More and better fabrics were now reaching the West from Italy and farther east. During the 15th century these trends developed further. It was cut into squares of fabric and then pinned on the shoulders and bound around the body.
Women traditionally wore decorative wooden pattens called kub-kobs to walk about in muddy unpaved streets. In ce the Roman emperor Constantine I decided to rebuild the great city at Byzantium, then a Greek centre. The city was sited strategically on the Bosporus, whose narrow waters connecting the Mediterranean and the Black Sea acted as a gateway between West and East.
Constantine called his city New Rome; it was later renamed Constantinople now Istanbul in his honour. After the collapse of the western part of the Roman Empire, which was based in Rome and later Ravenna , Constantinople became the capital city of the Christian-dominated Byzantine Empire , the extent of which fluctuated considerably until its collapse in Owing to the site of its capital city, the empire was subject to a complex of influences that were nowhere more marked than in the dress of its ruling classes.
Over the centuries there were two notable periods of wealth and prosperity that were reflected in costume. The first period was in the time of the emperor Justinian I , who reigned from to ce. Until this time the influence of Rome was still strong, and dress styles tended to be draped in the fashion of the later years of the empire.
There were differences, however, derived in part from Persian and Anatolian designs, such as the use of sewn, closer-fitting garments and richer ornamentation and jewelry. In addition, because of its success as a trade centre between East and West, the Byzantine Empire had become extremely wealthy.
This wealth led to a costume of magnificent splendour that became the envy of the known world. Luxury fabrics from Asia, Syria, and Egypt became available in quantity and were utilized, despite the high cost, by the leading members of society.
The domestic textile industry was also stimulated. Its development was greatly aided by the introduction of sericulture into Constantinople. The Chinese had guarded secrets of the manufacture of silk for hundreds of years, but by about bce silkworm culture and silk manufacture had been established in northern India, and the knowledge later percolated through to Korea, Japan, Persia, and Central Asia.
Justinian had tried early in his reign to divert the silk trade from its route from Persia but without success. He was presented with a tremendous opportunity when two Persian monks, who had worked as missionaries in China and had studied the process of sericulture and the weaving of the filaments, agreed to smuggle this knowledge, as well as the necessary silkworm eggs, to Constantinople in exchange for a large monetary reward.
Silkworms flourished in Constantinople, and the authorities there, like the Chinese and others before them, guarded the secrets of the process and controlled their monopoly in Europe until, inevitably, in the early Middle Ages, the knowledge and means were once more disseminated , this time to Anatolia and Sicily and from there gradually to Italy and France.
The use of these heavy lustrous fabrics gradually altered the style of dress; the stiff, ornate materials lent themselves to a simpler cut with only a few folds to break up the often allover, large-motif designs.
For both men and women a more fitted, sewn tunic, cinched at the waist by a richly decorated wide belt and hanging straight to knee or ankle, replaced the Roman draped tunica. A rich, deep decorative collar, like the preceding Egyptian and Etruscan versions, covered the shoulders. The influence of the Christian church could be seen in the fact that the limbs were generally covered by long, usually fitted sleeves and cloth or silken hose.
Cloaks, pinned at the shoulder, were worn outdoors. Imperial dress was characterized by the extensive use of purple and gold. Garments for the wealthy were vividly coloured in reds, yellows, and greens. The second period of expansion and prosperity came between the 9th and 11th centuries.
Court dress became richer than ever, encrusted with jeweled embroideries and dyed in deep colours, especially purples and reds. Imperial dress included a long panel of gold-embroidered material, which was wrapped around the body with the end hung over one arm. The classical line had completely given place to an Eastern form of dress. For example, the caftan had been adopted as formal wear. Open down the centre front, this coatlike garment was shaped to fit at the back.
For both sexes the caftan was accompanied by trousers, not full like the Middle Eastern chalvar but more elegantly and closely cut, especially on the lower limbs where they were tucked into boot tops or worn over shoes.
Byzantine dress strongly influenced that of eastern Europe, especially the Balkans and Russia. Some of the bejeweled silk formal garments were gradually adopted by the church to become vestments in the Middle Ages.
Men tended to prefer leather boots in footwear, black for normal use and red at court. Women sometimes wore sandals but more often were found in soft, ankle-height shoes, brightly coloured and embroidered. Masculine hairstyles were short, and men were mostly clean-shaven. Outdoors they adopted the Phrygian cap or a hood. Women wore veils and often encased their long hair in a silk cap or a pearl net. Elaborate jewelry was characteristic of all Byzantine dress of the upper classes.
Perfume was liberally applied but cosmetics less so. The dress of Europeans during the years from the collapse of the western part of the Roman Empire in the 5th century ce to about was slow to change and was largely standardized over a wide area.
Clothes for men and women were similar, being sewn albeit crudely and loosely cut. A shirt or chemise and braies —that is, a roughly fitting kind of drawers—constituted underwear.
These were of a natural coloured linen. The shirt was hip-length for men, longer for women. It had a round neck, slit in front for ease of donning, and was tied with a drawstring; the braies were similarly fastened at the waist.
On top of this was worn one or more tunics—knee- or ankle-length for men and ground-length for women. The tunic had a round neckline and long sleeves cut in one with the garment; it was loose fitting but girded at the waist.
Tunics were made from coloured linen or wool and were decorated with embroidered bands at the neck, wrists, and hem. Legs were covered with ill-fitting hose, which were cut from cloth in two vertical sections and sewn together. They were held up by banding or garters.
Thirteenth-century dress was noted for its plainness. There was little or no decoration, and garments were unbelted. A sleeveless surcoat was generally worn over the tunic. This had derived in the late 12th century from the tabard, a garment worn by crusading knights over their armour to prevent the sun from reflecting off the metal and making them visible to an enemy. The surcoat , which was worn by both men and women, often had slits called fitchets on each hip so that the waist belt underneath with purse attached could be reached without fear of thieves.
Women wore their hair long, parted in the centre, and plaited and then pinned up at the sides; they then pinned a white linen neckcloth to the plaits on each side the wimple , concealing the hair, and on top of this wore a veil, a white linen crown, or a pillbox cap. Such headdresses were known by a variety of names, including barbette , fillet, and touret. Toward a great change occurred in costume. Clothes increasingly were tailored to fit and display the human figure. The ability to tailor garments improved.
More and better fabrics were now reaching the West from Italy and farther east. But perhaps the most important reason for sartorial change was the spread of the Renaissance movement from Italy. A movement both spiritual and secular , the Renaissance was dedicated to reviving Classical concepts and to celebrating the dignity and importance of human beings.
This was expressed in costume by the beautification and display of the human figure. During the remainder of the medieval period, men wore close-fitting, modish clothes, such as the fitted tunic, which was cut into four sections that were seamed at the centre back and at the sides and fastened with buttons centre front. By —45 this tunic was hip-length with a heavy leather belt decorated with metal and jeweled brooches encircling the hips only a few inches above the hem.
The undertunic, of similar cut, had long sleeves, buttoned to fit closely from elbow to wrist. The hose were now fitted more closely also. These stockings were cut from velvet, silk, or woolen cloth in four sections and extended from the foot to the upper thigh, where they were attached by points laces with metal tag ends to the lower edge of the undertunic.
By —80 the hose grew longer to become tights and were laced by points all around the body to the by-then waist-length undertunic. As outer tunics also became increasingly short in the early 15th century, a codpiece became necessary. This was a bag covering the front opening between the two legs and was attached by points to the hose. The name derives from the medieval term cod , meaning bag. The neckline was lowered and was cut straight across at shoulder level.
Below the hips the skirt was gored, very full, and long. Another gown, called a sideless surcoat, was often worn on top. This had no sleeves but had a very large armhole to display the gown beneath; the armholes and a front panel known as the plastron were often trimmed with fur.
There were several new forms of decoration at this time. One was parti-colouring, in which all garments, including hose, could be of one colour down one side and a different hue on the other, the dividing line thus delineating the form of the figure. Counterchange designs—heraldic, floral, or geometric in motif—were introduced where the ground colour and design colour were interchanged. Edges of garments were cut into various shapes; these were called dagges Middle English: During the 15th century these trends developed further.
Tunics were shorter, often only waist-length. Fabrics were richer and beautifully patterned. For older men, for whom displaying the figure was less suitable, a long gown was introduced to wear over the tunic. At first in the 14th century it was full and long like a dressing gown the houppelande , but it gradually became more tailored and formal, with vertical pleats in back and front. All garments, for both sexes, were fur-edged and, often, fur-lined—for both warmth and appearance.
By the 15th century, styles, accessories, decoration, and fabrics were beginning to vary from area to area. The fashion-setter in the years —75 was Burgundy , a duchy that controlled Flanders and much of modern France. It was the wealthiest region in Europe, and the fabrics it manufactured—velvets, silks, gold and silver materials, and embroideries—were of the highest quality.
Italian fabrics were equally beautiful to those from Burgundy but were less heavy and with less fur. Colours were gay and bright, and the emphasis for both sexes was on an elegant, natural human form with a gracious ease of movement.
In general, they were short until the later 15th century, and men were mostly clean-shaven. The main head covering was the hood with an attached shoulder cape and a long extended point, or tail, known as a liripipe.
By the s a new way of wearing this hood was tried. This was an inconvenient arrangement and so a padded roll evolved—the roundlet —with the separate shoulder cape sewn in place to one side and the liripipe to the other. Toward the end of the century, various styles of tall or broad-brimmed hats, decorated by coloured plumes, replaced the hood. Hair was still long, plaited, and coiled over the ears.
These coils might be enclosed in metal mesh jeweled nets called cauls and were worn with a veil. In the 15th century turbans—a Byzantine style that had been introduced in Italy—were fashionable. Wimples had also gained popularity, as did steeple headdresses resembling dunce caps and shorter fezlike caps.
All were made of rich fabrics and accompanied by veils, either in a soft flowing mode or formed into winglike shapes by wire framework underneath. Footwear was similar for both men and women. Hose might be soled for indoor wear. Outdoors shoes could be worn with wood and cork pattens strapped on to keep the elegant fabrics out of the mud of the streets. Men wore boots for traveling. Long toes were fashionable in the late 14th century, the ends being padded to keep the shape. The 16th century witnessed further changes occurring in Europe.
The limitations bounding medieval society were gradually being breached , and the concepts of the Renaissance were being accepted farther west, in France, Flanders, England, and Spain. People expected a higher standard of living , and there was an expanding middle class. Europe was also looking outward. From Portugal, Spain, and Italy especially, sailors were voyaging to explore both east and west. Their journeys brought the acquisition of riches, new materials, and precious metals.
Costume, as always, reflected all this. The chief centres of wealth were the pacesetters in fashion. Until about the style was generated from Italy. After this the Germans and Flemish set the pattern, but from about mid-century it was Spain that dominated the scene.
Styles of the first two decades were a development and expansion of the Italian modes of the late 15th century. Young men wore white silk shirts, frilled and embroidered at the neck and wrists. Over this they wore an abbreviated tunic and close-fitting hose, which were often striped to delineate the masculine limbs. Older men covered the tunic and hose with a long gown, open down the centre front, the edges turned back to display the contrasting lining. Their hats, which were set at a jaunty angle, were made of black velvet and decorated with brooches and plumes.
Sleeves were wide and full, and skirts were held or pinned up to display the undergown. From about to the fashionable shape was governed by the addition of padded puffs, decoratively slashed. This idea is thought to have been derived from the dress of Swiss and Bavarian mercenaries. Each garment was slashed to show the contrasting colour of the material of the one beneath. Whereas the humanist concept of the Renaissance had led to figure display and elegance, the new modes were influenced by the Reformation of northern Europe, giving rise to darker colours, heavier materials, and bulky garments padded to conceal the figure.
The masculine tunic—now called a doublet —had a knee-length, gored skirt that was open in front to display the now padded protruberant codpiece. Over this was worn a rich velvet gown with fur collar and padded sleeves. Shoes and boots had broad toes and, like all other garments, were decoratively slashed. Short hair styles, small beards, and flat velvet caps worn at an angle were fashionable.
The feminine figure was artificially controlled by a tight underbodice with metal or whalebone strips in the seams to give a small waist and slender torso. This was the precursor of the corset. In contrast, the skirt was shaped into a cone or inverted-V silhouette by being draped over a petticoat made from canvas and inset at intervals with circular hoops of wicker.
This fashion had originated during the previous century in Spain, and by it had become high fashion there. The Spanish skirt, called a verdugado , was bell-shaped, however. About the cone-shaped hoop was introduced into France, where it was popularized by the queen and called a vertugade.
The style soon appeared in England, where it was known as a farthingale. The face was framed in front by a jeweled metal frame shaped like a pyramid the English hood or a horseshoe the French hood.
Under this was worn a decorative cap that almost concealed the hair. The costume worn from mid-century until about was the richest ever seen in the history of European dress. It was made from beautiful fabrics heavily encrusted with embroidery, pearls, and jewels.
Fine lawns and lace were employed, and all garments were extensively patterned. During these years Spain was enjoying the wealth yielded by the New World, and Spanish dress—which was elegant and tasteful, formal and restrictive, and doubtlessly uncomfortable to wear—was paramount.
Paradoxically, when other nations adopted Spanish modes they mostly took them to excess, the Spaniards themselves remaining restrained in their dignified black garments. The masculine doublet was fitted to the waist and buttoned centre front. Its skirt had now been replaced by trunk hose, which were loose mid-thigh-length breeches gathered into a tight waist and thigh bands; decoration was by embroidered strips called panes.
Embroidered clocks decorated the now knitted silk stockings. Shoes had returned to the natural foot form. The dashing Spanish cape had replaced the cumbersome gown. These capes displayed great variety in size, shape, and method of wearing. The farthingale became wider and, by the s, was extended by a padded sausage known as a bum roll or barrel, which was tied around the waist under the skirt.
Later the French introduced the wheel farthingale, which was drum-shaped with radiating spokes on top. The gown neckline became very décolleté, almost displaying the breasts. From the s to the s a stomacher —a stiff, V- or U-shaped panel heavily decorated with jewels and embroidery—was often worn over the centre front bodice of the gown.
A characteristic feature of dress of this time for both sexes was the ruff collar , introduced from Spain. Called a band ruffs laundered and ready to wear were kept in band boxes , it was a strip of material tied around the neck.
Another, ruched strip was sewn on to it. After , with the introduction of starch, ruffs became larger and were often edged with embroidery and lace. It was in the Netherlands , Germany, France, and England that the extremes of these fashions, which lasted until about , were seen. By the s the Netherlands was emerging from Spanish control and extending its trade dramatically to become wealthy and influential. The garments worn by the well-to-do were still made from beautiful fabrics, but these now included fine wools as well as velvets and silks.
The material that above all was characteristic of these years was lace , seen especially in the falling bands—large collars covering the shoulders, which had replaced the 16th-century ruffs—and their elegant matching cuffs. Complementary to this coiffure was a large beaver, felt, or velvet hat, dramatically ornamented by coloured ostrich plumes.
The leather refers to the fact that the fashionable footwear was a boot rather than a shoe. These boots were made of soft leather; they had heels with platform soles and immense bucket tops, over the edge of which frothed lace-edged boot hose.
The doublet had become an elegant hip-length jacket, and the trunk hose were replaced by knee-length breeches tied with a ribbon sash at the knee. The hair was dressed high on the crown in a bun decorated with pearl ropes and with ringlets at the sides and brow.
In this time the king established France as a great European power, and from about France became the unchallenged leader of European fashion, a position it held until and even later.
The mode was set in Paris , and new styles were disseminated by mannequin dolls sent out to European capitals and by costume plates drawn by notable artists from Albrecht Dürer to Wenceslaus Hollar.
These breeches were known as petticoat breeches or rhinegraves. Between and came a quite different masculine style that presaged the three-piece suit of modern times. Initiated in France, this began as a knee-length coat called a justaucorps , an idea deriving from the Persian caftan.
It had no collar and was worn open in front. The short sleeves ended in cuffs. By the sleeves were longer, and under the coat was worn a slightly shorter waistcoat together with close-fitting knee-breeches. At the neck the falling band had been succeeded by an elegant, lace-edged cravat. The gown neckline was lowered, and the waistline was also lowered. Skirts were fuller and longer but were draped up on each side and fastened with ribbon bows to display the petticoat underneath. In the last decade of the century both sexes wore a high coiffure.
In the case of the men it was a wig. The periwig or peruke had been fashionable since about It was made of naturally coloured hair—human where possible—and consisted of a great curtain of curls and ringlets cascading over shoulders and back, while above the brow the curls rose high on either side of the centre parting.
With these full-bottomed wigs the hat, now a three-cornered tricorne, was usually carried under the arm. Ladies wore a tall headdress —the fontange —consisting of tiers of wired lace decorated by ribbons and lappets. Until the early s, French control of fashion was complete. It was in France where the trades and professions vital to fashion were established: Textiles for these crafts were varied and luxurious. They were beautiful but, unlike their 16th-century counterparts, were painted, embroidered, or printed with dainty rather than large-motif designs and were decorated not with jewels but with lace ruffles, ruching, and ribbon bows.
The Enlightenment caused fundamental changes in society during the 18th century. As capitalism and ideas of democracy burgeoned, so did the middle classes , which were increasing in numbers and influence.
These developments lead to a wave of egalitarianism in dress and a gradual end to the idea that richness and high fashion were the prerogative of the aristocracy. Thus, during the 18th century men continued to dress elegantly, but changes in their costume style were gradual and limited. The habit à la française , the French term for the suit consisting of coat, waistcoat, and knee breeches, had become accepted wear.
There was a trend away from brightly coloured satins and velvets toward darker, more sombre cloth materials. The cut of the habit also became subdued; there was less decoration, and the style fitted the figure more closely. Wigs were worn through the s, in many and varied styles, but became smaller and less elaborate as time passed; powder was used for much of this time. The tricorne hat remained the style of this century. A rigid corset continued to slenderize the waist and a framework petticoat to define the shape of the skirt.
In the early decades this was a hoop skirt , circular in section and very full. A popular style of gown worn over this was the sack sacque , which had been derived from the informal house dress of the early years of the century. In France this style was often called the robe volante. From a low, wide neckline the gown flared out freely over the hoop petticoat. By —25 the fullness was concentrated at the back in two deep box pleats sewn to the neckband, while the gown was waisted at the front.
This was the robe à la française. Toward mid-century the hoop framework gradually changed shape to become oval. Soon the frame became so wide that women found it difficult to negotiate a doorway or a sedan chair , so a collapsible folding panier was devised, made only of whalebone hoops connected together by tapes. The years —75 saw the most elaborate and outrageously decorated panier gowns, a riot of ruffles, flounces, and ribbon bows.
It was also the time of ridiculously high, overdecorated, and powdered wigs. Cosmetics of all forms, many containing white lead , mercury, and other injurious chemicals, were copiously used, a reintroduction of the 16th-century practice. By the s a reaction to this excess was beginning in England, where simpler gowns with a framework petticoat were worn, and the fullness of the skirt was drawn to the back.
A sash encircled a high waistline, and a soft fichu, or light scarf, was draped around the neck. These gentler yet elegantly feminine styles gradually spread throughout Europe and were finally accepted in France, although a portrait of Marie-Antoinette in such a gown angered the public, who claimed that her use of muslin —a fabric not produced in France—undermined the French textile industry.
For centuries children had been dressed as miniature adults, but in the s there was a marked divergence from this established custom.
Children, especially boys, began to be dressed in more comfortable garments suited to their age. This costume, in which the wearing of trousers as fashionable dress antedated its introduction for adults by a generation, was oddly entitled a skeleton suit. North America was colonized by settlers from northern and western Europe. These settlers brought with them habits and ideas in dress that were characteristic of their places of origin, but their clothes were also influenced by the climate of the part of the country to which they had come.
For example, the earliest settlers, the Spanish, arrived in Florida in There, as well as in their later settlements in Texas and California, the climate was not very different from that of Spain, so that the colonists continued to wear Spanish styles.
In contrast, colonists farther north in New England experienced harsher winters than they had been accustomed to and so found a greater need than they had in England to wear furs and skins. Many colonists thought it important to preserve class distinctions in all areas. Because of this, they passed many sumptuary laws that proscribed what members of the different classes could purchase or own; protocol in dress was a visible expression of their determination to maintain their heritage.
Similar laws restricting dress were also passed for religious reasons, reflecting some of the areas of conflict that led to the English Civil Wars — In America, as in England , plain dress and rich dress became, in effect, the respective symbols of the Puritan and the Cavalier , respectively. Many Virginia colonists leaned toward the Cavalier; Puritan ideas prevailed in Massachusetts. The Puritan penchant for simpler dress had begun before their departure for America.
Having moved overseas, they continued to omit such extravagances as fine brocades, rich laces, ribbons, and feathers. Probably the greatest change in clothing in America, as opposed to Europe , took place in the everyday working costume, with the Americans wearing heavier and warmer clothing made of stronger and stouter materials.
Men and boys wore comfortable, durable jackets and breeches, for example, made from deerskin and buckskin tanned to the consistency of fine chamois with the use of animal brains, a process the colonists had learned from the Indians.
For many English colonists the early years were hard. Most people made their own clothes, cultivating flax and cotton and raising sheep for wool. Clothes for everyday wear were plainer versions of those worn back in England. Best clothes were kept for Sundays and holidays; such garments lasted a long time, and most colonists were therefore wearing styles considered old-fashioned in England.
For example, men wore breeches full at the waist, a doublet and jerkin, and a hip-length, loose overgarment that had been fashionable in Europe in the later 16th century. This was the mandilion, derived from the medieval tabard. It was now a loose jacket with free-hanging sleeves. It had been adopted by the Puritans, whose version was generally lined with cotton and fastened with hooks and eyes. By mid-century the buff coat had also become a staple garment among colonists in New England.
Originally a military coat made of hide, it was durable and warm; it was cut simply in four sections, with or without sleeves. The everyday dress of women was a short gown of durable material, with a full skirt over a homespun petticoat, covered by a long apron of white linen. The more stylish dress was longer and made of finer material.
It often had the virago sleeve—full at elbow and shoulder and drawn in at intervals by strings of narrow ribbon—that appears in most 17th-century portraits of American women and children. Stockings were either knitted or cut from woven cloth and sewn to fit the leg. Both men and women wore stout leather shoes with medium heels. Men also wore French falls, a buff leather boot with a high top wide enough to be crushed down. After the jackboot, a shiny black leather boot large enough to pull over shoe or slipper, replaced the French falls; oxfords of black leather were worn by schoolchildren.
Both men and women wore a steeple hat of felt or the more expensive beaver. Men also wore the montero cap, which had a flap that could be turned down, and the Monmouth cap, a kind of stocking cap. Women of all ages wore a French hood, especially in winter, when it was made of heavy cloth or fur-lined; this hood , tied loosely under the chin, is seen in many portraits of the time.
Sometimes the steeple hat was worn on top of the hood. The settlers in these areas were industrious and tolerant, mixing harmoniously with colonists from other nations. They created a wealthy community but placed no restrictions on dress for sumptuary or religious reasons. Their attire was, as it had been in the Netherlands, of high quality and fashionable but not ostentatious.
French colonists, like the Dutch, were assisted by their home government with provisions and equipment to found settlements. Eastern Canada was one area of colonization, and another, which the French called Louisiana, was established on the lower reaches of the Mississippi River. Early French settlers made their own fabrics and clothes and bartered with indigenous peoples for animal skins and pelts, with beaver predominating in Canada and deer in Louisiana.
By Americans were dressing fashionably, and the distinctions between colonists of one nation and another were no longer very noticeable. Americans who were well-to-do followed the current fashions from Europe, and the main differences in attire were between city dwellers and those from rural areas.
Many of the latter still made their own clothes from homespun and woven fabrics, but the former could afford to import luxury fabrics and follow the fashion trends.
Fashion dolls and costume plates now reached America, and it was possible to be au courant with the latest modes. In the first half of the 18th century, English colonists tended to follow English fashions, but the American Revolution altered this attitude. During the war there were severe restrictions on imported goods, and, when the war was over and independence had been won, most Americans did not return to buying their clothes from England; they went directly to the source of fashion—Paris.
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The shoulders are near the shoulder edge instead of off the shoulder, and there is no gusset, it still has the slit on side. Button-On Linen Collar is shown but not included, they can be purchased for an additional charge. You can also select an attached stand and fall collar. Helena detachable collar shirt: It has a band collar with a small button in the back to accept detachable collars. It also has a single front pocket.
Jasper Shirt banded collar shirt: Virginia City detachable collar shirt: This is the same shirt as the Helena, except the material has a different pattern of print. This is a slightly more dressy shirt than the plain front shirt. On the striped shirts, the stripes on the body are vertical and in the bib they are horizontal. Collar band and cuffs are the same material as the shirt.
This is not a drop sleeve shirt nor does it have the gussets at the arm pits, so fits from Mid 's on. Button-On Collar is not included, but can be purchased for an additional charge.
If we are our of the size or color you need it will take 2 - 8 weeks for delivery, depending on our suppliers stock. These shirts have been discontinued, as the supplier will no longer wholesale them. What we have left is all we will have. These are made the same way as they have been made since They are linen material laminated onto a stiff cardboard.
They are very stiff and have material texture to them. The stud holes become soft and bent after a few time and they cannot be cleaned. This is an early form of plastic s. Each collar is fashioned from interlined acetate, a material made of white linen and a thin layer of acetate, giving the product the style of a fine cloth collar and the durability of a plastic one. A Buckley collar will never wilt under the heat of the stage lights or a difficult sermon.
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