The sleeveless garment has GPS and heart rate monitoring – the company's longstanding bread and butter – built in.
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As lingerie, a chemise is similar to a babydoll, which is also a short, loose-fitting, sleeveless garment. Typically, though, babydolls are looser fitting at the hips.
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Girl wearing pinafore, Denver, Colorado, circa 1910 Two girls wearing pinafores, Ireland, circa 1903 Candy stripers in training in Tallahassee, 1957. A pinafore (colloquially a pinny in British English) is a sleeveless garment worn as an apron.Pinafore, definition in the Merriam Webster dictionary. Pinafores may be worn as a decorative garment and as a protective apron.
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Chaucer describes a Plowman in the General Prologue of his tales, but never gives him his own tale. One tale, written by Thomas Occleve, describes the miracle of the Virgin and the Sleeveless Garment. Another tale features a pelican and a griffin debating church corruption, with the pelican taking a position of protest akin to John Wycliffe's ideas.Brewer, Charlotte, Editing Piers Plowman: The Evolution of the Text, Cambridge: Cambridge University Press, 1996, pp. 8–9. .
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Robert Dudley in a slashed, probably leather, jerkin of the 1560s A jerkin is a man's short close-fitting jacket, made usually of light-coloured leather, and often without sleeves, worn over the doublet in the sixteenth and seventeenth centuries. The term is also applied to a similar sleeveless garment worn by the British Army in the 20th century. A buff jerkin is an oiled oxhide jerkin, as worn by soldiers. The origin of the word is unknown.
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Christ is clothed in the colobium, a long sleeveless garment. The chapel was built in 1484 by Matteo Civitali, the most famous Luccan sculptor of the early Renaissance. The tomb of Ilaria del Carretto by Jacopo della Quercia of Siena, the earliest of his extant works was commissioned by her husband, the lord of Lucca, Paolo Guinigi, in 1406. Additionally the cathedral contains Domenico Ghirlandaio's Madonna and Child with Saints Peter, Clement, Paul and Sebastian; Federico Zuccari's Adoration of the Magi, Jacopo Tintoretto's Last Supper, and finally Fra Bartolomeo's Madonna and Child (1509).
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One of the copes of the University of Cambridge Another form of dress, now rarely seen, is the habit, which is worn over a black gown. Only Oxford and Cambridge (though in theory Durham too) use habits and mainly reserve their use for very formal ceremonial occasions and to a specific group of academics or officials. The Convocation habit used at Oxford is a scarlet sleeveless garment worn over the black gown, with the sleeves of the gown pulled through the armholes. It is similar to a bishop's chimere except that it is worn closed with two large buttons.
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Students successful in early examinations are rewarded by their colleges with scholarships and exhibitions, normally the result of a long- standing endowment, although since the introduction of tuition fees the amounts of money available are purely nominal. Scholars, and exhibitioners in some colleges, are entitled to wear a more voluminous undergraduate gown; "commoners" (originally those who had to pay for their "commons", or food and lodging) are restricted to a short, sleeveless garment. The term "scholar" in relation to Oxford therefore has a specific meaning as well as the more general meaning of someone of outstanding academic ability. In previous times, there were "noblemen commoners" and "gentlemen commoners", but these ranks were abolished in the 19th century.
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Anne Maudslay described the local wardrobe as follows in A glimpse at Guatemala: The dress of the men is rather Eastern in effect, and consists of a long loose sleeveless garment woven from the undyed wool of the black sheep. It is open at the sides, is longer in the back than in front, and is usually drawn in round the waist with a belt. Loose trousers of the same material reach to the knee, and below them appear the embroidered edges of the loose white cotton drawers. The huipils (English: blouse) of the women are woven in stripes and brightly colored with native dyes, and the home-made "enagua" (English: skirt) of blue and white striped cotton is fastened round the waist over the huipil by an embroidered belt with hanging ends.
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The item King Charles II was referencing on that day was a long piece donned beneath the coat that was meant to be seen. The sleeveless garment may have been popularized by King Charles II, based on the facts that a diary entry by Samuel Pepys (October 8, 1666) records that ‘the King hath yesterday Council declared his resolution of setting a fashion for clothes...it will be a vest, I know not well how; but it is to teach the nobility thrift.' The general layout of the vest in King Charles II’s time stands as follows: buttons very closely sewn together arranged in two rows lined the front body of the vest underneath a wide open coat face. This piece, however, was only deemed popular for an average of seven years upon arrival to the public sphere.
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