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The women's sack-back gowns and the men's coats over long waistcoats are characteristic of this period. Fashion in the years 1750–1775 in European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the Rococo artistic trends of the period. The French and English ...
The winter mess dress includes a waistcoat. Both kits have the same barrathea blue trousers, but trousers vary in the colour and width of leg stripe denoting corps. Women's mess attire is the same, except that women may wear a skirt instead of trousers. Both versions are worn with a bow tie and white shirt; Marcella for winter and plain for summer.
Even the clothes women would ride horses in received these sorts of embellishments. [5] Croquet players of 1864 loop their skirts up from floor-length over hooped petticoats. Small hats with ribbon streamers were very popular for young women in the mid-1860s. Day dresses featured wide pagoda sleeves worn over undersleeves or engageantes.
His coat with a waist seam and skirts cutaway in a smooth curve is worn with matching trousers and collared waistcoat, 1882. George Etiene Cartier wears a dark frock coat, a decorative double-breasted waistcoat, and a narrow bow tie. Montreal, after 1882.
Jeronimus Tonneman and his son wear collarless coats with deep cuffs and matching waistcoats, worn with breeches, ruffled shirts, silk stockings, and buckled shoes. The young man wears a bag wig and solitaire, 1736. Philippe Coypel wears a red waistcoat trimmed with gold lace under a plain brown coat. His shirt has lace ruffles.
The waistcoat was lined with sturdy homespun fabric and had metal or celluloid buttons that went through cutout buttonholes. [16] Western Volhynian waistcoats were shorter and made of black corduroy. [17] The main lower body garment of Volhynian women was a homespun skirt made from hemp, wool, cotton, linen or wool blend. [16]
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