Video Tutorial: How to Crochet the Knit Stitch (Waistcoat Stitch)

Our Mens V-Neck Waistcoat is suitable for women and men. It has a nice Honeycomb and Irish Cable Aran stitch design, pockets and 4 leather-look buttons. It is made of % Pure New Wool and can be hand washed or dry cleaned.

Yet others held sweet-scented powders to scent clothing or one's person. Shoe and Knee Buckles with Case ; Britain, worn in New York by members of the Glen-Sanders family; Steel, paste, shagreen leather, silk, paper A paper inscription glued to the bottom of the buckle case states that Philip and Maria Van Rensselaer wore these buckles at their wedding about it actually occurred in and that their descendants, J. This pocket probably was the product of a professional embroiderer who did needlework for a living. Boots of many sorts were worn for sporting, riding and working.

Our Mens V-Neck Waistcoat is suitable for women and men. It has a nice Honeycomb and Irish Cable Aran stitch design, pockets and 4 leather-look buttons. It is made of % Pure New Wool and can be hand washed or dry cleaned.
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CHAPTER 61 ARTICLES OF APPAREL AND CLOTHING ACCESSORIES, KNITTED OR CROCHETED 1/ XI Notes 1. This chapter applies only to made up knitted or crocheted articles.
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Some were used to present gifts of money, not unlike paper gift bags or cards today. Some held a tiny Bible or prayer book. Yet others held sweet-scented powders to scent clothing or one's person. For this reason, small pocketbooks were sometimes called "sweet bags. Many women wore embroidered kerchiefs around their necks and shoulders to fill in the low necklines of their gowns.

The peach kerchief may originally have been worn by a Jewish bride. Ancient Roman gods and a goddess on this fan probably depict a scene from Virgil's Aeneid, written in B. The female god Juno tried to destroy Aeneid by persuading the wind god Aeolus to blow and create a storm. Neptune, the god of the sea, intervened to save Aeneid. The fan was probably owned by a well-educated woman who was familiar with the epic Roman story. Gloves without fingers, called mitts, allowed women to do needlework or other hand crafts while still keeping their arms covered.

Baby clothes were usually sewn with minute seams and fine stitches. All raw edges in this example have been turned under and neatly finished to prevent chafing and to keep seams from raveling during laundering. Hollie point was a needlework technique that used buttonhole stitches with an extra twist to create lace.

This design features potted flowers. Linen; Britain or America, eighteenth century; This plain cap is typical of the style worn by most men while laboring or sleeping. The durable linen and closely stitched seams survived years of wear and laundering. The cap is unlined and cut in one piece with a single seam up on side and continuing over the curved crown. The bottom rolls up to form a brim.

This delicate apron has two small circles in which the owner's name or initials and the year are worked in drawn work. They read "Iane Riggs" and "IR Can you find the inscriptions? The apron would have been pleated or gathered to a narrow tape waistband.

Because apron ties were typically very narrow, the term "apron strings" was used to refer to them. Cora Ginsburg; Silk embroidered with silk and metallic threads, lined with block-printed cotton. Women wore decorative stomachers to fill in the fronts of their open bodices. The tabs at the sides were pinned to the stays or gown to hold the stomacher in position.

The rare early printed cotton on the reverse of this stomacher survived only because it was used to line the silk embroidered stomacher that was worn infrequently and saved for its beauty. This stomacher was backed with rare early printed cotton. Seldom did the earliest printed cottons survive years of laundering and daily wear.

The print on the reverse of this stomacher endured only because it was used to line the silk embroidered piece that was worn infrequently and saved for its beauty.

Stocking garters consisted of ribbons or other woven tapes that were tied tightly around the leg. Rubber elastic was not yet available. This garter has an inscription that reads, "Wove Without Sight. The "Tetuan" pocketbook is interlined with old English-language printed papers, suggesting that it was made in an English-speaking area or under the direction of a British merchant. Some aprons were fashionable, not functional. Short silk aprons with elaborate silk and metallic needlework were especially stylish in the s and early s.

This professionally embroidered apron has shiny gilt embroidery and sequins, sometimes called "paillettes. Small purses embroidered with silk and metal threads were often used as elaborate packaging for gifts of money. Elegant silk and silver embroidery edges the apron and outlines what were originally intended as two pocket openings near the waist.

The openings were never cut open for pockets, however. The apron would originally have been gathered or pleated to a narrow waistband made from a ribbon or tape. The waistband has been replaced by a later casing. Aprons such as this were professionally embroidered. The classical scene painted on this fan suggests that its owner was well-educated and familiar with mythological stories. The story may be that of Theseus.

This child's white embroidered waistcoat was made from a larger one sized to fit a man. The boy's waistcoat was cut down around the edges, interrupting the embroidery design without regard for its original contours. The pocket flaps were repositioned directly on top of the densest portion of needlework.

In unaltered examples, flaps were usually stitched within a blank area framed by the embroidery design. The posture, clothing, and accessories of the members of this gentry family signal high status, a leisurely lifestyle, and awareness of the latest fashions. The year-old heir, Philip, sits at far left wearing a full powdered wig that makes him appear older than his actual age.

His suit coat has deep cuffs and full skirts. His pose seems calculated to display a waistcoat that is embellished with embroidery or brocading. The women and girls, including the widow in black and white clothing, have gowns with cuffed sleeves and cone-shaped bodices with high bust lines. The girl holding a cat was ten years old at the time the painting was done. Her youth is indicated by her gown that fastens at the back. Theodore Dreier; Silk brocaded with silk. Cora Ginsburg; Linen embroidered with silk through coarser linen interlining, replaced linen lining and backing.

This pocket probably was the product of a professional embroiderer who did needlework for a living. Most women wore their pockets hidden under their petticoats. An envelope asserts that this was the "Stock of George 2nd," king of England from to Although the envelope dates to the 19th century and is not conclusive as documentation, the account may be true. The history is made more believable by virtue of the tiny cross-stitched crown and the number 46 stitched on the back of the tapered tab.

The number suggests that the owner had at least 45 other stocks. The incredibly fine stitching and materials also help to support the history. These shoes are embellished with applied braid similar to those in the portrait of Deborah Glen of Albany, painted about In period documents, shoes such as these would be called "laced," not to be confused with shoes with ties.

These would be fastened with buckles. Thomas Ridout and James Davis. Chatelaines were brooches or hooks suspended from the waist with pendants of useful implements, such as household keys, thimble cases, seals, watches, and the like. This chatelaine includes a watch, a watch key for winding the watch, and two seals for stamping the wax seal of a letter.

The word chatelaine came to mean the mistress of a household. This fan depicts a battle in the Caribbean between Great Britain and Spain. Porto Bello in Panama was a Spanish naval base; the British won the Battle of Porto Bello and took over the base, to great acclaim at home.

The title came from a commercial sea captain named Robert Jenkins, who displayed before Parliament his severed ear damaged in by Spanish coast guards who had boarded his ship. Sleeve ruffles were usually shaped to be narrower at the inside crook of the arm, gradually lengthening so they fell gracefully from the back of the elbow. A widow may have worn this black worsted gown. Alterations and numerous mended holes are evidence that the garment saw many years of use.

Typical of most elaborately patterned worsted textiles, this fabric measures only 17 inches between the selvages. Fans often celebrated current events, such as the Battle of Portobello, an acclaimed British victory over the Spanish in Panama. This fan is also a good pictorial source for everyday clothing. Some of the sailors depicted on this fan wear jackets and short trousers typical of workingmen's clothing.

Trousers of the eighteenth century were loose, comfortable pants that ranged from knee- to ankle-length. Although women's everyday caps were made of plain white linen or cotton, expensive dress caps were sometimes fashioned from handmade lace.

The long decorative strips hanging from the cap were called lappets. Typical of men's breeches before about , this pair fastens with a buttoned placket down the center front. Probably to save fabric, the tailor cut the breeches with the pattern running in two different directions on the front and back. The Battle of Cartagena, which took place in , brought together English and American forces in a battle against Spain over control of Spain's holdings in the Caribbean.

In contrast to Porto Bello, the British were unsuccessful at Cartagena, partly due to disease. As the engraved inscription around the miniature indicates, William Gooch died in at the age of The miniature portrait was painted after his death as a memorial, possibly copying a larger portrait of him. The central female figure wears a tentlike sack dress with loose flowing pleats at front and back, a style that had come into fashion around the s.

Eventually, the sack gown evolved to one with fitted front and pleated back. The man's suit has large cuffs and full skirts pleated at the sides. Despite remodeling that is especially evident in the piecing of the sack back, this gown has superlative beauty. The heavily embellished gold stomacher and gilt brocading threads glitter in the light. Wavy lines of applied trim add extra pattern to the already lavish skirt front. The petticoat, or skirt worn beneath the outer gown, is made of a different silk textile, possibly because the original petticoat was cut up for the remodeling.

From to , women's gowns had closely-fitted bodices, sleeves that usually ended just below the elbows, and full skirts. The gown was only a small part of the look, however.

Delicate and expensive white accessories, such as kerchiefs, aprons, and sleeve ruffles could dress up a plain dark gown. Shoes and stockings protected the feet, but also allowed the wearer to show off the latest fashion in the shape of the toe or the height of the heel.

Removable shoe buckles changed the appearance of a pair of shoes while also serving to fasten the shoes in place. The well-dressed man needed more than a suit to assure his place in fashionable society. From the wig or hat on his head to the tips of his buckled shoes, gentlemen's accessories could be practical, stylish, or both.

Pastel colors and glittery stones were considered manly and appropriate for dressy occasions. Although they may look like diamonds, less expensive paste stones set in silver created a brilliant effect in this matching set of necklace and earrings for pierced ears.

The necklace has loops at the ends for ribbons to tie around the neck. The box has padded interior wells for housing the three matching pieces of jewelry when not worn. William Meredith; Silver metallic threads and silver plate on wooden form, linen thread. According to family tradition, these buckles were handed down in the Van Rensselaer-Sanders family of New York. Family members wore them at their weddings as late as Note the T-shaped fitting on the back to slip through a buttonhole in the breeches knee band.

These stockings were knitted as flat pieces using stocking frames operated by male workmen. The foot or sole sections were knitted separately. The two pieces making up each stocking were then sewn together by female workers. Decorative areas at the ankles, called clocks, were either put in during the knitting process, as in these two examples, or embroidered after the stocking was taken off the frame.

The stocking frame was invented in by Englishman William Lee. Although professionally frame-knit stockings were available for purchase, many housewives knit their family's stockings by hand using knitting needles. Women sometimes wore sleeve buttons to fasten their shift sleeves. In the portrait of Deborah Glen, she holds up her right arm to show her fine lace-edged shift with two buttonholes in the cuff for removable sleeve buttons, linked together.

Although banyans were styled to be loose and comfortable, they were nevertheless worn with a full set of clothing underneath, including shirt, breeches, and waistcoat. This banyan has a sleeveless waistcoat made of matching fabric. Old pleats at the front are evidence that this banyan was remade from a woman's sack-back gown.

Men's clothing usually differed in pattern from women's gowns. Except for embroidered formal wear, most suits were made with solid, striped, or small-patterned textiles. Only loose banyans such as this were considered suitable for large-scale damasks or brocaded silks. Josiah Bartlett, a signer of the Declaration of Independence and the first governor of New Hampshire, wore this cocked hat. The modern term for this triangular style of cocking is "tricorn hat. The finest stockings were knitted of silk and decorated at the ankles with clocks, decorative embroidery or knitted-in designs.

These knitted stockings were made on a stocking frame, or knitting machine, as two flat pieces. The curved edges of the larger piece were later joined by hand to form a center-back leg seam. The sole was a separate smaller piece that was sewn into the foot. Cora Ginsburg; Silk brocaded with silver and silver gilt, lined with silk and linen, trimmed with later silver lace.

This sumptuous gown is fashioned from stiff silk brocaded with glittering metallic silver to reflect the available light. The rich textile and wide hoops mark it as "formal" dress in an era when fashionable daytime clothing no longer had significant side fullness. Unlike many other dresses that had removable triangular stomachers, this gown has panels on the bodice that are stitched in place and closed with buttons and buttonholes down the center front.

Button-front mock stomachers such as this example came into fashion during the mids. Chinese artisans made textiles specifically for export to Europe and America.

With its intricate hand-painted floral design and silver outlines, this textile would have been a luxury item. Styled as a robe à la française in England, known as a sack , the back has pleats at the shoulders that release into a graceful train.

The mock stomacher buttons down the front. The skirt and petticoat originally had applied ruffles or flounces, perhaps removed to update the gown.

This petticoat features diamonds filled with a variety of motifs, including flowers, fish, birds, and other animals; it is dated in the quilting and signed by an unknown woman whose initials were S.

Although ready-made quilted petticoats were imported, some girls and women quilted their own petticoats at home. Many of them used imported materials, such as the silk in this example.

The embroidery is worked with chain stitches and large areas of "drawnwork," in which the ground fabric is deflected, pulled, and caught with stitches to imitate lace. This clever workbag incorporates four compartments for needlework and knitting supplies: The rigid structure appears to be made of paperboard and trade cards.

King's Dover Street" can be read through the thin silk. This probably refers to the as-yet unidentified milliner who made the bag. Inside this pocketbook is a lock of silky hair, probably that of a child. When and why was the hair tucked into the case? Was it a loving gesture on the part of a parent or grandparent?

No information was included in the pocketbook about the hair, so we may never know. Men's breeches, or knee-length pants, had a number of fasteners. This pair has a tab at the back for adjusting the waist size with a buckle the buckle is missing. Other breeches had eyelets and laces for this purpose. Where the buttons were hidden by the waistcoat, or vest, they are covered with fabric. Because the lower legs and knees were more visible, elaborate silver plate and silver bullion buttons fastened the side knee openings.

The band below the knees, sometimes called a garter, was buckled tightly to help hold the stockings up and keep the breeches firmly in place as the man moved. Knee buckles were removable; they had a special T-shaped fitting to allow them to be slipped in place through a buttonhole stitched in the knee band.

Despite its glittering stones, this buckle would have been worn at the back of the neck, nearly hidden by the gentleman's coat collar and wig. Eugene Bond; Silver; marked PS, maker unidentified. These strapless stays laced up the front instead of the back. This arrangement made them suitable for pregnant women, nursing women, and those who did not have assistance while getting dressed.

According to family history, a twentieth-century customer gave this suit to his tailor to settle an unpaid bill. Said to be worn by "a Virginia gentleman," the suit is made of spotted silk velvet. The knobs on one side of the buckle were slipped into worked buttonholes on the tab of a neck stock. The stock was buckled behind the man's neck.

Small-scale enclosed patterns such as the design of this silk textile were considered especially appropriate for men's suits. The serpentine, or meandering, lines in this brocaded silk are typical of s design. The gown was later remodeled with the plunging neckline, edge-to-edge front closure, and S-curve silhouette that became popular after A paper inscription glued to the bottom of the buckle case states that Philip and Maria Van Rensselaer wore these buckles at their wedding about it actually occurred in and that their descendants, J.

Glen and Pearl Green Sanders, wore them when they married in The silk lining on the box is inscribed with the name Eliza Van Rensselaer. Eliza, or Elizabeth , was the daughter of Philip and Maria. The combination of multicolor embroidery on a striped ground enhances the richness of this suit. The white waistcoat contrasts with the dark coat and breeches, although the embroidered design echoes that of the coat.

This handkerchief features a scene of fox hunting in the British countryside. Can you find the fox? A popular period hunting song is printed around the edges. A handkerchief similar to this design was worn by John Cockil, an English convict servant and barber who ran away from his Fredericksburg, Virginia, master in The March 19, , Virginia Gazette newspaper states that the runaway was wearing "a red and white Handkerchief round his Neck, with a hunting Song round the Borders of it.

Away to the Copse to the Copse lead away, and now my Boys throw off ye Hounds. I'll warrant he shews us he shews us some Play, See Yonder he skulks thro the Grounds. Each Earth see he try's at in vain, The Cover no safer can find. So he breaks it and scowers amain, And leave's us at distance behind. Cheer up the Good Dogs with the Horn. A sturdy Englishman endures the torture of having his wig powdered by a dandified French barber-hairdresser.

The gentleman wears an apron to protect his clothing from stray powder. Besides constructing hairpieces, wigmakers styled men and women's hair and shaved gentlemen. During the first three-quarters of the eighteenth century, most fashionable men shaved their heads and donned wigs, considered indispensable fashion accessories. Toward the end of the century, wigs gradually went out of fashion.

Men began to wear their own hair, which they had styled and powdered for dressy occasions. Although few women wore wigs, some added extra curls to their own hair. Epstein; Cotton embroidered with cotton. Sleeve ruffles cascading from the elbows went out of fashion with the newer neoclassical styles. The innovative woman who owned this pair of sleeve ruffles re-fashioned the beautiful embroidery into a collar to fill in the neckline of a dress. This banyan is more closely tailored than the large kimono-like gowns men also wore for informal occasions.

The double-breasted front fastens closed with self-fabric ties. The striped petticoat is woven with linen warps and wool wefts. Unlike that of typical garment construction methods, the fabric here is used horizontally with the warps running around the body, not up and down. Originally discovered in Connecticut, the petticoat may be the work of a New England weaver.

Similar textiles were also produced in Kendal, England. Typical of the fashion dress in the s, the man wears a slim-cut suit with tight knee breeches. The woman wears a profusion of bows and ruffles on her gown and a large cap with extra height. The English village of Dunmow in Essex had a long-standing tradition in which a married couple that had remained faithful and happy for a year could claim a "gammon" of bacon.

A gammon was the lower end of a side of bacon or a smoked ham. The custom has been revived in the town of Dunmow in modern times, and is still scheduled every four years. Resetting your password will be possible after logging on data edition tab. Create account Log in. Search Search advanced search. Your account Search Registration Logging in Forgotten password. New arrivals pocket squares: London, Roma, Wien, Stockholm, Berlin. I specially love the rolled edges. Which is cool for casual days at the beach or in your back yard — but what about when you go out to meet people?

Gentlemen — the rise in temperature is no excuse to let down your sartorial standards. As a general rule — the best fabrics for tropical climates are lightweight and made from natural materials such as cotton or linen. There is a general misconception that wool is better in winter. Lighter weaves of wool are suited for hot weather.

Heavy fabrics tend to cling to your skin and trap sweat — adding a layer of heat between the fabric and your body. Instead of wearing heavier versions of cotton — such as twill, which is what your jeans are made of — opt for poplin, seersucker and madras cotton.

Broadcloth cotton dress shirts will be cooler than dress shirts made with the heavier oxford weaves. Innovations with lightweight synthetic fabrics have come a long way. Synthetic fabrics are suited for performance gear. If you are buying a dress shirt or jacket made from these fabrics — ensure that the garment is specifically engineered for hot weather.

High temperatures combined with high humidity can make life uncomfortable — especially for people not used to tropical conditions. Fabrics for hot climates should maximize the flow of air through the clothing, allowing heat and moist air to escape. Natural fibers are generally better at soaking up moisture from the skin and allowing it to evaporate from the outer surface.

Cotton is extremely comfortable and allows your body to breathe with ease. It absorbs excess sweat. Linen and other natural fibers also breathe and are good at absorbing moisture. Just because a fabric is lightweight does not guarantee that it is breathable — a trash bag is lightweight but not breathable.

Synthetic fibers tend to be water-repellent; they allow sweat to build up, reducing evaporation, and causing discomfort and irritation. Silk is not a good choice as it tends to retain heat.

Silk can lose some of its strength through exposure to strong sunlight and perspiration. With its natural ability to breathe, wool is better than polyester fabrics — especially in tropical weight wool suits. The more skin covered — the better.

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