Visual Description (and clues!!!) of the Waistcoat

The subsequent paragraphs provide a detailed description of an 18^th century man’s waistcoat. Following the formula offered in the previous methods assignment, this analysis begins by examining the larger pieces of the object before gradually moving toward the more minute aspects of the waistcoat. At the conclusion, the author deduces potential answers provided by the object and a note attached therein. These clues should provide a scope through which the observer can understand a little more about the waistcoat and its status in 18^th century Philadelphia.

This specific description begins in focusing on the largest most notable features. This object, classified as a satin waistcoat, is currently beige in color. However, aging is the most likely attribute to this beige coloring. Once, this waistcoat could have most closely resembled a cream or ivory color during its original originally production. A darker ivory colored linen lines the interior of the waistcoat, seemingly to have a layer of cloth between the satin and the wearer’s skin. Upon close examination, it appears the that the garment’s interior is comprised of two contiguous, horizontal cuts of linen, one wrapping around the top portion of the waistcoat and another the bottom portion. The entire exterior, save the upper back, of the waistcoat is satin. The top two-thirds of the back portion of the waistcoat is the same linen used to line the interior of the jacket. This exception appears to guard against any perspiration staining or affecting any satin placed in this region. However, further examination of similar products during this period should indicate whether this was the norm or an outlier for the period during which one would wear such a waistcoat.

            In terms of identifiable cuts on the waistcoat, the object most resembles a longer version of a modern day button-up vest. The object is sleeveless, with an opening spanning from the wearer’s neck descending past the waist. The front of the garment measures 33-inches in length and is the longest opening on the object. The waistcoat also features three additional slits in the lower third region of the object. Two slits appear on identical, opposite sides of the vest, where the wearer’s hips or pant pockets would reside. The final slit appears on the waistcoat’s rear. This slit resides over the lower third of the 30-inch backside. It appears the slit’s positioning served to cover the wearer’s posterior while permitting mobility during any motion.

            The front of the waistcoat features two symmetrical pockets. Both pockets appear to be waist-high and capable of fastening via three buttons. The buttons, classified as “steel-cut buttons,” feature an intricate weaving pattern masking what appears to be a cork, or similar, interior from the front. However, examining the buttons from a side-angle view reveals the cork material touching the satin front. The weaving pattern decorating the front of the buttons most closely resembles a crisscross pattern, as a the horizontal thin, metal wiring is thread over, then under each corresponding vertical thread. In total, the waistcoat features 24 steel-cut buttons. Three for each front pocket and 18 in the front center, used to button the object shut on its wearer. Finally, the irregular pattern of stitching indicates that the producing this waistcoat required the ability to do so by hand. The craftsmanship of the buttons combined with the symmetrical cuts of fabric and the hand-sewing technique inform the skill displayed by the waistcoat’s creator.

            Accompanying the waistcoat is a note informing the viewer to whom the waistcoat belongs. During a later period, someone sewed the note to the upper-inside portion of the waistcoat; where one would typically see a tag for a modern shirt. The note provides the reader with information about the owner, Captain William Brown (1734-1808). Captain Brown traveled to the English colonies from his home in Edinburgh, Scotland sometime between 1734 and 1791, the year he married Mary Coren in Philadelphia, PA. In 1808, Captain Brown died in Philadelphia and buried at Old Pine Street Church Yard.

            The attached note provides a helpful background for the waistcoat’s place in colonial society. First, it identifies the object as an 18^th century article of clothing worn by someone with the title of “captain.” Additionally, in the 18^th century, colonial owners of a waistcoat would not sport a waistcoat with no covering jacket. To do so was a colonial faux pas. Therefore, Captain Brown was likely wearing a colonial suit rather than just a waistcoat, which explains the need for the object’s sweat-guarding fabric detailed above. Whether Captain Brown’s title afforded him the ability to wear such an outfit (as opposed to it being an example of a commoner’s outfit) requires further examination. Further, although it is clear that Captain Brown came to the English colonies from Scotland, it is unclear which location produced the waistcoat. Uncovering information about regional production may lend itself to answering more questions about who Captain Brown was. For example, perhaps as a revolutionary he would be more inclined to wear fashion created within the colonies, rather than abroad. Further information about the object could shed more light on the still-dim picture we have about the waistcoat in 18^th century Philadelphia. It appears that more information on Brown or any colonial period captain should provide more insight into this object analysis.