waistcoat in cream silk satin, 1770—1780
The front edges, hem and the pocket flap are embroidered with a pattern of leaves, flowers and strawberries in pink, yellow, green and blue and scattered tiny sprigs over the foreparts. The buttons are covered in the same silk satin as the waistcoat and embroidered with a ‘starburst’ design in blue.
At this date, the waistcoat skirt is shorter than in the previous decade and cut away in the front to form a wide inverted V. Flapped side pockets are positioned a little below the natural waist. Both sleeved and sleeveless waistcoats were worn in this period.
Detail of pattern showing flowers and strawberries
A waistcoat in ivory silk, 1830—1840
In the 1830s, jacquard woven silk was a popular and luxurious fabric choice for men ' s waistcoats. The jacquard loom, introduced commercially around 1804, allowed for intricate and detailed patterns to be woven directly into the fabric.
Floral designs were fashionable in the 1840s and 1850s. In this design, a rose, thistle and shamrock in shades of pink and green are set against a ground of stylised leaves and trailing stems, giving a variety of textural effects.
In the early to mid-19th century, cream or white silk waistcoats were popular for wedding wear.
A waistcoat in ivory silk, 1845—1850
The silk has a woven pattern of delicate tendrils, incorporating a gold metallic thread, so the fabric would have shimmered in candlelight.
This waistcoat has a roll collar and two small pockets. Unlike the other waistcoats on display, the high angled pockets would have been used for a pocket watch or glasses. The buttons are covered in decorative stitching.
Fashion plate from the Gentleman’s Magazine,1852
A waistcoat in black silk satin, 1845—1855
In the 1840s, woven silk fabrics were a popular choice for dresses and other garments, including waistcoats, often featuring floral or other intricate patterns, such as this geometric pattern in blue and white. The buttons are black metal with an embossed gilt pattern.
The waistcoat can be dated by the base of the foreparts, which are lined with leather, a feature that only appeared from 1845 to 1855.
A waistcoat in voided silk velvet, 1845—1850
The ground is woven as a flat fabric with a pattern of tendrils, overlaid with a stylised climbing fern pattern woven in velvet.
Designs combining aspects from the natural world, including foliage, vines and seaweed, were popular during the 1840s and 1850s. Many of the designs reflected current interests in aspects of botany and the natural sciences.
Collecting and displaying houseplants was extremely fashionable. Kew’s Palm House opened in 1848 and fern and seaweed collecting were also popular pastimes.
A waistcoat in silk, 1845—1860 PTFPM:2008.597
The silk has a cobalt blue and brown botanic pattern, similar to the textile designs of French artist J. D. Cornuaud who created designs for woven silk.
Design for a silk textile, French, c.1860
and Albert Museum Collection
J.D. Cornuaud.
Pencil and watercolour
Victoria
A waistcoat in silk, 1860—1880
In the mid-1850s, there was a change in style towards a flat lower edge to the front of a waistcoat and the pinched male waist was no longer fashionable. For day dress, a higher neckline became more common around 1855 and by the end of the decade, when buttoned high, a waistcoat could have no lapels.
The colour of this waistcoat is also of interest. In 1856, the chemist William Perkin discovered a purple dye, which became known as Perkin’s mauve, mauveine or aniline purple. Despite its popularity, it was found to be susceptible to fading and for some, the bright shade of purple was too gaudy.
An evening waistcoat in black silk satin, 1895—1900
In the mid-1880s, the newly introduced U or shield-shaped openings were favoured over the V shape, partly because of their effectiveness at displaying the formal shirt front. Single-breasted models were initially preferred, but the double-breasted grew in favour.
This waistcoat has a pattern of sprigs of pink and lilac flowers with green leaves, which are embroidered onto the fabric.
The roll collar stops at the shoulders and its edges are stitched down.
Fashion drawing from The Tailor and Cutter, 1898
