18th Century Tailors and Seamstresses
“Though cuſtom has rendered the Taylor contemptable among the vulgar; yet to many who think themſelves very pretty gentlemen, he is a man of vaſt importance; ſince to him, their Barber, and Dancing-maſter, they owe the high advantage of being acceptable to the ladies, who are too frequently fond of the mere outſide, and prefer a fool decked out in lace and embroidery to the man of ſenſe in a plain habit. The lad intended for this buſineſs ſhould have good eyes, a tolerable genteel perſon, and a good behavior, as his ſucceſs in trade will a good deal depend on theſe; for an aukward taylor will not be acceptable to the fine gentlemen, who make dreſs a matter of vaſt concern.”
“No Man is ignorant that a Taylor is the Perſon that makes our Cloaths; to ſome he not only makes their Dreſs, but, in ſome meaſure, may be ſaid to make themſelves. There are numbers of Beings in and about this Metropolis who have no other identical Exiſtence than what the Taylor, Milliner, and Perriwig-Maker beſtow upon them: Strip them of theſe Diſtinctions, and they are quite a different Species of Beings; have no more Relation to their dreſſed ſelves, than when they have to the Great Mogul, and are as inſignificant in Society as Punch, deprived o his moving Wires, and hung up upon a Peg ...
His Fancy muſt always be upon the Wing, and his Wit not a Wool-gathering, but a Faſhion-hunting; he muſt be a perfect Proteus, change Shapes as often as the Moon, and ſtill find ſomething new: He ought to have a quick Eye to ſteal the Cut of a Sleeve, the Pattern of a Flap, or the Shape of a good Trimming at a Glance; any Bungler may cut out a Shape, when he has a Pattern before him; but a good Workman takes it by his Eye in the paſſing of a Chariot, or in the Space between the Door and a Coach.
He muſt be able, not only to cut for the Handſome and Well-ſhaped, but to beſtow a good Shape where Nature has not deſigned it;the Hump-back, the Wry-ſhoulder, muſt be buried in Flannel and Wadding, and the Coat muſt hang de gage, though put over a Poſt: He muſt ſtudy not only the Shape, but the common Gait of the Subject he is working upon, and make the Cloathes fit eaſy in ſpite of a ſtiff Gait, or awkard Air. His Hand and his Head muſt go together; he muſt be a nice Cutter, and finiſh his Work with Elegancy.
In a Taylor’s Shop, there are always two Sorts of Workmen; firſt the Foreman, who takes Meaſure when the Maſter is out of the Way, cuts and finiſhes all the Work, and carries it Home to the Cuſtomer: This is the beſt Workman in the Shop, and his place the moſt profitable; for beſides his Cabbage, he has generally a Guinea a Week, and the Drink-Money given by the Gentlemen on whom he waits to fit on their Cloaths. The next Claſs, is the mere working Taylor; not one in ten of them know how to cut out a Pair of Breeches: They are employed only to ſew the Seam, to caſt the Button Holes, and to prepare the Work for the Finiſher. Their Wages, by Act of Parliament, is twenty Pence in one Seaſon of the Year, and Half a Crown the other; however, a good Hand has Half a Crown and three Shillings: They are as numerous as Locuſts, are out of Buſineſs about three or four Months in the Year, and generally as poor as Rats: The Houſe of Call runs away with all their Earnings, and keeps them conſtantly in Debt and Want. The Houſe of Call is an Ale-houſe, where they generally uſe, the Landlord knows where to find them, and Maſters go there to enquire when they want Hands.”
Tailors
Het Menselyk Bedryf: The Tailor by Jan & Caspar Luyken, 1694;
St. Elizabeth, patron of tailors and seamstresses
A Rake’s Progress: The Heir by William Hogarth, c. 1732-1733
The Merchant Taylors, 1749
Le tailleur pour femme, c. 1750-1792
Gentleman at a fitting with his tailor, c. 1752-1845
Tailler un habit and Tailleur d’habits in Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, 1765
A tailor’s shop (also here), 1767-1800; “This image of a tailor’s shop by an anonymous painter was painted in the late eighteenth century. The positioning and activity of the figures is relaxed and serves to show the activities of the tailors. The image depicts an urban tailor’s shop. Although it is not beyond doubt that it is London, it looks no different to what the scene would like in the metropolis. Threading a needle, drinking and sowing are shown in a very rare visual insight into life in a late eighteenth century tailor’s shop. Journeymen and apprentices are shown working together cross-legged on the work bench. The large window behind the figures indicates the importance of a strong light source and its location on an upper floor. This is a graphic illustration of working life in this period.”
The Hen Peckt Husband, 1768
Tailleur d'habits et tailleur de corps in Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, 1771
A City Taylor’s Wife dressing for the Pantheon, 1772
Snip Anglois and Snip Francois, 1773
Deny it if you can - Nine Taylors makes a Man, 1774
Tailleur in Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, 1776-1777
Blank the Taylor, 1778
The Botching Taylor Cutting his Cloth to cover a Button, 1779
Bad News, 1783
The Stay-Maker taking a pleasing circumference, 1784
Which is the better man or the pot calls the kettle black a_e, 1786
A tailor asking an officer for payment, 1788
The fighting taylors, 1788
Black-Dick Turn'd Taylor, 1788
Monmouth Street, 1789
The ghost’s, or, The taylor befrited: a German story, 1790?
Snip's warehouse for ready made cloaths - great variety of fancy waistcoats, 1791
Quarrelsome Taylors, or Two of a Trade seldom agree, 1793-1795
Trying on a turn’d coat, 1799
Taylors Hunting a Louse, 1801
“[The Mantua-Maker’s] Buſineſs is to make Night-Gowns, Mantuas, and Petticoats, Rob de Chambres, &c. for the Ladies. She is Siſter to the Taylor, and like him, muſt be a perfect Connoiſieur in Dreſs and Faſhions; and, like the Stay-maker, ſhe muſt keep the Secrets ſhe is entruſted with, as much as a Woman can: For, though the Stay-Maker does his Buſineſs as nicely as poſſible, and conceals all Deformities with the greateſt Art, yet the Mantua-Maker muſt diſcover them at ſome times; ſhe muſt ſee them, and pretend to be blind, and at times ſhe muſt ſwear herſelf to an inviolable Secrecy: She muſt learn to flatter all Complexions, praiſe all Shapes, and, in a word, ought to be compleat Miſtreſs of the Art of Diſſimulation.”

Seamstresses and mantua-makers
Domestick Employment, Needle-work
A woman in the background sews while Pamela tells a nursery tale by Joseph Highmore, c. 1744
A woman sews while reading a book, Christian Benjamin Glassbach, c. 1750s
Portrait of the artist’s wife sewing by Georg Friedrich Schmidt, 1753
Lady at the tailor by Pietro Longhi, c. 1760
Domestick Amusement: The Fair Seamstress, 1764
The Seamstress, 1765
The Jealous Maids, 1772
Leonora and Leander, 1773
Study of the artist’s mother sewing by Ozias Humphry, c. 1776
The painter Oeser’s daughter sewing by Johann Friedrich Bause, 1777
The Rival Milleners, 1778-1779
Woman sewing, seated by a window by Johann Christian Klengel, 1780-1800
Sewing workshop in Arles, 1760 by Antoine Raspal
Domestick Amusement, The Fair Seamstress, c. 1766
Danger, 1770
Drawing of a woman sewing by Nicolas Bernard Lépicié
The Pretty Milleners, 1781
A woman at a table with sewing equipment, 1785
Lady Hamilton as The Sempstress, 1787
The Landlord’s Daughter, 1790s
La couturiere campagnarde, 1790-1832
A Wife, 1791
Woman sewing by Jan Chalon, 1792
Saturday Evening, 1795
HOW very BLUE the CANDLE burns!, 1796
The Gleaners, 1796
Seamstresses, St. Kitts, Carribean by William Kay, 1798
A man sketching a woman sewing by Thomas Rowlandson
Mr. H and Mrs. H drawn in a letter by Maria Spilsbury
Interior with a sewing woman by Wybrand Hendriks, c. 1800-1810