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Round Neck Color Block Pullover.A shirt collar created [4] by Charvet for Edward VIIwhich became very popular [5] at the end of the 19th century.These traveling coats, which often had added capes, were long, ending just above the hem of the dress, and were, from this time, often known as ulsters.Lapel Plain Office Skater Dress.During the s, the mantle was the usual form.Gold on white was much used for evening wraps.


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Crew Neck Patchwork Gingham Sweatshirts.Sartorial Splendor Pinstripe Jacket.Names for specific styles of collars vary with the vagaries of fashion.Many cloaks and capes from the late s and s had borders of quilted silk.In the scarf mantle, this cape or shawl over the shoulders was extended to form scarf ends in front.





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New York: Infobase Pub.TWA Ambassador.Clothing materials and parts.Cotton Fur Linen Silk Wool.Neckline Bustline Waistline Hemline.Retrieved from " https: Neckwear Necklines History of clothing.Hidden categories: Julian—Gregorian uncertainty Articles needing additional references from April All articles needing additional references Articles with limited geographic scope from February Articles with multiple maintenance issues All articles with unsourced statements Articles with unsourced statements from January Articles that may contain original research from August All articles that may contain original research Articles with unsourced statements from May Commons category link is on Wikidata.


Namespaces Article Talk.Views Read Edit View history.In other projects Wikimedia Commons.This page was last edited on 10 May , at By using this site, you agree to the Terms of Use and Privacy Policy.A very tall standing collar with the points turned up over the chin, to be worn with an Ascot tie.


A collar with a small standing band, usually buttoned, in the style worn with detachable collars.A turnover shirt collar with long points, as worn by the actor John Barrymore.The style reappeared in the s; particularly during that time it was often known as a "tapered collar," and could accompany fashionable wide four-in-hand neckties on dress shirts.


A wide, flat, round collar, often of lace or sheer fabric, worn with a low neckline in the Victorian era and resurrected in the s.A wide, flat, round collar, sometimes with a ruffle, usually worn with a floppy bow tie, characteristic of boys' shirts from c.The same as the wing collar, but with rounded tips.


Popularised by fictional detective Hercule Poirot.A collar fashioned like a cape and hanging over the shoulders.A woman's collar for a low V-neckline, with a stand and long points, popular in the s and s.A band collar worn as part of clerical clothing.A high standing collar opening to one side and frequently trimmed with embroidery ; popular under the influence of the film Doctor Zhivago.


A collar made as a separate accessory to be worn with a band-collared shirt.Currently worn styles are turndown, tab, and dog collars; as well as historical styles such as Imperial or Gladstone.The opposite of slovenly, but not actually formal.A wide stiff buttoned collar forming part of the uniform of Eton College starting in the late 19th century.


A collar with rectangular points falling over the chest, worn in the 17th century and remaining part of Anglican clerical clothing into the 19th century.A collar styled like an 18th-century fichu , a large neckerchief folded into a triangular shape and worn with the point in the back and the front corners tied over the breast.


A standing collar with the points pressed to stick out horizontally at the side-fronts, worn with a scarf or ascot; popularized by the British Prime Minister William Ewart Gladstone.A shirt collar created [4] by Charvet for Edward VII , which became very popular [5] at the end of the 19th century.


A stiff standing collar for men's formal wear, differentiated from other tall styles by the lack of tabs at the front.A standing collar with a pleated , ruffled , or lace - trimmed frill down the front.A collar with long pointy edges.Usually worn with a suit and a tie, because otherwise the extra long collar points can look odd.


It's considered a conservative type of collar.A small standing collar, open at the front, based on traditional Manchu or Mongol-influenced Asian garments.A woman's shirt collar made like a man's shirt collar with a stand and stiffened or buttoned-down points.A short, almost straight standing collar folded over, with the points extending only to the base of the band, characteristic of the Mao suit.


Masonic collar [6].A detachable collar made of fabric or chains that is worn by Freemasons of high rank or office.It signifies which office they hold.A jewel is attached to the bottom of the collar further defining the Brothers rank and office.A flared, fan-shaped collar standing high behind the head, often of lace, in the style seen in portraits of Marie de' Medici [7].


A sailor collar from midshipman , popular for women's and children's clothing in the early 20th century.So called because of its association with Emperor Napoleon I Bonaparte 's military uniforms.A turnover collar, fairly rigid in construction and open at the front, it is similar to a Nehru collar, but it rises much higher and is generally shaped to frame the wearer's neck and lower head; this was a design feature that William Belew incorporated into Elvis Presley 's "stage uniforms" in his later years.


A small standing collar, meeting at the front, based on traditional Indian garments, popular in the s with the Nehru jacket.A wing-shaped collar with a triangular notch in it, with the lapels when on blazers and jackets of a garment at the seam where collar and lapels.Often seen in blazers and blouses with business suits.


Also, rounded notched collars appear in many forms of pajamas and nurses uniforms.A flat, round-cornered collar, named after the collar of the costume worn in by actress Maude Adams in her role as Peter Pan , and particularly associated with little girls' dresses.


A round, flat, limp collar based on the costume worn by the Commedia dell'Arte character Pierrot.A soft shirt collar, often with long points, worn by Romantic poets such as Lord Byron , or a s style reminiscent of this.A style of wearing a collar unfolded and high against the neck, made popular in the early s with Polo shirts.


Saw a resurgence in the s with bro culture.A collar tied in a large bow under the wearer's chin.Particularly associated with Margaret Thatcher in the s.Clerical Collar worn in the Catholic Church for hundreds of years, the Rabat does not equal the ordinary bands of a judge.


Any collar that is softly rolled where it folds down from the stand, as opposed to a collar with a pressed crease at the fold.A high standing pleated collar popular in the renaissance period made of starched linen or lace, or a similar fashion popular late seventeenth century and again in the early nineteenth century.


They were also known as "millstone collars" after their shape.A collar with a deep V-neck in front, no stand, and a square back, based on traditional sailor 's uniforms.A round collar for a V-neckline that is extended to form lapels , often used on cardigan sweaters , dinner jackets and women's blouses.


A shirt collar with a wide spread between the points, which can accommodate a bulky necktie knot.A shirt collar with a small tab that fastens the points together underneath the knot of the necktie.A "T" shaped collar with a vertical button placket going up to mid-chest.This type of collar is believed to originate from the Jebba, a Tunisian Folk costume.


Dark womens coat in black velvet flock and black fur by Burleska.Ladies Harris Tweed Jacket.Timer Wolf Stroller.Floral Downton Cardigan.Hooded Charcoal Cape.Victorian Leaf Motif Cape.Puff Sleeve Coat Pistachio.Paisley Satin Victorian Jacket.Jacquard Tapestry Jacket.


Artic Fox SkaterS Coat.Tartan Trim Cape.Victorian Paisley Brocade Jacket.The out-of-door garments of the Victorian woman have so much variety that for identification and dating it is perhaps easiest to divide them first according to the different main forms.First of all there were the cloaks, the true cloaks, sleeveless, all - enveloping, falling full from the shoulder, full-length or three - quarter-length; their shorter versions were the capes.


There were the full-length coats, cut with sleeves and fitting the figure or the shape of the dress; their shorter versions, the jackets.Between these were garments, full-length, three-quarter-length, half - length or less, which lie somewhere between the coat or jacket and the cloak or cape, or between these and the shawl.


For all these the general term mantle will be used.This tidy arrangement means to a certain extent the ignoring of contemporary fashionable nomenclature, which at one date refers to almost any outer garment, whether with sleeves or not, as a cloak, and at another refers to coats and cloaks alike as mantles.


At different periods there were different dominant forms.At the beginning of the reign the full-length fitted coat, which had been called a pelisse, had passed out of fashion, but the cloak was worn.The short cape was also worn but, during the s, half - length and three-quarter length mantles of different shapes became increasingly fashionable.


Jackets were worn only a little in the s, appeared more often in the s, but were one of the main styles of the s.They were fashionable then in many forms, very short, half-length or three-quarter-length in full, loose forms, or three-quarter-length in fitted forms.At the same time, short circular capes and three-quarter-length cloaks were also fashionable.


During the s, mantles in great variety were the general form, and coats and cloaks less characteristic.These returned again in the early s, and short capes were also particularly fashionable in this decade.A cloak was often worn for comfortable out-of-door wear in cold weather in the late s and early s.


The cloak of this date was a voluminous garment, usually falling from a yoke and not easy to distinguish from a cloak of the early s.Many were of silk, lined with silk and interlined with an extra layer of wool, or padded, for warmth.To give yet more warmth, an additional cape or deep collar sometimes fell over the upper half.


Other cloaks were made of woollen cloth of various weights, usually with a silk lining; only the very utilitarian ones had wool also for a lining.The seams were usually piped and there were slits for the arms.The circumference at the hem was usually between three and four and a half yards.


Some of the dresses of the late s and early s were made with matching capes which reached to about the level of the elbow.There were also longer capes falling below the waistline of the dress.Most of them were seamed over the shoulder and down the arm, a line and cut which made the characteristic falling curve of the s, but some were shaped by darts at the neck.


Silk was the usual material for them apart from those which matched their own dress.Some were lined, but a large proportion were left without lining.The full-length cloak grew rarer during the s.Three - quarter-length cloaks were worn, but cloak and cape forms were less usual than varied forms of mantle.


The simplest of these mantles were very close either to the cape or the triangular shawl and had very little shaping.They were round or pointed at the back, slightly shaped for the arms and with darts or horizontal pleating at the neck.In the scarf mantle, this cape or shawl over the shoulders was extended to form scarf ends in front.


Mantles of this shape, particularly in embroidered muslin, had been worn in the early s.Other mantles had cape-like sleeves, falling over a three-quarter-length cloak.They were made in silk, particularly in the changeable silk of this time, velvet or muslin.Many of the silk mantles were unlined, but the velvet ones were usually lined with silk.


They were trimmed with falls of lace, with ruching, with pinked and scalloped edge, with fringes and bands of applied velvet or silk braids.The applied curving lines of fringe often suggested a V series of capes.Fringed trimmings became increasingly popular by Apart from the use of black lace with colored silks the trimmings usually toned with the material of the mantle.


These mantles bear a variety of names—visite, paletot, pardessus.One may work out by careful comparison of fashion engravings and fashion notes what appears to be the difference between them, only to find that, by the next year or even the next month, what was called a visite now appears identical with a pardessus, and a paletot is something quite different.


Coats and jackets were not a great deal worn in the s.There was also a loose jacket with wide sleeves, for evening wear, which at this time was usually called a sortie de bal.The same term, when used twenty years later, meant a circular cape, worn with evening dress.Jackets grew more fashionable during the s when the dress also often had a jacket bodice.


As the sleeves of dresses opened out into the wide pagoda forms which were fashionable in the mids, the shaping of the jacket bodice approached that of a mantle with a fitted bodice and full skirt.A new type of jacket, falling loose and straight from the shoulder with wide sleeves, plain in line and with litde trimming, short or three-quarter-length, appeared in the second half of the s; and by jackets of this kind, and fitted jackets with close or open sleeves, were very much worn.


Coats, either long, ending a few inches above the hem of the dress or three-quarter-length, were also worn by in both forms, hanging loose from the shoulders, or with a fitted bodice and a skirt spreading over the full skirt of the dress.Some of the coats were belted at the waist, particularly in the second half of the s.


The Zouave jacket was a particularly characteristic garment worn between and , a very short jacket with an open front cut away at the waist.It was often made in a scarlet woollen fabric, and trimmed with gold braid, black braid or black and white stitching.It was usually worn over a white habit shirt, or a white Garibaldi bodice.


Many of the short loose jackets were made in light woollen fabrics such as cashmere, and were used for seaside or very in - formal wear out of doors and sometimes as indoor jackets.Heavier woollen materials were a good deal used for winter coats and jackets during the s, far more than they had been earlier in the period.


The three-quarter-length cloak and the short cape were also worn in the late s and during the s, both for day and evening wear.They were now usually circular in form, some with a seam down the centre back.They were made in many different fabrics, and sometimes to match a dress.For evening wear, light soft woollen materials were particularly fashionable.


There were many evening cloaks and capes of white cashmere, some trimmed with gold braid or black lace, some lined and trimmed with blue silk.Others were made in the more transparent woollen fabrics and left unlined.Some of these fabrics were woven with silk in striped patterns.


Many of the evening cloaks had tasselled hoods.Although the jackets and cloaks and the circular cloaks and capes were much worn, the mantle never completely disappeared.The cloak forms with open sleeves followed the general style of the earlier mantles, but were now mostly large and shawl-like.


Even more shawl-like was the burnous, a fashionable evening mantle of the early s.The burnous mantles first bearing this name do not now suggest anything very Arabian, but in the late s, when the burnous was usually made of a folded scarf of cashmere or other woollen fabric sewn together at the back and tasselled to fall like a hood, it had a stronger suggestion of its exotic origin.


The trimming of the loose jackets and capes was often in borders of applied braids or stitching in arabesque patterns, particularly in black on bright or light colours and white on black.Gold on white was much used for evening wraps.Trimming falling from the top of the cloak at the back was characteristic of the s.


Many cloaks and capes from the late s and s had borders of quilted silk.In the late s, beaded braid and fringe was popular everywhere as a trimming and appeared on both dresses and outer garments.The material used for them changed, the lighter woollen fabrics gradually disappearing and poplin and corded silks joining the still popular cashmere.


The pleated frills, which were a characteristic trimming of the s, appeared on them and are a mark of this date.The loose short jacket was still worn in the early s, but now often with fringed trimming, and open below the waist at the centre back.Other short jackets had a pleat down the centre back, usually referred to as a Watteau pleat.


This appeared in both jackets and mantles.The form of jacket or coat which was particularly characteristic of the early s was one with a loose straight front and a closely-fitting back, ending in a deep basque.In the shorter jackets the basque was usually open at the centre back, and sometimes also at the sides, forming a short, tabbed, skirt.


In the longer coats, the polonaise form of the dress was repeated, a fitted bodice with the skirt puffed at the back over the bustle and open in front.These were usually three-quarter - length.Some of them had the waist defined by a band.They had different forms of sleeve; a fitting, but not tight, sleeve with a cuff, and an open pagoda sleeve were the two main forms.


After , coats shared the changing lines of the dresses and lost their basques and fullness.The fashionable coat-form of the late s was a closely-fitting coat, three-quarter-length or longer, showing a long, continuous line.This line was emphasized by the plainness of many of the coats, which were shaped closely to the figure and buttoned down the front.


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First of all there were the cloaks, the true cloaks, sleeveless, all - enveloping, falling full from the shoulder, full-length or three - quarter-length; their shorter Outerwear were the capes.Some with this loose back were slightly fitted in front; others had a fitted back and loose front.Band of them were seamed Buttons the shoulder and down the arm, a line and cut which made the characteristic Collar curve of the s, but some were shaped by darts at the neck.A small standing Plain, open at the front, based on traditional Manchu or Mongol-influenced Belt garments.For evening wear, light soft woollen materials were particularly fashionable.Hooded Quilted Plain Padded Coat.The Decorative Tailor Outfitter and Clothier.

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