Cravat  thumbnail 1
Cravat  thumbnail 2
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Not currently on display at the V&A

Cravat

ca. 1670s (made)
Artist/Maker
Place Of Origin

Object Type
This cravat is made of a heavily textured needle lace, known as gros point de Venise, which was the most fashionable choice between the 1660s and the 1680s, for both men and women. During this period, extravagant displays of lace were increasingly worn as a mark of wealth and status. The showiest effects were achieved with lace at the throat and wrist, setting off the face and hands, but a fashionable man might even have matching lace borders trimming his boot hose, or stockings.

Materials & Making
English travellers often purchased their lace abroad and brought it home. Lace for cravats was available either by length or by the piece, made to shape. It was usually made up by a milliner. Sometimes, at a later stage, it was adapted into a newly fashionable style.

Trading
In an attempt to protect the English lace industry, a royal proclamation was issued in 1662 forbidding the importation or selling of foreign lace. The royal family was exempt from this prohibition. It also seems to have been ignored by members of the court and other fashionable people, since Venetian needle lace continued to be freely sold and worn in London.
read "Even to Deception" – lace and fashion in Gibbons' carving For centuries, Grinling Gibbons' limewood cravat has been treasured as an exceptional work of art: incredibly lifelike and technically accomplished. Carvings by Gibbons in imitation of Venetian needle-point lace appear in several, more extensive, works but this is his only known stand-alon...
object details
Categories
Object Type
Parts
This object consists of 3 parts.

  • Cravat End
  • Cravat End
  • Cravat Neckcloth
Materials and Techniques
Venetian needle lace
Gallery Label
British Galleries: The heavy silver embroidery on this suit would have sparkled in both daylight and candle-light. The waistcoat, now lost, was probably of a contrasting rich fabric and colour. The fashion of a three-piece ensemble (coat, breeches and waistcoat, instead of doublet and breeches), was introduced from France in the 1660s, as was the full wig shown in the mezzotint portrait of James of about 1676 (see photograph).(27/03/2003)
Credit line
Purchased with Art Fund support
Summary
Object Type
This cravat is made of a heavily textured needle lace, known as gros point de Venise, which was the most fashionable choice between the 1660s and the 1680s, for both men and women. During this period, extravagant displays of lace were increasingly worn as a mark of wealth and status. The showiest effects were achieved with lace at the throat and wrist, setting off the face and hands, but a fashionable man might even have matching lace borders trimming his boot hose, or stockings.

Materials & Making
English travellers often purchased their lace abroad and brought it home. Lace for cravats was available either by length or by the piece, made to shape. It was usually made up by a milliner. Sometimes, at a later stage, it was adapted into a newly fashionable style.

Trading
In an attempt to protect the English lace industry, a royal proclamation was issued in 1662 forbidding the importation or selling of foreign lace. The royal family was exempt from this prohibition. It also seems to have been ignored by members of the court and other fashionable people, since Venetian needle lace continued to be freely sold and worn in London.
Collection
Accession Number
T.41-1947

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record createdMarch 27, 2003
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