This Handsewn Silk Tailcoat, with Its High Collar, Wide Lapels, Short Front

Home , Armscye, Banyan (clothing), Breeches, Buttonhole, Collar (clothing), Cuff

NOTES:

1. Fabric grain follows vertical lines of graph paper.

2. Pattern pieces are drawn without seam allowance.

3. Six 1¼-inch-diameter self-covered buttons with six 1¼- inch-long buttonholes create a double-breasted front.

4. The collar fall is tacked to the collar stand ¼ inch from the top of the roll line at the center front.

5. Each sleeve cuff is secured with three ¾-inch-diameter self-covered buttons and three 7/8-inch-long buttonholes. The cuff is finished with a ¼-inch folded edge. The Man’s Coat, France, 1790–95, silk and cotton plain weave and silk satin buttonholes are on a cuff extension, sewn to one side of stripes, center-back length: 49 in. (124.46 cm), purchased with funds the cuff and folded under to create a buttonhole facing. provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foun- dation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, 6. Pocket flaps have a running-stitch ¾ inch from the top and Lenore and Richard Wayne, M.2007.211.802, photo © 2010 Museum of the pocket-flap seams. Associates/LACMA

7. Side seams end at the waist; below waist, fold line A of This handsewn silk tailcoat, with its high collar, wide lapels, the front coattail is lined up with line B, and fold line C short front, and long back exempliﬁes how French fashion of the back coattail is lined up with line D. One button extremists (incroyables) adopted and exaggerated tradi- reinforces the pleats at the top of each tail, while three tional wool riding coats from England. The sleeves of this additional buttons are placed along the scalloped edge, tailcoat, set unnaturally close together, forced the wearer tacking the front and back coattail edges creating a pair to hold his shoulders back and thrust his chest forward to of vertical pleats at either side of the center-back coat- create a “pouter pigeon” silhouette which was fashion- tail vent. able in the late eighteenth century. 8. The coat is lined with silk plain weave; the upper back, sleeves, and pockets are lined with linen plain weave. The collar stand is lined with the same silk-and-cotton fabric that makes up the coat. Man’s Coat, France, 1790–95

Lapel begins Roll line COLLAR at notch LAPEL STAND CB COLLAR CB Button CB placement FALL

Shoulder seam BACK FRONT Buttonhole placement Lapel ends at notch CF

Pleat Pleat POCKET FLAP

Button UPPER UNDER placement SLEEVE SLEEVE UPPER UNDER POCKET POCKET LINING LINING

CB CUFF CUFF EXTENSION D C B A

Underlap

DETAIL OF BACK VENT AND PLEATS

1. Fabric grain follows vertical lines of graph paper.

2. Pattern pieces are drawn without seam allowance.

3. The waistcoat is back-stitched; lining and pocket ﬂaps are whip-stitched.

4. Center-front closure of twenty-two -inch-diameter self-covered buttons with ﬁfteen 1 ¼-inch functional buttonholes reinforced with buttonhole stitch that extends ½ inch beyond the buttonhole opening; seven buttons are non-functional.

5. Six/8 -inch diameter self-covered non-functional Man’s Waistcoat, France, c. 1750, silk cut, uncut, and voided velvet (ciselé) on satin foundation, center-back length: 27 1/2 in. (69.85 cm), buttons are located below each pocket opening. purchased with funds provided by Suzanne A. Saperstein and Michael Finished pocket flaps conceal most of the buttons. and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. 6. Side seams terminate at pocket. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.812, photo © 2010 Museum Associates/LACMA 7. The back of the waistcoat is composed of linen plain weave. The collar line and the armscye are finished This handsewn sleeveless waistcoat is made of silk cut, on the inside with a 1-inch bias strip of the same linen. uncut, and voided velvet (ciselé). The meandering ribbon The center-back seam is only sewn 8 ½ inches from and acorn pattern was woven to follow the edges of the the top. Beneath this seam, eleven pairs of eyelets center-front and hem of the finished garment in a method (round holes reinforced with thread) line a 19 ½-inch known as à disposition. The concept of weaving textiles open-seam slit. These are interlaced with twill-tape to adjust the size. in this way originated in Lyon, France. When worn, the woven design appears to curve at the center-front open- 8. To further adjust size, two pairs of ½-inch-wide linen ing because of long darts at the waist; these darts, tapes, each about 18 inches long, are sewn at the side hidden by the pocket flaps, assure a finer fit. seam, one at 18 ¾ and one at 8 ¾ inches from the hem As suit coats became closer-fitting in the mid- and tied at the center back. eighteenth century, sleeveless waistcoats became more common. This example limits the use of luxurious 9. Center-front edges and skirts are stiffened with velvet to the waistcoat’s front where it would have an interlining. been most visible when worn under a coat. 10. The waistcoat fronts, pockets, and pocket flaps are lined with linen plain weave. Man’s Waistcoat, France, c. 1750

POCKET FLAP CF CB

UPPER UNDER POCKET POCKET FRONT BACK LINING LINING

Pocket placement line

Pocket button placement

SCALE DRAWING OF CISELÉ VELVET DESIGN

1: 1 Inch CF = Center front CB= Center back

1. Fabric grain follows vertical lines of graph paper.

2. Pattern pieces are drawn without seam allowance.

3. The waistcoat is back-stitched; lining and pocket ﬂaps are whip-stitched.

4. Center-front opening closure of twelve ½-inch-diameter thread-covered buttons.

5. Four ½-inch-diameter thread-covered non-functional buttons are located below each pocket opening. Finished pocket ﬂaps conceal most of the buttons.

Man’s Waistcoat, China for the Western market, c. 1740, silk plain weave 6. Side seams terminate at pocket. (faille) with silk embroidery, center-back length: 32 3/4 in. (83.19 cm), purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, 7. Each sleeve opening has a curved vent that extends the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. to the notch point. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.811, photo © 2010 Museum Associates/LACMA 8. Center-back vent is open below the notch point.

9. Center-front edges and skirts are stiffened with This man’s handsewn sleeved waistcoat was created an interlining. in China for export to the Western market. The gentle curve of the center-front opening was achieved with 10. The waistcoat’s upper body (above the waist seam) a long, slightly shaped, horizontal dart at each side and pockets are lined with linen plain weave; skirts of the waist. These darts, hidden by the pocket ﬂaps, (below the waist seam), sleeves, and pocket ﬂaps also create a curved hemline ending dramatically at are lined with silk plain weave. each side-seam vent. The silk faille was skillfully embroidered by Chinese artisans prior to export. The use of costly fabric to con- struct this waistcoat—including areas of the garment typically covered by the coat—attests to the wealth of the wearer. Man’s Waistcoat, China for the Western market, c. 1740

FRONT BACK

UPPER UNDER SLEEVE SLEEVE Pocket placement line

Pocket button placement

POCKET FLAP

UPPER UNDER POCKET POCKET SCALE DRAWING OF LINING LINING EMBRODIERY DESIGN

1: 1 Inch

1. Fabric grain follows vertical lines of graph paper.

2. Pattern pieces are drawn without seam allowance.

3. Eighteen ¾-inch thread-covered buttons border the overlap of a double-breasted front closure in two rows of nine. The proper-left front edge has nine 1¼- inch-long buttonholes. There are no interior buttons or buttonholes to fasten the underlap.

4. Two 9 ½-inch openings along the side-seams access built-in pockets. Each upper pocket is attached to the banyan front, while each under pocket is not attached

Man’s At-home Robe (Banyan), textile: China, 1700–50; robe: the Nether- to the banyan back, creating a side slit that provides lands, 1750–60, silk satin and silk plain weave (damassé), center-back access to breeches worn underneath. length: 50 1/4 in. (127.64 cm), purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding 5. The banyan is lined with linen plain weave; the collar from the Costume Council, the Edgerton Foundation, Gail and Gerald is lined with silk damassé. Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.797, photo © 2010 Museum Associates/LACMA 6. The banyan is fully padded with a loosely-woven European men wore an at-home garment called a banyan, wool plain-weave interlining. inﬂuenced by East Asian and Persian robes. This handsewn example was made of green silk damassé woven in China. Tailored in the Netherlands to mimic Persian robes, the cut and construction of this banyan, particularly its button closure, is characteristically European. It is fully interlined for warmth. Man’s At-home Robe (Banyan) Textile: China, 1700–50; robe: the Netherlands, 1750–60

COLLAR

CF Shoulder CB seam notch

Pocket Pocket Opening Opening

FRONT BACK

SCALE DRAWING OF DAMASSÉ DESIGN

POCKET FLAP

UPPER UNDER SLEEVE SLEEVE

UPPER UNDER POCKET POCKET

1: 1 Inch SLEEVE CUFF CF = Center front CB= Center back = Pieced fabric = Fold line Patterns recreated and drawn by Thomas John Bernard © Museum Associates/LACMA, All Rights Reserved UNDERTAKING THE MAKING Woman’s Coat LACMA Costume and Textiles Pattern Project

Woman’s Coat (Dolman) cutter and tailor. Despite the masculine ivory hook and eyes, measuring England, c. 1885 aesthetic, the dolman adhered to the 1 ¼ inches long and wide, are Wool twill favorable bustle silhouette of fashion- located at the collar and waistline. Purchased with funds provided by able women. Wide, layered box pleats 4. Dolman sleeves are set into side- Suzanne A. Saperstein and Michael at the center back below the waist front seams and side-back seams and Ellen Michelson, with additional accommodate the volume of the upper- with an underarm gusset. funding from the Costume Council, back skirt. The stepped cutouts in the 5. A 2 ¼-inch-wide and 72-inch-long the Edgerton Foundation, Gail and center-back pleats reduced bulk within interior stay tape of brown silk Gerald Oppenheimer, Maureen H. the seams, a technique that maintains grosgrain ribbon is sewn to the top Shapiro, Grace Tsao, and Lenore a smooth transition from the fitted back of the pleats at the center back and and Richard Wayne to the full bustle. side back. The stay tape clasps M.2007.211.780 at the center-front waist with two NOTES: pairs of hook and eyes. The dolman, characterized by long 1. Fabric grain follows vertical lines cape-like sleeves sewn into side- of the graph paper. 6. A center-front facing of brown silk twill is two inches wide at the collar back seams, was a popular style for 2. Pattern pieces are drawn without line and graduates in width to four women’s day and formal outerwear seam allowance. during the 1880s. This overcoat illus- inches at the hem. 3. Nineteen sets of concealed hook trates a masculine influence in feminine 7. The winged collar and sleeves are and eyes close the center front. garb, a common feature perpetuated lined with brown silk twill. The The spacing of the closures vary: by growing interests in mobility and dolman’s front and back are unlined; the top eleven hook and eyes are physical activity for women. The wool center-back seams are bound with spaced 2 inches apart; the spaces twill textile woven into a windowpane ⅜-inch-wide strips of brown silk twill between the remaining hook design was similar to fabrics used in and all other seam edges are pinked. and eyes gradually widen from contemporary men’s suits; the linear 2 ½ inches to 3 ¾ inches at the patterning matches at vertical seams bottom. Two sets of diamond- in this hand-sewn and machine-stitched shaped decorative abalone and example, which required a highly skilled Woman’s Coat

Gather

Notch lines up with front dart Gusset ending point in armscye

SLEEVE GUSSET

SLEEVE

CB COLLAR

Roll line CF

CB CF CF

The bottom of the back side of the sleeve ends at top of pleat. Gusset ends at notch.

CB BACK FRONT FRONT FACING

Ivory

Abalone

CLASPS

Bound CB seam

Key: = 1:1 inch CF = Center Front CB = Center Back = Gather between points Patterns re-created and drawn by Thomas John Bernard. © Museum Associates/LACMA. All rights reserved. UNDERTAKING THE MAKING Woman’s Dress (Redingote) LACMA Costume and Textiles Pattern Project

Woman’s Dress (Redingote) NOTES: 7. The sleeves are set into the armscye Europe, c. 1790 1. Fabric grain follows vertical lines with small gathers at the top; the Silk and cotton satin of the graph paper. under sleeve and side-front bodice and plain weave 2. Pattern pieces are drawn without armscye show signs of alteration. Purchased with funds provided seam allowance. 8. One 15 ½-inch long and ¼-inch wide by Robert and Mary M. Looker 3. Five 1 ¼ inch-diameter self-covered strip of baleen boning on both M.2009.120 buttons adorn the proper-left sides of the center back stif en the center-front opening of the outer en fourreau bodice from the neckline This hand-sewn woman’s redingote bodice. The center-front edge to lower back. The boning was of striped silk and cotton satin and plain is finished with a fold. inserted in folded casings at the weave is an exceptional example of center-back bodice lining of linen 4. The inner bodice of linen plain weave women’s fashionable dress informed plain weave. The center-back skirt is boned with a ¼-inch-wide strip by menswear in the 18th century. below the boning is box pleated. The dress features exaggerated revers of baleen at the center-front opening; 9. The skirt is made with full widths (lapels), a large falling collar, and 12 sets of eyelet holes close the of 19-inch-wide fabric sewn selvage- a cutaway skirt in imitation of the tail center front with laces. to-selvage; the skirt is attached coats worn by male counterparts. 5. The large revers are faced with silk to the waist with small knife pleats At the center back of the skirt are side and cotton plain weave; the grain from point A at the hem of the outer edges, decorative scalloped flaps that lines of both layers do not match. bodice front to point B at the end of often adorned the center-back vent The collar stand and fall are of the a side-back slash in the en fourreau in men’s coats. same fabric. A medium-weight bodice and skirt back. The center- The outer bodice was constructed interfacing stif ens the collar stand. front skirt opening is finished with larger than the inner bodice; although A small piece of silk and cotton ¼-inch-wide folded edges, whip- the outer bodice has fabric-covered plain weave sewn at the front-side stitched. The skirt hem is finished buttons sewn at the center front, the neckline conceals the seams of with ½-inch-wide twill tape. absence of buttonholes suggests that the collar stand to the neckline. the buttons were merely decorative. One 1 ¼ inch-diameter self-covered 10. Side-edge details are stitched The center front was most likely closed button stitched through the collar within a fold at the lower side-back with pins like most silk dresses of the stand and fall decorates the front- en fourreau skirt. Three 1 ¼-inch- time; the inner bodice of linen plain side corner of the collar fall. diameter self-covered buttons adorn the side edges; one is placed just weave was secured around the torso 6. Two layers of cape collars are above the side edge, and two are with laces at the center front. When attached to the center back and side placed at each scallop point of the the dress was worn with a fine cotton neckline under the collar fall; edges side edge flap. fichu (kerchief) around the neck and are finished with ⅛-inch-wide fold, over the wearer’s décolletage, the ends whipstitched. 11. The redingote bodice is lined of the fichu could be tucked between in linen plain weave; the cape collar, the outer and inner bodices. This volume sleeves, and skirt are unlined. at the chest and torso enhanced a prominent pouter pigeon silhouette, similarly en vogue with fashionable French men. Although largely influenced by menswear, this redingote features a back bodice constructed en fourreau, a dressmaking technique distinctive to women’s robes à l’anglaise (closed- bodied gowns) of the late 1700s. En fourreau is characterized by a narrow length of fabric along the center back that runs undisrupted from the top of the neckline to the bottom skirt hem with no waist seam. At either side of this center-back length is a finely pleated skirt into the waist, which creates the deep V-shaped volume at the back. Woman’s Dress (Redingote)

Collar stand meets lapel at notch Attaches to top of collar stand Roll line COLLAR CB UPPER REVER CB STAND SLEEVE Current seam line (altered) Roll line Top COLLAR FALL OUTER CF BODICE Current seam line Neck seam edge FRONT (altered) CB

UPPER CAPE UNDER A SS COLLAR SLEEVE

Conceals seams of the collar stand CB UNDER CAPE SIDE EDGE COLLAR

OUTER BODICE Current seam LINING CB line (altered) FRONT SS SS SS Original CF seam line BODICE BODICE CF LINING LINING INTERIOR BACK SIDE BACK BODICE FRONT

Boning inserted here

COLLAR FACING

Side edge inserted SKIRT SKIRT within fold

CF CB

Cut CB on fold

EN FOURREAU BODICE AND SKIRT BACK

Top cape with sample Key: fabric pattern to scale = 1:1 inch CF = Center Front CB = Center Back SS = Side Seam = Pieced Fabric = Decorative Button Placement = Fold line Patterns re-created and drawn by Thomas John Bernard. © Museum Associates/LACMA. All rights reserved. UNDERTAKING THE MAKING Woman’s Lounging Pajamas LACMA Costume and Textiles Pattern Project

Callot Sœurs fashion that challenged ideas about the center front of the waist to the Paris, active 1895–1937 established gender-appropriate dress. center back of the waist through Woman’s Lounging Pajamas, c. 1913 the legs. The side seams, oriented Silk net (tulle) and silk satin NOTES: at each side front, are sewn (charmeuse) with metallic-thread 1. Fabric grain follows vertical lines 34 inches from the waist to the notch passementerie and silk tassels of the graph paper. with openings for each foot. Gift of Alexander J. and Anthony D. 2. Pattern pieces are drawn without 8. Two ½-inch-deep tucks ¾ inches Cassatt seam allowance. apart decorate the front leg openings 54.97.17a–b 3. The over bodice of net tulle was 7 ¾ inches from the lower folded cut with a decorative edge that hemline. Five matching thread- The spectacular productions of the finishes the center front, neck, and covered spherical buttons adorn Ballets Russes in Paris, inspired by the sleeve hems. Each bodice piece the openings ¾ inches below the brilliant hues, motifs, and styles of Asia, is slightly gathered at the top edge. top tuck; each button is spaced significantly influenced fashion in the The center-front pieces overlap ¾ inches apart. A 5-inch-long second decade of the 20th century. to create a low v-neckline. matching silk tassel finishes the Couturiers such as Paul Poiret and the leg opening below the buttons, 4. The under bodice of silk plain Callot sisters introduced glittering suspended from a 2-inch-long rope. ornamentation, exotic feathers, turbans, weave is trimmed with ¾-inch-wide 9. The center-back under bodice closes and “harem” pants into the mode that metallic-thread passementerie with eight hook and eyes placed engendered an entirely new silhouette at the top edge. 1 inch apart along a ⅝-inch-wide for women. 5. The skirt of silk charmeuse and 8 ¾-inch-long placket. A center- This thoughtfully crafted hand-sewn is attached to the bodice 3 ½ inches back skirt closure of five sets of hook and machine-stitched lounging pajama above the waist hem. There and eyes is placed about 2 ¾ inches was made bifurcated by the attachment is evidence that the skirt was apart along a ½-inch-wide and of the skirt length from the center front previously attached 3 inches below 11-inch-long placket of ribbon that of the waist to the center back through the current bodice seam. The is set into a slash opening. the legs. Vertical side-front seams of bodice seams are bound with the skirt were sewn with openings for the a ½-inch-wide bias tape of silk satin. 10. A 122-inch-long and 4 ¾-inch-wide waist sash of silk charmeuse is feet to create a stylized harem pant. The 6. Six horizontal rows of gathers wrapped around the waist. The silk charmeuse skirt draped and outlined (smocking), ¾ inches apart, sash is seamed along the length each leg while silk tassels at the foot decorate the top of the skirt. openings would have drawn attention of one edge, gathered at each end, 7. The skirt is made bifurcated to the wearer’s ankles as she walked. and finished with a 5-inch-long silk with a continuous length of silk A bifurcated garment of any style during tassel, suspended from a 2-inch- charmeuse that is sewn from the early 1900s was a provocative long silk cord. Woman’s Lounging Pajamas

OVER OVER CF CB BODICE BODICE BACK FRONT

Skirt attachment line OVER BODICE OVER BODICE Overlap point Front Front SIDE BACK SIDE FRONT side side seam seam

CB OVER SLEEVE BACK

OVER SLEEVE FRONT CF

OVER SLEEVE OVER BODICE SKIRT FLOUNCE SHOULDER YOKE

UNDER UNDER BODICE BODICE BACK FRONT SHOULDER SHOULDER YOKE YOKE Folded hemline CB CF

UNDER BODICE SIDE FRONT CB CF Button placement

UNDER UNDER UNDER UNDER BODICE BODICE BODICE Notch indicates BODICE BACK SIDE SIDE where side seam BACK 2 BACK 1 of skirt attaches to bodice Front Front side side seam seam

½ of SASH

CB PLACKET

Key: = 1:1 inch CF = Center Front CB = Center Back = Fold line = Gather between points = Tuck direction Patterns re-created and drawn by Thomas John Bernard. © Museum Associates/LACMA. All rights reserved. UNDERTAKING THE MAKING Boy’s Frock LACMA Costume and Textiles Pattern Project

Boy’s Frock This boy’s frock not only illustrates the to the waistline. An 8¼-inch-long India for the Western market, c. 1855 great care of the maker to reuse the fine and ¾-inch-wide placket from the Goat-fleece underdown (cashmere) cashmere fabric, but also the skillfulness center back neckline to notch AA twill with silk embroidery and silk and aesthetic in piecing the frock together at the upper and lower center-back tassels to maximize the embroidery at the bodice skirts conceals the closure. The Purchased with funds provided by and sleeves and along the skirt hems. hooks are of metal and the loops are Suzanne A. Saperstein and Michael of thread. and Ellen Michelson, with additional NOTES: 7. Pattern pieces 1–8 comprise the funding from the Costume Council, 1. Fabric grain follows vertical lines upper skirt. The center-front panel the Edgerton Foundation, Gail and of the graph paper. of the upper skirt (1) is attached to Gerald Oppenheimer, Maureen H. 2. Pattern pieces are drawn without the waistline at the fold; the rounded Shapiro, Grace Tsao, and Lenore seam allowance, with the exception upper portion of the pattern piece and Richard Wayne of upper skirt pattern piece 1. (possibly a sleeve head from M.2007.211.88 3. Ten thread-covered ½-inch-diameter a reused pattern) is folded under. buttons with attached 1¾-inch-long Center-back pattern piece 4 This English boy’s frock is made of soft, silk tassels adorn the center front is slashed to the notch (AA) for lightweight cashmere twill woven in from neckline to bottom hem; four the center-back placket. Pattern Kashmir, India. Prior to being cut and buttons and tassels are placed at piece 8 is covered in embroidery sewn, professional Indian embroiderers the center-front bodice, four at the and trims the skirt edge. used silk embroidery thread (probably center-front upper skirt, and two 8. Pattern pieces a–h comprise the imported from China) to embellish at the center-front under skirt. underskirt; the pieces are cut and the fabric with traditional stylized floral sewn so that the existing embroidery motifs with curved tips (buta) often 4. The neckline and waist seam are trims the skirt edge. The center-back seen on Kashmir shawls. finished with piping. seam of pattern pieces d–e is sewn The frock was constructed with 5. The sleeves are pieced (A, B, C); below the notch (AA); above the many pattern pieces that were cut and sleeve seams do not line up with the notch (AA) is open and unsewn sewn slightly of -grain and in irregular bodice side seams. Each short to accommodate the center-back sizes. The heavy piecing of this garment sleeve has a mancheron oversleeve closure. suggests that it was remade from existing (D, E) with a decorative ½-inch- attire, possibly a woman’s unfitted jacket diameter button with three 1¾-inch- 9. The upper and under skirts are called a paletôt. For example, pattern tassels attached at each point. knife pleated and attached to the bodice at the waist. piece 1, which comprises the center-front 6. The center-back bodice closes with panel of the upper skirt, is of a similar eight hook and loops; closures are 10. The frock is unlined. shape to a typical sleeve-head pattern. equally spaced from the neckline Boy’s Frock

Armscye edge of sleeve Back

D E Front SLEEVE BACK FRONT A MANCHERON MANCHERON OVERSLEEVE OVERSLEEVE FRONT BACK

B C

SLEEVE TRIM (attaches to A)

UPPER SKIRT PIECES (1–8)

Slash to AA for CB Previous garment (see notes) placket

1 2 3 4 AA CF

Upper skirt trim 8 CB Pleat jumps the seam

5 6 7

UNDER SKIRT PIECES (a–h)

Leave CB open to top notch

b AA

a d CF

CB c

Fold under

f AA h

e CF

CB g

Key: = 1:1 inch CF = Center Front CB = Center Back = Pleat knife = Decorative Button Placement = Fold line

Patterns re-created and drawn by Thomas John Bernard. © Museum Associates/LACMA. All rights reserved. UNDERTAKING THE MAKING Man’s Vest with Removable Chest Pads LACMA Costume and Textiles Pattern Project

Man’s Vest with Removable backing, which attached to a button 5. The vest has one pocket at the Chest Pads hole in the lining. This machine-sewn upper-proper-left chest and two England, c. 1840 vest exemplified the popular hourglass lower pockets are at each side Vest: silk satin with supplementary silhouette popular for both men and of the waist. All three pockets are weft-float patterning; pads: cotton women of the 1840s. finished with a single-welt pocket twill with cotton wadding opening. All pocket linings are Purchased with funds provided by NOTES: of cotton twill. Suzanne A. Saperstein and Michael 1. Fabric grain follows vertical lines 6. The vest has been pieced together and Ellen Michelson, with additional of the graph paper. at each lower side front, center-back funding from the Costume Council, 2. Pattern pieces are drawn without collar, and bottom front lining. the Edgerton Foundation, Gail and seam allowance. 7. The back of the vest is composed Gerald Oppenheimer, Maureen H. 3. The center front closes with five of cotton twill with a belt attached Shapiro, Grace Tsao, and Lenore ⅜-inch-diameter self-covered at each lower side back for fit. and Richard Wayne buttons with five ⅝-inch-long M.2007.211.823 buttonholes.

By design, the beige, white, and blue 4. One 4 ¼-inch-long opening at stripes in this vest point diagonally from each lower front armscye between the shoulder to the center front, fostering points A and B access removable an illusion of a broad chest narrowing chest padding between the silk satin into a tapered waist. In reality, remov- with weft-float patterned striped able padding created the fashionable fabric and the cotton twill lining. “barrel” chest. To achieve the silhouette, The padding is made with a backing the vest fronts were constructed with of cotton twill onto which three open spaces between the outer silk satin layers of cotton-fiber wadding with weft-float patterned striped fabric are basted together; each layer and the cotton twill lining. Variable of wadding is stacked and progres- thicknesses of padding, made of cotton- sively cut a ½ inch smaller around, fiber wadding that was hand-stitched with the largest layer closest to the onto a cotton twill backing, could be backing and the smallest layer on inserted into the chest area through top. A button at the top of the chest an opening at the lower front armscye. padding attaches it to the lining with The padding was secured in place a button hole. with a small button on the padding Man’s Vest with Removable Chest Pads

UPPER COLLAR CB EXTENSION Roll line

UNDER COLLAR

UPPER COLLAR

Button hole A B CB

Upper pocket placement

Roll line FRONT

FRONT BACK LINING

FRONT LINING VEST SIDE FACING CF FRONT

CF Lower pocket BOTTOM placement FRONT LINING FACING Belt placement

UPPER POCKET WELT UPPER POCKET LINING PADDING BACKING

Button placement

LOWER POCKET WELT LOWER POCKET LINING Backing folded over wadding to this inner line

BELT

Key: = 1:1 inch CF = Center Front CB = Center Back

Man’s Frock Coat NOTES: 7. The box-pleated vent at the center France, c. 1815 1. Fabric grain follows vertical lines back skirt is reinforced at the top Silk and wool twill of the graph paper. with stitches in the form of an Purchased with funds provided 2. Pattern pieces are drawn without inverted triangle. by Michael and Ellen Michelson seam allowance. 8. The coat is lined with black silk twill; M.2010.33.7 3. Eight 1⅛-inch-diameter self- the back bodice lining has a ½-inch covered buttons with eight ease pleat in the lining fabric. This rare frock coat, characterized 1¼-inch-long buttonholes create by a fitted torso buttoned to the waist, a double-breasted front. straight-cut front edges, and a full skirt attached by a waist seam, is 4. Each sleeve cuf is secured with hand-constructed with silk and wool two ⅜-inch-diameter self-covered twill plaid. The long length of the skirt buttons and two ⅝-inch-long suggests that this coat is from the early buttonholes. 19th century and probably inspired by 5. One 4¾-inch-long single-welt the great coats worn by soldiers during pocket is at the proper left breast the Napoleonic Wars. The silk and wool and one 5¾-inch-long double-welt textile also illustrates a gradual shift in pocket is at the inside proper right menswear from the use of ornate silks breast lining. Two 6¼-inch-long favored in the 18th century, to tailored single welt pockets are at each side wools in the 19th century. Wool frock of the skirt. coats continued to be fashionable in 6. Skirt front hems are bound with menswear through the end of the 1800s, ¾-inch-wide bias tape of the silk albeit shorter, plainer, and more formal and wool twill plaid. in contrast to this patterned version. Man’s Frock Coat

COLLAR CB

Collar notch

Roll BACK line SIDE UPPER UNDER CF CF BACK SLEEVE SLEEVE CB

FRONT TORSO FACING FRONT

Side seam notch

PROPER RIGHT INTERIOR PROPER BREAST POCKET WELT LEFT BREAST POCKET WELT

UPPER UNDER CF SLEEVE SLEEVE SKIRT FACING FACING POCKET Pocket WELT placement

SKIRT FRONT

Attached self-facing

TORSO BACK LINING

SIDE TORSO BACK POCKET LINING LINING

TORSO FRONT LINING

Ease pleat SKIRT POCKET LINING

Key: = 1:1 inch CF = Center Front CB = Center Back = Pieced fabric = Fold line

Man’s Zoot Suit edges, flew away from the body as the large armscyes; the sleeve heads United States, 1940–42 wearer danced. The pegged trousers appear to be roped. Sleeve cuf s Wool plain weave and twill were worn high on the torso and closed show signs of alterations to shorten Purchased with funds provided with a 17-inch zipper fly. For maximum the length; a 1-inch vent at each cuf by Ellen A. Michelson fullness at the knee, the fabric at the is adorned with four ¾-inch-diameter M.2011.94a-b waist of the trousers was deeply pleated buttons; the original buttons are to allow the pant leg to billow out before missing. Flamboyant in style and exaggerated tapering with curved darts into a narrow 6. The jacket has one single-welt in proportion, zoot suits were born cuf . Such ensembles were often acces- proper-left breast pocket, an interior from swing and dance halls frequented sorized with a wide-brimmed, narrow- single-welt proper-right breast by urban youths in the 1930s and early crowned hat, a bow tie, or a shortened pocket, and bag pockets with flaps 1940s. The ef ect was of great move- belly-warmer tie (if a tie was worn at at both sides. The bag pockets are ment, extreme dandyism, and cultural all), and a long watch chain. secured only along the interior top expression for jazz enthusiasts and edge and are unlined; the flaps are African-American, Latino, Jewish, and NOTES: lined in dark red rayon plain weave. immigrant communities. Although a 1. Fabric grain follows vertical lines 7. The body of the jacket, collar, distinctively American fad, the zoot suit of graph paper. proper left pocket welt, and outer had its origins in 1930s-era London, 2. Pattern pieces are drawn without sleeve gore are of beige wool plain where the silhouette for menswear was seam allowance. weave with red and blue horizontal the “English drape.” This new cut— 3. The center-front single-breasted stripes; the lapel facings, remaining heralded by arbiters of menswear as one jacket closes with three ¾-inch sleeve parts, and bag pockets are of the greatest innovations in tailoring— plastic buttons and three 1 ¼-inch- of beige wool plain weave with blue featured a jacket with wide shoulders, long buttonholes; the original vertical stripes. The jacket fronts, large armscyes, and trim hips, and was buttons are missing. sleeves, and upper back from the worn with full, lightly draping trousers neckline to 12 inches below are lined with front pleats. As the English drape 4. The collar is underlined with grey in dark red rayon plain weave. All grew popular throughout Europe and wool felt, and is secured with other exposed interior seams are America, jazz enthusiasts not only a straight stitch along the neckline bound with grey ribbon. embraced this fresh style of suit, but and fine whip-stitches around the inflated it. edges. The center-front opening and 8. The center-front trousers of beige The jacket of this zoot suit has lapels are faced; a 1-inch-long flower wool twill with horizontal blue stripes a strong, overtly broad shoulderline hole is at the proper left lapel. close with a ¾-inch-diameter plastic accomplished with three inches of 5. The broad shoulderline is button with 1-inch-long buttonhole padding at each side, a fitted waist, emphasized with an approximately and a 17-inch-long zipper fly; there a long length, and wide, pegged 2-inch thick, 13-inch long, and 3-inch is no waistband. Six ⅝-inch-diameter sleeves inset with gores in a contrasting wide (at the widest point) crescent- suspender buttons and six belt loops striped fabric to further exaggerate shaped shoulder pad at each side. allowed the wearer to use either their fullness. The oversized free-hanging The four-piece sleeves are slightly suspenders or a belt to secure the bag pockets, stitched only along the top gathered at the sleeve head of the high-waisted trousers. 9. Deep pleats along the side-front waist are creased along the length of each leg into a deep dart at each cuf , creating a deeply pegged pant leg. The waist shows signs of alteration with short hand-whip- stitched darts near the side seams on both the front and back. 10. Slash pockets are at each side-front hip, and single welt pockets are at each upper back. The back pockets are placed over a fish-eye dart. 11. The pant hems are folded under 5 inches from the bottom edge and then folded up halfway to create pant cuf s. Man’s Zoot Suit

PL flower hole PR JACKET PL BREAST POCKET WELT

PL breast CB pocket CB

PL CF CF

Bag COLLAR PR pocket interior breast pocket JACKET BAG JACKET JACKET POCKET FRONT BACK (cut two)

JACKET POCKET FLAP

JACKET FRONT FACING

Upper Under sleeve sleeve

FOUR-PIECE SLEEVE

1 2 3 4

Braces buttons Sleeve vent

Belt loops

TROUSER FRONT CF POCKET WELT CB

TROUSER BACK POCKET WELT

Creased fold line Zipper begins

PEGGED PEGGED TROUSER TROUSER PR FRONT BACK CF

Dart begins Dart begins Zipper ends

TROUSER FLY FRONT FACING

Key: = 1:1 inch CF = Center Front CB = Center Back PL = Proper Left PR = Proper Right = Button placement = Fold line = Stitches

Man’s Suit NOTES: 6. The back of the coat has short tails Italy, c. 1770 1. Fabric grain follows vertical lines that show signs of being cut and Silk plain weave with silk of graph paper. re-pleated. One ½-inch-diameter supplemen tary warp- and weft-float 2. Pattern pieces are drawn without self-covered decorative button is patterning seam allowance. sewn to the top of each of the tail Costume Council Fund pleats. The tail pleats are tacked 3. The center-front coat closes with M.83.200.1a, c in place. twelve 6⁄8-inch-diameter self- covered buttons; the third through 7. The center front breeches close Influenced by continental styles, the fifth buttons from the top are with three ¾-inch-diameter self- macaroni—named after the Italian pasta functional (with three 1 ¾-inch-long covered buttons and 1-inch-long dish enjoyed by well-to-do young buttonholes) while all others are buttonholes at the waistband and Englishmen on Grand Tour—dressed decorative (with 1 ½-inch-long non- a series of folds at the center front. to assert his cosmopolitan outlook. functioning, uncut buttonholes). Two pairs of lacing holes are along At a time when the British wore looser the center back waistband above 4. The collar stand is cut on the silhouettes with a long, full-skirted a center back vent. coat and deeply cuf ed sleeves, the center-back fold while the collar fall 8. A small welt pocket is sewn into the macaroni wore a much more form-fitting has a seam at the center back. proper left breeches waistband; and conspicuous suit, immortalized in Previous fold lines suggest that the two larger slit pockets are at each numerous caricatures and accounts from collar fall was remade from the side and secured at the top with the period. Consistent in many of these lower portion of the tails, now made a ¾-inch-diameter self-covered visual representations are slender short. The collar fall is tacked down button and 1-inch-long buttonhole. silhouettes with coats that feature fold- at each side front. down collars and truncated tails. 5. The two-piece sleeve shows signs 9. The breeches close at each knee This macaroni-style ensemble of alteration along the back where with five ¾-inch-diameter self- from the 1770s comprises a shorter, the seam was previously let out. covered buttons and five 1 ½-inch- tight-fitting green coat with high fold- A narrow decorative cuf is folded long buttonholes along the lower down collar and matching tight-fitting up and adorned with three ½-inch- outer seam; a knee band closes with breeches. Although the provenance of diameter self-covered buttons along a hook-and-loop. the suit is not English, its Italian history the upper top cuf and two matching is compelling, as men on Grand Tour buttons along the under cuf seam were known to have suits made for them at a false cuf closure. abroad to bring back home. The coat is tailored with extremely truncated tails; evidence of previous folds in the tails suggests that they were re-pleated to be less ample and more streamlined. Interestingly, the collar fall similarly shows evidence of a previous fold. This suggests that the coat was formally longer and that extra fabric cut from the tails was used to make the collar to update its fashionability; the previous fold was most likely from a pleat in the removed tails. Furthermore, the collar stand and fall are oriented on the grain, unusual because collars are typically oriented on the cross-grain. An orange waistcoat with exaggerated wig and accessories completes this macaronian ensemble. Man’s Suit

COLLAR COLLAR STAND FALL

Tack

CB CB (cut on fold)

CF CB

COAT COAT UPPER UNDER FRONT BACK SLEEVE SLEEVE

Button placement

Cuf folds

Sew edge E D C into sleeve C D B A B A SS FALSE CUFF CLOSURE

A B C D B E C D A

FRONT TAIL PLEATS BACK TAIL PLEATS (Bottom hem) Gathered into Vent begins PL waistband Pocket CF welt Pocket welt

BREECHES FRONT POCKET FLAP WAISTBAND SS

CF CB Lacing CB holes BREECHES BREECHES CB FRONT BACK Hook- Front and- loop

KNEE BAND

Back

Key: = 1:1 inch CF = Center Front CB = Center Back SS = Side Seam = Button placement = Fold line = Stitches