Men’s waistcoats of the Georgian era

In the 18th and early 19th century  it was very much the fashion for men to wear some stunning waistcoats, so today we’re going to take a pictorial look at some stunning waistcoats from a variety of museums and galleries. Why don’t we see anything quite like these today? Perhaps time for a revival, maybe!

A French embroidered waistcoat dated between 1785-1795 shows Dido and Aeneas in a scene from Didon, a 1783 opera by the Italian composer Niccolò Piccini (1728-1800) Cooper Hewitt Smithsonian Design Museum
A French embroidered waistcoat dated between 1785-1795 shows Dido and Aeneas in a scene from Didon, a 1783 opera by the Italian composer Niccolò Piccini (1728-1800). Cooper Hewitt Smithsonian Design Museum

The first items is truly stunning especially when you look at the detail of the bottom of it. I can’t imagine how long that must have taken to sew.

I thought it was worth also taking a look at newspaper adverts to  see who was actually selling waistcoats and how much they cost. Whilst there are plenty of adverts, none of them tell us how much such lovely items would have cost.

Bath Journal 01 January 1749
Bath Journal 01 January 1749
Waistcoat worn by Claude Lamoral II (1685-1766). Prince of Ligne and the Holy Empire. Courtesy of Palais Galliera, musée de la Mode de la Ville de Paris
Leeds Intelligencer 13 May 1777
Leeds Intelligencer 13 May 1777
Courtesy of the MetMuseum c 1750-1770
This original design is that it identifies not only the artist but also the weaver, Peter Lekeux, and gives the date of sale — October 23, 1747. Metmuseum

The design of this piece was created by Anna Maria Garthwaite, known for creating vivid floral designs for silk fabrics hand-woven in Spitalfields, London, in the mid-18th century.

Peter Lekeux was one of the many weavers working in Spitalfields, London, who died in 1768. In his will he left bequests to his wife, Mary, his mother, Sarah and his sister, Mary Margaret.

To finish, look closely at the pockets on this one, such intricate detail

The embroidery motifs on this vest depict Aesop’s (620-560 BC) tale of “The Wolf and the Crane.” The fable, which was re-introduced in the 17th century by Jean de La Fontaine (1621-1695), contains a wolf that needs assistance removing a bone from his throat with a crane kind enough to assist. The beautiful embroidery is very playful and indicative of the status of the waistcoat as decoration.. Courtesy of the MetMuseum

Following on from a conversation with Jennifer Newbold, please see below a fine example of a waistcoat pattern.

From What Clothes Reveal, by Linda Baumgarten, The Colonial Williamsburg Collection The Colonial Williamsburg Foundation/ Yale University Press, New Haven and London, 2011