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Cravat

Cravat

  • Place of origin:

    England, Great Britain (made)

  • Date:

    ca. 1670s (made)

  • Artist/Maker:

    unknown (production)

  • Materials and Techniques:

    Venetian needle lace

  • Credit Line:

    Purchase with the assistance of The Art Fund

  • Museum number:

    T.41-1947

  • Gallery location:

    British Galleries, room 56d, case 8

  • Download image

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.

Place of Origin

England, Great Britain (made)

Date

ca. 1670s (made)

Artist/maker

unknown (production)

Materials and Techniques

Venetian needle lace

Object history note

Made in England for the wedding in 1673 of James II when Duke of York (born in London 1633, died at St Germain, France 1701) to Mary Beatrice d'Este (born in Modena, Italy in 1658, died at St Germain, France in 1718)

Acquired by Sir Edward Carteret (died in 1699) of Jersey, who attended the wedding ceremony in Dover

Labels and date

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]

Categories

Clothing; Fashion; Accessories; Lace

Collection code

T&F

Download image
Qr_O78853
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