This is a DIGITAL sewing pattern for men´s cycling breeches worn about 1890. At the beginning of the 19th century, with the French Revolution, long trousers replaced the knee-length breeches worn through the centuries before. The long trousers became suitable for the day as for evening wear, breeches continued to be worn for popular sports like riding, hunting, and cycling. The breeches shown in this sewing pattern are based on a pattern from the following book: W. D. F. Vincent (around 1900): The Cutters Practical Guide to Jacket Cutting and Making, London. The trousers shown in the sewing pattern have a fly front, a grown-on waistband and are intended to be worn with buttoned suspenders. Besides that, the width of the trousers could be regulated with straps and a buckle at the back. The durability of garments was important during the 19th century, therefore trousers were reinforced at all critical points, basted to the wrong side of the fabric first, and then stitched in place by sewing up the garment. The sewing pattern offers two different ways of sewing up the pockets, easy-to-sew to sew in-seam pockets and the traditional tailored way. The hip pockets are optional, they are missing on most extant trousers. The sewing techniques described in the instructions will follow the construction methods seen on extant garments as much as possible. Also suitable for steampunk costumes. Please scroll down for yardage and pattern information. →→WHAT YOU RECEIVE←← - This is a DIGITAL pattern (PDF), you can download both size ranges and languages after payment has been confirmed. - The pattern comes with detailed and illustrated sewing instructions in English and German. - It is a multi-size sewing pattern, you can choose between Sizes US 34-44 (EU 44-54) and Sizes US 46-56 (EU 56-66). - A seam allowance of 5/8" (1,5cm) is included in my patterns. - The pattern is ready to be printed out on DIN A4 or US Letter. - Format DIN A0 to be printed at a plotter / copy shop is also inclusive. →→HOW MANY PATTERN PAGES TO PRINT←← The sewing pattern itself consists of: Size US 34-44 (EU 44-54): 25 pages A4/US letter or 1 1/2 A0 Size US 46-56 (EU 56-66): 30 pages A4/US letter or 2A0 →→PATTERN INFORMATION←← Fabric recommended: Fashion fabric: wool fabrics, tweeds, homespuns, cotton twill, midweight linen Lining and pockets: light yet strong cotton fabric Interfacing: midweight linen fabrics Fabric required: Size US 34-44 (EU 44-54): Trousers: 2.1yds (1,9m) with a width of 53″ (135cm) Lining: 1.3yds. (1,2m) with a width of 53″ (135cm) Interfacing: 0.3yds (0,2m) with a width of 53″ (135cm) 21 buttons Ø 5/8″ (1,5cm), trousers hook and bar or 1 button Ø 3/4″ (2cm) optional: buckle 1 3/8″ (3cm) Size 46-56 (EU 56-66): Trousers: 2.3yds (2,1m) with a width of 53″ (135cm) Lining: 1.3yds. (1,2m) with a width of 53″ (135cm) Interfacing: 0.3yds (0,2m) with a width of 53″ (135cm) 21 buttons Ø 5/8″ (1,5cm), trousers hook and bar or 1 button Ø 3/4″ (2cm) optional: buckle 1 3/8″ (3cm)

This historical suit can be made to order in men's chest sizes 34-52. The Jacket is a traditional 'Norfolk' Style with a buttoned belt, 2 deep pockets, striped lining and can have a velvet collar as a variation. The jodhpurs have buttoned openings at the side pockets, a small 'v' in the back waistband, 2 'small change' pockets in the front, 8 buttons either side of the lower outer legs and faux suede patches to the inner thighs. The first 2 photographs shown are from the pattern for the suit, but the rest are my own work. **CUSTOM ORDER ONLY, DO NOT PURCHASE THIS LISTING** **Price may vary according to size/fabric** The Harris tweed suit is approx.£1,200.00 Contact me first please. MADE IN A SMOKE AND PET FREE ENVIRONMENT.

The term "teenager" wasn't widely used until the 1940s. Clothing options were typically either made for "girls" or "small women." Regardless, teens always created their own trends and fads. Vintage teenage fashions favored brighter colors, shorter hems, and looser fits. They also borrowed menswear and made it their own. Teenagers are, and still are, the

No Victorian Man's costume would be complete without the good vest. It was often the one piece of clothing that had the most contrasting color to the rest of his suit. Stripes, plaid, paisley, and brocade were common patterns throughout the era. Single breasted and double breasted styles went in and out of fashion often,

Men's Old West Vicorian Shirt This is one of our most authentic Victorian-era men’s shirts. This men’s shirt features a pleated inset bib and had a full button placket. The shirt sports a tailed banded collar of the Victorian/Edwardian era. Pewter buttons complete the authentic detail to this vintage style men’s shirt.The shirt is 100% cotton. Please machine wash in cold and tumble dry on low.

Marie-Louise de Tassis by Van Dyck This started when someone posted a detail of a SebastianVrancx painting onto the English Civil War (ECW) and Mid-17th Century Living History Group page on Facebook, the detail is in the bottom right of the painting. While others were discussing the fact that she’s wear a partlet under her gown I was looking at two other features. First since she is taking off the gown, the painting is entitled travellers attacked by robbers, you can see that it is a bodice with a skirt attached, an over gown. Second that she has “virago sleeves,” and as the museum date the painting to 1617-19 these are early. The over gown. 1620s and 1630s outfits from Kelly and Schwabe Over gowns with separate skirts attached to them rarely survive from this period, the only adult one I can think of is the 1639 gown worn by Pfalzgrafin Dorothea Maria von Sulzbach. (Arnold, 1985) The loose gowns examined by Janet Arnold cover the period 1570 to 1620, but they are one piece from shoulder to ground, and the next examples are the manutas from the late 1690s, early 1700s, again one piece from shoulder to ground. (Arnold, 1977) There was a surviving over gown of the 1620s in France before the Second World War which appeared in Kelly & Schwabe’s (1929) book Historic Costume 1490-1790, shown left. I have no idea where this garment is now, it was originally in the collection of the Société de l’Histoire du Costume, Paris. This is the sort of over gown which appears in the Vrancx painting and here in the Van Dyck portrait of Portrait of Marie-Louise de Tassis. In the Van Dyck portrait, like the example in Kelly & Schwabe, the virago sleeves are on the under bodice, and the over gown has a simple sleeve open at the front and caught together only at the cuff. Whereas in the Vrancx painting the virago sleeves appear to be on the gown. The pattern in Kelly and Schwabe is described as after Leloir, Leloir’s Histoire du costume, tome VIII, Louis XII (1610-1643) was not published until 1933, but the authors acknowledge his help in their introduction. The pattern gives only the under bodice and the bodice of the over gown with no pattern for the skirt, nor any information as to how it was attached, and is shown below. Pattens from Kelly and Schwabe Emily Gordenker (2001) has commented that Van Dyck, in his later years, removed the over gown from the ladies he painted in order to simplify the garments worn, so that he could paint the costume more rapidly. However the gown does appear to be going out of fashion by the middle of the century, though at least one of Hollar’s Ornatus prints seems to show this style. The sleeves. According to several sources Randle Holme in his Academie of Armory, 1688, described virago sleeves as ‘The heavily puffed and slashed sleeve of a woman’s gown, then fashionable.’ I haven’t actually been able to find this quote. Comments I can find in Holme are that sleeves have “As much variety of fashion as days in the year,” and “The slasht-sleeve, is when the sleeve from shoulder to the sleeve hands are cut in long slices or fillets; and are tied together at the elbow with ribbons, or such like.” When looking at a series of dated women’s portraits the earliest I have previously found was 1620 and the latest 1632, giving a fashionable period of some ten years. There is some slashing at the top of Queen Anne’s 1617 sleeve in the painting by Somers, but it is not a virago sleeve. In most of the portraits the virago sleeve is on the garment worn under the gown and not, as in the Vrancx painting, on the gown itself. Hollar. Plate from Ornatus Bibliography Arnold, J., 1977. Patterns of Fashion 1: 1660-1860. London: Macmillan. Arnold, J., 1985. Patterns of Fashion: the cut and construction of clothes for men and women c. 1560-1620.. London: Macmillan. Gordenker, E., 2001. Anthony Van Dyck and the representation of dress in seventeenth century portraiture. Turnhout: Brepols. Kelly, F. M. and Schwabe. R., 1929. Historic costume. 2nd ed. London: Batsford. Some paintings with virago sleeves. Princess Magdalena Sybilla, unknown artist c.1630 Queen Henrietta Maria by Mytens 1630 Queen Henrietta Maria by Anthony Van Dyck Grace Bradbourne (d.1627), Wife of Sir Thomas Holte attributed to Cornelis Janssens van Ceulen Charlotte Butkens, Lady von Anoy, with her son. Anthony Van Dyke C. 1631 Abigail Sacheverell, Mrs Humphrey Pakington by Cornelis Janssens van Ceulen 1630 Katheryn Spiller, Lady Reynell attributed to Cornelis Janssens van Ceulen 1631 Elizabeth Wriothesley, née Vernon, Countess of Southampton, unknown artist, c.1620

After the 2013 The Great Gatsby movie, revived interest in 1920s men's fashion is huge! And it's not just the ladies who want to bring back some vintage class. 1920s inspired men's clothing has made its way into Ralph Lauren's collection as well as other top fashion designers. Have you noticed men's vests, shawl collar

This refashioned Edwardian blouse is totally wearable today: With Edwardian underwear it's an Edwardian shirtwaist but without it's just a summer blouse!

Total condition - 8/10, good condition for her age Please do not expect the garment to be new or in perfect condition, there may be minor defects (used clothing). SIZE ≈32 Measurements in CM • WAIST - 37 • INSEAM LENGTH - 80 • OUTSEAM LENGTH - 111 • FRONT RISE - 34 • LEG OPENING - 26 Worldwide shipping from UKRAINE SHIPPING takes 7-15 days (longer in AU/NZ). NOTE: In our country is war and in case of unforeseen situations delivery may take longer - 3-4 weeks. Open to your offers and especially to bundle deals. THANK YOU, generalvintage♻️

Below are 1900-1919 Edwardian era sewing patterns for Gibson Girl, Beatrix Potter, Downton Abbey, Titanic, Mary Poppins and Suffragette costumes as well as men's Edwardian suits, trousers, coats, and shirts. Simple Edwardian skirts and blouses created most of the turn of the century looks. A step up would be a traveling suit with a coordinating

Men's pants in the 1930s were high waisted, full around the hip, and had long column-like wide legs. That wide leg trend began in the '20s and gradually narrowed down into the '50s, while the high waists lasted until the early 1960s. Plaid, herringbone, check, tweed, windowpane, and stripes were all patterns men in the

.css-1sgivba{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-bottom:var(--chakra-space-2);} .css-cosgki{font-size:16px;font-weight:var(--chakra-fontWeights-bold);} Product Type: Photographic Print Print Size: 18" x 24" Finished Size: 18" x 24" .css-1336n79{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-top:var(--chakra-space-8);margin-bottom:var(--chakra-space-8);} Product ID: 48802152455A

Men's Golf Outfit-Brown Knickers and Flat Cap with Brown and Khaki Argyle Sweater and Sock